stanje hibernacije — hibernation mode
Dragan Zdravković stanje hibernacije — hibernation mode Kustos / Curator: mr Mišela Blanuša
Salon Muzeja savremene umetnosti · Beograd Salon of the Museum of Contemporary Art · Belgrade — 29/06 – 29/08/2016
Mišela Blanuša
1 W. J. Mitchell, Mi a kép?, Kép fenomen, Valósg, Budapest, Kijárat, 1997, 338.
STANJE HIBERNACIJE
Munjevitim napretkom, posebno u kompjuterskoj industriji, koja se uvlači u sve pore ljudskog života, kao neposredni svedok razvoja digitalnih tehnologija identifikujući se s vremenom u kojem živi, Dragan Zdravković stvara svoj lični prostor, koji u skladu sa savremenim tendencijama u društvu i uslovljenošću novim tehnologijama opisuje kao stanje hibernacije kada poput kompjutera „radi” ali nije u punoj snazi jer štedi energiju i prikuplja snagu, kako bi se distancirao od surove društvene realnosti. Simbolički gledano, Zdravković na taj način pokušava da se izmesti iz stvarnosti i društveno-političkog sistema u kojem živi i „štedi” ličnu i kreativnu energiju kako bi, kroz proces umetničkog stvaranja, dao svoj maksimum i stvorio svet doživljaja sopstvene realnosti koja je izolovana od svakodnevnice i samim tim na ivici metafizičkog poimanja. U današnje vreme, informacije stižu do nas u obliku slika koje u našem svetu imaju izuzetno moćan uticaj. Zagonetka jezika i prikazivanja ne samo da nije rešena, već postaje sve nejasnija. Jezik i prikaz nisu više transparentni posrednici već su postali enigme.1 Predstavlјajući neverbalne zapise prostora, njegove slike asociraju na neku vrstu vremenske kapije za ulazak
Stanje hibernacije | Hibernation Mode |
5|
u imaginarne prazne prostore – mesta druge dimenzije realnosti, izolovane od društvene stvarnosti, u koja svi možemo ući, sresti se i identifikovati, kadrirajući mesta u kojima vreme gubi svoju snagu, usporava svoj tempo, opisujući vidlјivu, spolјašnju manifestaciju, koja ne definiše unutrašnje stanje mentalnih aktivnosti, već stanje lične hibernacije, slično procesima koje koriste tehnološki proizvodi savremenog društva. Zdravković pokušava da, iza tih naizgled savršenih dekora na svojim slikama bez figura, diskretno ukaže i pokrene na razmišljanje o problemima savremenog čoveka i njegovog otuđenja, usled pritisaka svega onoga što nam brzina življenja i nametanje društvenih-političkih normi danas donosi. Na njegovim platnima vladaju mir i tišina koji podstiču posmatrača na meditaciju o onome šta se zaista dešava iza realističkog prikaza situacije na slici, uvodeći nas na taj način u sopstvena stanja hibernacije. Umetnost je za njega, pored oblika protesta, postala i mesto umetnikovog pribežišta iz haotične i nesigurne stvarnosti u arkadijske svetove „idealnog” reda i usklađenosti i vraćanja dostojanstva čoveku i prirodi. Predstavljeni prostori na njegovim slikama su stilski u duhu realizma, ali nas iznenadi pojava nekog predmeta koji kao da je zalutao u taj na prvi tenutak potpuno realistički predstavljen prizor. To su uglavnom predmeti pročišćeni od jasne simbolike, bez patine vremena, oslobođeni bilo kakvog narativa i funkcionalnosti, izmešteni iz svog prirodnog ili očekivanog konteksta, čime se postiže efekat nadrealnog. Umesto logičke i jezičko-analitičke utemeljenosti razumevanja slike kao simboličkog prenosa ideja, formi i sadržaja imanentnog slici, dolazi do zaokreta koji radikalizuje postavku o gledanju i opažanju slike kao vizuelnom događaju. Slika se na taj način oslobađa u samoj sebi kroz mogućnost spoznaje realnog a ne kao mimetičko-reprezentacijski model realnosti koji određuju logička i gramatička pravila jezika u razumevanju sveta.2 Na primer, 6|
2 G. Boehm, „Das Wiederkehr der Bilder”, u: Was ist ein Bild, Munich, 1994, 11–38.
Dragan Zdravković |
Lampa / Lamp | 2009
Salon / The Salon | 2016
3 Lj. Gligorijević, Slikanje i bacanje strune, pref. cat. samostalne izložbe, Galerija ULUS, Beograd, 2009.
lampa na njegovoj slici predstavljena je sa željom da to bude samo prepoznatljiv oblik, bez ikakvog razmišljanja o njegovoj funkcionalnosti u svakodnevnom životu. I drugi svesno „zalutali” predmeti na njegovim slikama rasterećeni su funkcionalnih i simboličkih značenja, koji kroz njegov stvaralački proces dobijaju dimenziju izvan granice iskustva. Preuzimajući predmete iz pop kulture i advertajzinga kao i časopisa te namene, Zdravković ih menja do ukidanja identiteta i prevodi u metafiziku, dok oni pri tom gube prvobitnu funkciju s obzirom da ih pretvara u predmete bliske budućnosti. Iako oni pripadaju ikoničkom jeziku masovnih medija, on „kroti njihov formalni stereotip, čime se priližava najmlađoj lajpciškoj školi”.3 Kao što je već pomenuto, polaznu tačku za svoje slike pronalazi na fotografijama u reklamnim časopisima, pod uticajem medijske sveprisutnosti i televizijski proizvedene realnosti. To su uglavnom fotografije predmeta iz svakodnevne upotrebe. On namerno bira motive na kojima se ne vide ljudi – potrošačka konzumerska klasa kojoj su proizvodi namenjeni – i postavlja ih u sofisticirane pročišćene prostore. Procesom isecanja fotografija koje percepira kao interesantne i čitljive, s ciljem prikazivanja nekih ličnih promišljanja o svetu u kojem živi, on stvara kolaže i kreira predložak za sliku koju kasnije obrađuje koristeći kompjuterske programe za obrađivanje fotografija, gde menja njihov kolorit i perspektivu i potom finalnu verziju crtežom prenosi na platno često nastavljajući i na njemu da menja prvobitnu kompoziciju. Prepoznatljivi su i elementi slikarstva dekirikovske provenijencije, s obzirom da na svojim slikama insistira na neobičnosti i prikazanom iznenađenju koji se naziru ispod naizgled mirne površine slike, koja se sastoji od realno naslikanih predmeta u čudnim i neobjašnjivim odnosima i u njima se izražavaju njegovi emotivni i iracionalni doživljaji tih realnih prizora.
Stanje hibernacije | Hibernation Mode |
9|
Balansirajući između realizma, pop-arta i metafizičkog slikarstva Zdravkovićevo slikarstvo je kompoziciono i formalno dovedeno do stepena maksimalnog balansa likovnih elemenata među kojima vlada red, simetrija, ali i kontrasti jake svetlosti i oštrih senki koje daju posebnu atmosferu. Pored toga, izuzetan crtež i kompozicija, koji počivaju na linearnoj i geometrijskoj konstrukciji i apstrahovanju, ostajući u okvirima realizma kao glavnog obeležja ovog umetnika, koji svojim likovnim izrazom stvara rekonstrukciju realnosti i njenu reinscenaciju kroz „zamrznute totale” realiteta. U toj strukturiranoj aglomeraciji, uravnoteženih masa predmeta i ploha, koja se poput osovine ugradila u samo središte prizora, više se ne razaznaje šta je na njegovoj slici realno a šta nadrealno. Ravnoteža između realiteta i slikarske interpretacije, ekspresije i harmonije, siteze i metafizičkog doživljaja ostvarena je potpuno u jednoj celini. Njegove slike su oslobođene narativa i ako ga u nekom trenutku prepoznamo, ne može da se vidi lako, samo kroz simboliku i asocijaciju koju izaziva predstavljeni predmet. Bez obzira na to koliko je neki predmet realistično nactan, ljudi ga nikada ne mogu percipirati kao stvaran, već kao njegovu sliku, jer ni reči ni slike nisu u stanju da otkriju ono suštinsko što čini jedan predmet i zato on sam po sebi ostaje i dalje tajna. 4 Neznatnim variranjem proporcija ili prevlašću pojedinih predmeta njegovo slikarstvo balansira na neobičnoj granici enterijera i mrtve prirode, odnosno pejzaža i enterijera.5 I sam umetnik ponekad spontano predstavi neki apstraktini objekat kojem ni sam ne zna pravo značenje, ali u trenutku stvaranja postavlja ga u polje slike kako bi stvorio zanimljivu kombinatoriku znakova i kompozicionu ravnotežu i simetriju, koje su mu izuzetno važne jer reprezentuju izbalansirane prostore, kao što i stanje hibernacije umetniku donosi mir i balans sa samim sobom. 10 |
4 M. Foucault, „Ovo nije lula”, u: Plastički znak, prir. N. Miščević i M. Zinaić, Izdavački centar Rijeka, 1981, 298. 5 Lj. Gligorijević, ibid.
Dragan Zdravković |
Neonske lampe / Neon Lights | 2011
On transformiše svakodnevne predmete u „neobjekte” na svojim slikama stvarajući suštinski prostor i vreme mentalne i duhovne slike svog najdubljeg bića.6 Posmatrač može sliku ili određeni predmet na njoj da protumači na svoj način, na osnovu svojih dotadašnjih percepcija, što je umetniku relevantno jer po njemu svako ima pravo da sliku tumači na svoj način, poput Roršahovog testa, i da nalazi sebe u toj slici stvarajući svoj prostor hibernacije u kojem može da se sretne sa sobom, što je prevashodno umetnikov cilj da pobudi kod posmatrača. Zdravković na svoj način uzburka posmatračevu vizuelnu opservaciju i poremeti svakodnevnu percepciju i identifikaciju predmeta masovne potrošnje kako bi ga uveo u situaciju kao da se našao u nekom izmeštenom vanvremenskom prostoru, s ciljem da izazove specifično tumačenje i osećanje. Na prvi pogled, Zdravkovićeve slike vrlo čitljivo prezentuju neku vrstu mrtvih priroda iz perioda savremenog potrošačkog društva, na kojima prepoznajemo raznolike predmete iz našeg svakodnevnog okruženja, lampe, delove nameštaja, predmete iz intimnih prostorija, spavaćih soba i toaleta, koje umetnik uzima iz sveta advertajzinga i masovnih medija potrošačkog društva. Međutim, ako dublje uđemo u analizu njegovog slikarstva stanja hibernacije, uočavamo predstave psihodinamičkih prostora egzistencije i neverbalne oznake u njima unutar kojih istinski prepoznajemo sebe.7 Sagledavajući Zdravkovićev opus, koji je vrlo raznorodan od njegovih početaka pa do zrelosti osobenog likovnog izraza koji neguje danas, primetna je simbioza najrazličitijih umetničkih uticaja i izraza. Počevši u ekspresionističkom duhu, „čisteći” sliku stiže do jedne vrste originalnog realizma koji je u simbiozi s elementima nadrealizama, kubističkog tretiranja predmeta, metafizičkog slikarstva, magičnog realizma, minimalizma i pop-arta, fotorealizma 12 |
6 L. Gehrmann, „Dragan Zdravković — Metaphysical Pop Art. An Option on Contemporary Art”, Monopol, Berlin, 2013. 7 J. Nam, „Gallery Run: Subjective Objects”, The Vienna Review, vol. 11, br. 4, Vienna, 2013.
Dragan Zdravković |
i najviše „nove lajpciške škole” savremenog slikarstva. Ipak, termin koji sveobuhvatno pokriva likovni opus Dragana Zdravkovića je realizam, imajući u vidu upravo njegovu višeznačnost koja nam istovremeno sugeriše i zajednički i razlikovni ključ, pokrivajući svu diferenciranu slojevitost njegovog stila i sadržaja koju je naprosto nemoguće jednoznačno imenovati. Í
Stanje hibernacije | Hibernation Mode |
13 |
Zvuk za Adrijana / Sound for Adrian | 2012
Bez naziva / Untitled | 2016
Lost in Translation | 2012
RGB (triptih/triptych) | 2016
Mišela Blanuša
HIBERNATION MODE
Along with skyrocketing progress made especially in the IT industry, that nowadays permeates all facets of human existence, identifying himself with his time as an immediate witness to the development of digital technologies, Dragan Zdravković creates his own space, which, following contemporary tendencies in the society and conditions imposed by new technologies, he describes as a hibernation mode wherein, like a computer, he puts himself to “operation” but he is not doing his best because he is saving energy and gathering strength, so as to keep away from the harsh social reality. Thus, in a symbolic sense, Zdravković attempts to relocate from reality and socio-political system he lives in, and “saves” personal and creative energy aiming at giving his utmost, through the process of artistic production, and forging a world of experience of one’s own reality as isolated from the flow of everyday events and, thereby, at the verge of metaphysical insights. Today, information reaches us in the form of images which hold an extremely powerful sway in our world. It is not only that the conundrum of language and representation remains unsolved, it, in fact, becomes increasingly Stanje hibernacije | Hibernation Mode |
21 |
opaque. Language and representation are not transparent mediators anymore; instead, they have become enigmatic.1 Presenting non-verbal transcripts of space, his paintings are reminiscent of another kind of time gate intended for entering into empty expanses – sites of another dimension of reality, a reality isolated from social reality, where all of us can come in, meet each other and identify, singling out the sites where time is dispossessed of its force, slowing its pace, describing the visible, outer manifestation, which does not define the inner mode of mental activity but rather a mode of personal hibernation, like the processes used by technological products of contemporary society. Behind these seemingly perfect sceneries on his paintings devoid of human figures, Zdravković aims at discreetly emphasising and prompting reflection on the issues of contemporary man and his alienation, caused by the pressures of everything that the speed of living and the imposition of socio-political norms bring about today. His paintings are dominated by tranquillity and silence leading the spectator to wonder about what really takes place behind the realistic depiction of the situation in a painting, thereby introducing us to our own mode of hibernation. Beside being a form of protest, for him art has also become a site of artist’s refuge from hectic and insecure reality into the Arcadian worlds of “ideal” order and harmony, of the dignity restored to Mankind and Nature. The spaces featured in his paintings are stylistically done in the realistic manner, but we are occasionally surprised by the emergence of an object misplaced in what at first glance seems to be a completely realistically rendered scenery. These are primarily objects aloof from a clear symbolism, untainted by wears and tears of time, freed of any narrative and functionality, dislocated from their natural or expected context, through which the effect of the surreal is attained. In place of a logically and 22 |
1 W. J. Mitchell, Mi a kép?, Kép fenomen, Valósg, Budapest, Kijárat, 1997, 338.
Dragan Zdravković |
AM/FM | 2012
Jutro / The Morning | 2011
2 G. Boehm, “Das Wiederkehr der Bilder”, in Was ist ein Bild, Munich, 1994, 11–38. 3 Lj. Gligorijević, Slikanje i bacanje strune, pref. cat. (solo exhibition), Galerija ULUS, Beograd, 2009.
linguistico-analytically founded understanding of the painting as a symbolic transmission of ideas, forms and contents immanent to the painting, we witness a turn that radicalises the established notions of seeing and perceiving a painting as a visual event. Thus, the painting is liberated within itself via the possibility of grasping the real and not as a mimetico-representational model of the reality as defined by logical and grammatical rules of language in the understanding of the world.2 For instance, in his painting a lamp is represented with a desire that it should be nothing other than a recognisable shape, not involving any contemplative engagements whatsoever about its function within the everyday life. And other purposely “misplaced” objects in his paintings emerge before us without a burden of the functional and symbolic meaning, which in the artist’s creative process gain a dimension beyond the boundaries of experience. Appropriating the items from pop culture and advertising, as well as from the respective magazines, Zdravković transforms them to the point of abolishing their identity and translates them into the realm of the metaphysical, and as a result they lose their original function along the way since he turns them into the objects from the imminent future. Although they belong to the iconic language of mass-media, he “tames their formal stereotype, thereby coming near to the youngest generation of the Leipzig school”.3 As mentioned above, the point of departure for his paintings he finds in photos from advertising press, influenced by the omnipresence of the media and TV-produced reality. These are mostly photos of objects from the everyday usage. He intentionally picks motifs with no human figures—the consumerist class these products are made for—and puts them in sophisticated and purified spaces. By cutting out photos he perceives as interesting and readable, striving for bringing forward some personal
Stanje hibernacije | Hibernation Mode |
25 |
reflections on the world he lives in, he creates collages and produces the building blocks for a painting he later on reworks using photo processing computer software, whereby he changes their colourism and perspective, and then goes on to transfer the final version drawing it onto the canvas, often further modifying original composition. Also recognisable are the elements of the painting inspired by De Chirico’s work, given that he insists in his paintings on the strangeness and surprise looming beneath seemingly peaceful surface of a painting, which consists of realistically depicted objects in unusual and unexplainable relationships expressing the author’s emotional and irrational experiences of these realistic snapshots. Balancing between realism, pop-art and metaphysical painting, Zdravković’s painting, in the compositional and formal sense, is brought to the level of the maximum equilibrium of visual elements dominated by orderliness, symmetry, but also the contrasts of strong lighting and sharp shadows imbuing it with a special atmosphere. Also, superb drawing and composition, based on linear and geometrical construction and abstracting, never go beyond the framework of realism as the firm hallmark of this artist’s work, which in his visual expression creates the reconstruction of reality and its re-staging through “frozen long shots” of reality. Among that structured agglomeration, consisting of carefully poised heaps of objects and surfaces, embedded in the very centre of the spectacle as an axis of a sort, one no longer distinguishes the boundaries between the real and the surreal in his painting. The balance between the reality and the painter’s interpretation, expression and harmony, synthesis and metaphysical experience, is fully elaborated in one whole. His paintings are freed of narratives, and if we at some moment recognise one, it is not easily identifiable, and only through symbolism and associations suggested 26 |
Dragan Zdravković |
4 M. Foucault, “Ovo nije lula”, in Plastički znak, N. Miščević & M. Zinaić (eds.), Izdavački centar Rijeka, 1981, 298. 5 Lj. Gligorijević, ibid. 6 L. Gehrmann, “Dragan Zdravković— Metaphysical Pop Art. An Option on Contemporary Art”, Monopol, Berlin, 2013.
by a depicted object. Regardless of how much a particular object is realistically rendered, the people are never able to perceive it as real; instead, they at all times see it as an image, since neither words nor images are capable of revealing the essential component part of an object, and therefore it, as such, persists as a mistery. 4 Through slight modification of proportions, or through dominance of a particular object, his painting is a search for a balance on a strange frontier between an interior and a still life, i.e. a landscape and an interior.5 From time to time, the artist himself spontaneously depicts an abstract object without knowing its true meaning, nonetheless in the moment of its creation he introduces it in the painting’s field so as to set in motion an interesting interplay of signs, and also compositional balance and symmetry, extremely important to him because they represent well poised spaces, just as the hibernation mode brings the artist to the peace and harmony with himself. In his paintings he transforms everyday objects into “non-objects” and creates an essential space and time of mental and spiritual image of his innermost being.6 A spectator can interpret a painting and a specific object within it in his/her own way, based on his/her own perception, which is a relevant thing to the artist since, in his views, everyone has the right to understand a painting in his/her own way, like a person in Rorschach test, and to find him/herself in that painting creating one’s own space of hibernation where s/he can come across him/herself, which is the first and foremost outcome the artist aspires to awaken within the spectator. Zdravković has a peculiar manner of stirring the spectator’s visual observation and disturbing the everyday perception and identification of a mass consumption object so as to introduce it into a situation as if it is caught in some imaginary timeless space, and all of it in order to provoke a specific interpretation and sensation.
Stanje hibernacije | Hibernation Mode |
27 |
At first, Zdravković’s paintings very accessibly present some kind of still natures from the era of consumerist society, where we recognise various objects we are familiar with in our day to day surroundings, such as lamps, furniture pieces, stuff for our intimate usage, from our bedrooms and bathrooms, which the artist takes from the world of advertising and consumerist society mass media. However, if we go deeper into the analysis of his hibernation mode painting, we come to notice the representations of the psycho-dynamical spaces of existence and the non-verbal signs within which we genuinely recognise ourselves.7 Pondering on Zdravković’s work, indeed very diverse from its beginning to the maturity of its singular visual expression he nurtures today, one can not help but notice a symbiosis of the most disparate artistic influences and tendencies. Starting from the expressionist-minded creations, by “purifying” the painting the artist comes to a kind of original realism which goes hand in hand with certain elements of surrealism, cubistic treatment of objects, metaphysical painting, magic realism, minimalism and pop-art, photo-realism, and mostly “the New Leipzig School” current in contemporary painting. Nevertheless, realism is the term that encompasses the work of Dragan Zdravković the best, especially given its multitiered meaning that at the same time suggests both its common and highly individualised keys, covering the whole of the differentiated layers of his style and content which are simply impossible to put under a single and unequivocal heading. Í
28 |
7 J. Nam, “Gallery Run: Subjective Objects”, The Vienna Review, vol. 11, no. 4, Vienna, 2013.
Dragan Zdravković |
Barroco | 2016
30 |
Dragan Zdravković |
SPISAK DELA / LIST OF WORKS Bez Naziva / Untitled | 2016 ulje i akril na platnu / oil and acrylic on canvas 62 × 78 cm Salon / The Salon | 2016 ulje i akril na platnu / oil and acrylic on canvas 200 × 145 cm Neonske lampe/ Neon Lights | 2011 ulje i akril na platnu / oil and acrylic on canvas 125 × 195 cm vlasništvo / collection Madlena Zepter RGB, (triptih / triptych) | 2016 ulje na platnu / oil on canvas 220 × 355 cm Lost in Translation | 2012 ulje i akril na platnu / oil and acrylic on canvas 85 × 60 cm Barroco | 2016 ulje i akril na platnu / oil and acrylic on canvas 130 × 200 cm Jutro / The Morning | 2011 ulje i akril na platnu / oil and acrylic on canvas 155 × 95 cm Lampa / The Lamp | 2009 ulje i akril na platnu / oil and acrylic on canvas 155 × 120 cm Zvuk za Adrijana / Sound for Adrian | 2012 ulje i akril na platnu / oil and acrylic on canvas 76 × 160 cm AM/FM | 2012 ulje i akril na platnu / oil and acrylic on canvas 100 × 130 cm
Stanje hibernacije | Hibernation Mode |
31 |
Dragan Zdravković (Beograd, 1969) je diplomirao na slikarskom odseku Fakulteta likovnih umetnosti u Beogradu (1994) a magistrirao na istom odseku 1999. godine. Godine 2011. dobija stipendiju za umetničko istraživački program u Nemačkoj (Lajpcig) LIA (Leipzig International Art Programme). Predavao na SACI (Studio Art Centers International, New York/Firenze) kao gostujući profesor (2004), a kao redovni profesor na ALU, Beograd (do 2014). Jedan od predavača za „Outsideproject” – letnji akademski program u Firenci (2005–2007). Jedan od osnivača Centra za međunarodne umetničke studije – CMUS u Beogradu. Internacionalni selekor (po pozivu) na 3rd International Engraving Biennial of Douro – 2005 (Portugal). Član Umetničkog saveta Galerije 73, Beograd (2007–2013). Od 2014. godine, predaje na predmetima Crtanje i Slikanje na Fakultetu primenjenih umetnosti u Beogradu. Trenutno je na doktorskim studijama (ALU, Beograd) kod mentora Vladimira Veličkovića. Deo njegovih radova nalazi se u pojedinim muzejskim i galerijskim zbirkama, kao i privatnim kolekcijama: Museu do Douro (Portugal); Umetnička zbirka Madlene Zepter; Muzej Mladenovca; Narodni muzej, Vranje; CZK – Sopot; GAK Narodni Front Beograd; LIA – Leipzig International Art-Program (A-L. Rolland); radovi u privatnim zbirkama u Berlinu (A. Schlag /IMV GmbH), Lajpcigu (Lenzer), Beču (Zepter) i Beogradu. Aktivno izlaže na grupnim i samostalnim izložbama u zemlji i inostranstvu od 1993. godine.
Dragan Zdravković (Beograd, 1969) graduated from the Department of painting at the Faculty of fine arts (ALU) in Belgrade (1994), and received MA from the same department in 1999. In 2011 he obtained fellowship for an art-research programme in Germany (Leipzig), LIA (Leipzig International Art Programme). He lectured at SACI (Studio Art Centres International, New York/Firenze) as a visiting professor (2004), and as a tenured professor at ALU, Belgrade (until 2014). He is one of the lecturers in “Outsideproject” — a summer school programme in Firenze (2005–2007). Also, he is one of the founders of Centre for international art studies — CMUS in Belgrade; an international selector (on invitation) in 3rd International engraving Biennal of Douro — 2005 (Portugal); a member of the art council of the 73 Gallery, Belgrade (2007–2013). Since 2014, he lectures drawing and painting at the Faculty of applied arts in Belgrade. Currently, he is completing his PhD studies (ALU, Beograd) with Vladimir Veličković as his mentor.
www.draganzdravkovic.com
Some of his works are included in several museum and gallery collections, as well as in private collections: Museu do Douro (Portugal); Madlena Zepter art collection; Museum of the town of Mladenovac; National Museum, Vranje; CZK — Sopot; GAK Narodni Front (Belgrade); LIA — Lepizig International Art-Programme (A-L. Rolland); and in private collections in Berlin (A. Schlag /IMV GmbH), Lepizig (Lenzer), Vienna (Zepter) and Belgrade. He actively exhibits in group and solo shows in home country and abroad since 1993.
Posebno hvala Ani, Ljiljani i Adrijanu.
Special thanks to Ana, Ljiljana and Adrijan.
32 |
Dragan Zdravković |
Izbor samostalnih izložbi / Selected solo exhibitions 2013 Metaphysical Pop Art – An Option on Contemporary Art, izložba slika, Galerija White8, Beč, Austrija — Neon Lights, retrospektivna izložba slika, Galerija White8 SHOWROOMS, Filah, Austrija — DUPLEX #4, izložba slika u okviru ciklusa DUPLEX, Galerija Parobrod, U.K. Stari Grad, Beograd 2012 Izložba slika, Galerija Eurocentar, Beograd 2011 Izložba slika i video instalacija, Galerija Likovni salon, Kulturni centar, Novi Sad — Izložba slika u okviru manifestacije Spinnerei - Gallery Tour i umetničkog programa LIA – Leipzig International Art Programme, Leipziger Baumwollspinnerei, Halle 18, Lajpcig, Nemačka — Easy Like Sunday Morning, izložba slika, Galerija Art Gallery Leipzig, Lajpcig, Nemačka 2009 Izložba slika, Galerija ULUS, Beograd 2008 #Nejednakosti, izložba slika, Galerija savremene umetnosti, Pančevo 2007 SPAZIO PER L’ARTE 2 (Prostor za umetničko delo II), Izložba serije fotografija, samostalnog, nezavisnog umetničkog projekta realizovanog na 52. La Biennale di Venezia, Galerija O3ONE, Beograd — Izložba slika, Galerija Centra za kulturu, CZK Stara Pazova, Stara Pazova 2006 Gazdinstvo, izložba slika, Galerija 73, Beograd 2005 SPAZIO PER L’ARTE (Prostor za umetničko delo), Izložba serije radova, samostalnog, nezavisnog umetničkog projekta realizovanog na 51.La Biennale di Venezia, Galerija O3ONE, Beograd
Stanje hibernacije | Hibernation Mode |
Izbor grupnih izložbi / Selected group exhibitions 2015 Iz bliza, iz daleka 1914 – 1918, događaji, istorija, memorija, internacinalna izložba, Muzej Macura, Novi Banovci 2013 Global Print, Museu do Douro, Peso da Regua i Museu de Lamego, Lamego, Portugalija 2012 ART.FAIR | Cologne, predstavljen od strane Galerije White8 GALLERY, Beč, zajedno sa Chuck Close ,USA i Catarina Lira Pereira, FR, Keln, Nemačka — Salve, internacionalna izložba slika i skulptura, (kustoski projekat Galerije Salve Art Gallery), Kunstraum Connex, Lajpcig, Nemačka 2011 LIA Summer Exhibition, (umetnici: G. Tabibzadeh [Teheran], A. Finelli [Milano], M. Van Soest [Amsterdam], D. Zdravković [Beograd], L. Lamberti [Bolonja], A. Chapin, H. Saillors, N. Holiber, A. Barton [Njujork]), SPINNEREI — Leipziger Baumwollspinnerei, LIA, Halle 18, Lajpcig, Nemačka 2008 Izložba, Otkup umetničkih dela Gradskog sekretarijata za kulturu, Galerija Magacin, Beograd 2007 VII Bijenale akvarela, Savremena galerija Zrenjanin — Čukarički likovni salon, Galerija 73, Beograd 2006 Exposição/Espólio - Bienal Internacional de Gravura do Douro, Galerija Salão Nobre da Casa do Douro, Regva, Portugalija — Exposição/Espólio, internacionalna izložba, Museu de Vila Real, Vila Real, Portugalija — Outsideproject, Izložba u okviru programa, Galerija La Corte Arte Contemporanea, Firenca, Italija 2005 30 plus, Galerija Međunarodnog kulturnog centra, Beograd — 3a Bienal International de Gravura – Douro, izložba selektora bijenala, Alijo, Portugalija — Outsideproject, SACI (Studio Art Centers International-Florence), Firenca, Italija
33 |
BIBLIOGRAFIJA / BIBLIOGRAPHY — Milena Marijanović, „Memento”, Blic, Beograd, 30. VI 2015, str. 29. — Gordana Kaljalović, pref.cat. Izbliza iz daleka 1914–1918, događaji, istorija, memorija, Muzej Macura, Beograd, 2015. — Lucas Gehrmann, „Dragan Zdravkovic — Metaphysical Pop Art. An Option on Contemporary Art”, Monopol — Magazin für Kunst und Leben, April, Berlin, 2013. — Janima Nam, „Gallery Run: Subjective Objects”, The Vienna Review, vol. 11, br. 4, Vienna, 2013. — Ivana Kladarin Panić, „Metaphysical Pop Art”, New Review (Jat Airways), br. 232, Beograd, 2013. — Walter Gehlen, Andreas Lohaus, pref. cat. „Art.Fair, Messe fur Moderne und Aktuelle Kunst 2012, Köln, 2012, str. 212, 213, 234, 241. — Anna-Louise Kratzsch, „LIA — Leipzig International Art Programme”, SPINART, Leipzig, 2011, str. 56–60. — Ljubomir Gligorijević, „Dragan Zdravković: Slikanje i bacanje strune”, Književni list, br.81–83, Beograd, 2009. — Ljubomir Gligorijević, pref. cat. samostalne izložbe, Galerija ULUS, Beograd, april 2009. — —, „Umetnost je važna a uskoro i veoma skupa stvar”, Art FAMA, br. 12, Beograd, januar 2008, str.71.
Stanje hibernacije | Hibernation Mode |
— —, Otkup umetničkih dela Gradskog Sekretarijata za kulturu, Galerija Magacin, Beograd, 2008. — —, „Spazio per L’arte II”, Art FAMA, br. 9, Beograd, oktobar 2007, str.46. — Nikola Šuica, „Prisutan u (vodenoj) pustinji”, pref. cat. Spacio per L’ arte 2, Galerija O3ONE, 2007. — Sreto Bošnjak, pref. cat. VII Bijenale akvarela, Savremena galerija, Zrenjanin, jun 2007, str. 124, 190. — Nuno Canelas, Gaspar Martins Pereira, Jose Artur, Luis Henrique Gracio Azevedo, pref. cat. Exposição/Espólio — Bienal internacional de Gravura Douro, 250 Anos da Regiao Demarcada do Douro, Alijo, 2006. str. 1, 12, 13 — Nikola Šuica, pref. cat. Gazdinstvo, Galerija 73, Beograd, 2006. — Stevan Vuković, pref. cat. Spazio per L’arte(Space For Artwork), Galerija O3ONE, Beograd, 2005. — Nuno Canelas, Daniel Hompesch, pref. cat. 2a Bienal internacional de Gravura Douro, Alijo, 2005. str. 2, 61, 88, 89, 90. — Marija Đorđević, „Kulturni mostovi – Mapa firentinskog neba”, Politika, br. 32955, Beograd, 2005, str.17. — Nuno Canelas, Daniel Hompesch, pref. cat. 2a Bienal internacional de Gravura Douro 03, Alijo, 2003. str. 12, 54, 153. — Dejan Grba, pref. cat. Duh seni, Galerija NUBS, Beograd, 1997.
35 |
Dragan Zdravković stanje hibernacije — hibernation mode
Izdavač / Publisher: Muzej savremene umetnosti / Museum of Contemporary Art · Ušće 10 · Blok 15 · 11070 Novi Beograd · Serbia · www.msub.org.rs • za izdavača / for the Publisher: Slobodan Nakarada · vršilac dužnosti direktora / acting director • urednik / editor: Mišela Blanuša • prevod na engleski / translation into english: Đorđe Čolić • lektura / language editing: Sandra Urban Kosanović • fotografije / photographs: Saša Reljić (MSU) • grafičko oblikovanje / design: Andrej Dolinka • štampa / printed by: Alta Nova, Beograd · 03/2016 • tiraž / print run: 600 • ISBN 978–86–7101–328–4
Salon Muzeja savremene umetnosti · Beograd Salon of the Museum of Contemporary Art · Belgrade 29/06 – 29/08/2016
9 788671 013284
muzej savremene umetnosti · beograd / museum of contemporary art · belgrade · 2016 isbn 978–86–7101–328–4