Josip Tirić - Purpurni krug

JOSIP TIRIĆ Purpurni krug / Purple Circle Otvorenje izložbe održat će se 04. studenog 2014. u 19 sati

| Opening of the exhibition on 4th of November

Galerija Bačva, 04. studenog - 16. studenog 2014. | Barrel Gallery, November 04 - November 16, 2014

crno tržište, 196 x 206 cm, ulje na platnu, 2014.

Posve obiČna noĆ, 203 x 203 cm, ulje na platnu, 2014.

Ekspresija violetnoga – s onu stranu ideologije

Expression of violet - from the other side of ideology

Slika je i predmet u svojoj fizikalnosti i dvodimenzionalnosti, zavodljivi fetiš, kao i roba na tržištu, ali i izuzetno važan segment kaledeoskopa vizualne kulture izrazito dugoga niza trajanja. Poput specifičnoga mikro-dijela multi-slikovnoga mozaika svih slika uopće; od one na zidu spavaće sobe, do slika spiralne galaksije koju možemo naslutiti tek optičkim alatima – ovisno gledamo li s ove ili one strane teleskopa. Mi gledamo i projiciramo ocean nesvjesnoga u slike, ali i one nešto rade nama na vertikalnoj ravni – prostor - oblik - vrijeme – stabla koje ima korijenje u zemlji čovjekove podsvijesti, a grane u nebu

A painting is an object, too, in its physicality and two-dimensionality; a seductive fetish, like products in the market, but also an exceptionally important segment of the kaleidoscope of visual culture with an exceptionally long duration. Like a specific micro-piece of a multi-painting mosaic of all images in existence; from those on a bedroom wall to pictures of the spiral galaxy which we can but sense with optical tools – depending on whether we are looking from this end of the telescope or the other. We look and we project an ocean of the unconscious onto paintings, but they, too, do something to us at a vertically straight – space-shape-time – tree which has roots in the land of man’s unconscious and branches in

Ahh.. kako neki mogu..., 212-142 cm, ulje na platnu, 2014.

Nebo je diglo ruke, 145 x 215 cm, ulje na platnu, 2014.

ljudske imaginacije. Slika je i predmet i prirodna čarolija, uglavnom primamljive iluzije čiji nas izgled vara, a u koju i dalje vjerujemo, iako znamo da sve to još nije posve istinito. Stoga jer nam se u mozgu pale isti oni sklopovi na pravu kao i na krivu sliku, na iskustvenu i prostornu proizvedenu osobnom ja-formom, kao i na perspektivnu koja izgleda kao da je prostorna, a o čemu nam nešto više mogu reći istraživanja o zrcalnim neuronima; i u čimpanze i u čovjeka. S toga aspekta u carstvu iluzije slika je uvijek i svojevrsna prijevara. Takav je doživljaj slike: od renesanse camere-obscure, analogne štafelajne slike, istovjetan u čaroliji snopa svjetlosti iz filmskoga projektora projiciranoj na bijelo platno ekrana, do nadasve čudesnoga doživljaja posve virtualnih slika digitalne galaksije gdje se miješaju stvarno i nestvarno. Josip Tirić je slikar. Slikar je po bitnosti i po sebi. To se izražava u načinu slikanja, gdje se ekspresija življenja usmjerena iznutra prema vani, stapa sa ekspresijom slike kao totalnoga ekrana u mjerilu: od povijesnoga ekspresionizma do postekspresionizama današnjeg informatičkoga i informacijskoga doba, uz odjeke zrcalnih slika koje najbolje vidimo u ogledalu ili na fotografiji – zaustavljenoj slici. Tirićeve slike ostvarene su izrazitom psihološkom skalom: duh – duša – duševnost. Bolećivo su emotivne, teške i izrazito melankolične. Melankolija je ovdje stanje duha i njegova planeta Saturna, poput čuvene Dürerove Melankolije I,

the heavens of man’s imagination. A picture is also an object and natural magic, a mostly alluring illusion whose looks deceive us and which we continue to believe, even though we know it is still not all entirely true. Because those same circuits in our brain react to both the right and wrong picture, to those produced experientially and spatially with the personal I-form and to those produced through a perspective which makes it look spatial, which mirror neuron studies can tell us more about; both in chimpanzees and in man.

In that regard, in the kingdom of illusion, a picture is also always a sort of deception. That’s the experience of pictures: from the Renaissance’s camera obscura, analog easel paintings, identical to the magical beam of light of a film projector projected onto a white canvas screen, to the above-all miraculous experience of entirely virtual pictures of the digital galaxy, where the real and unreal blend. Josip Tirić is a painter.

He is a painter in his essence and in his being. That is voiced in the way that he paints, where the expression of living is directed from the inside out, and blends with the expression of a painting as a total screen in scale: from historical expressionism to the post-expressionism of today’s IT and information age, with echoes of mirror images which can best be seen in a looking glass or photograph – an image brought to a halt.

Tirić’s paintings are achieved with an exceptional psychological scale: spirit – soul – psyche. They are painfully emotional, heavy and particularly melancholic. Melancholy is here a state of mind and its planet Saturn, like Dürer’s renowned

Dajte nam jos prolosti !, 197 x 150 cm, ulje na platnu, 2014.

kuća tišine, 121 x 233 cm, ulje na platnu, 2014.

koja čovjeka sapinje, a ujedno mišlju i tugom oplemenjuje, što je povezano i s četiri antička filozofska elementa, ali i četiri ljudske tekućine od kojih je jedna crna žuč (vidi: Kilibansky, Panofsky, Saxl, Saturn i melankolija, 1964).

Kada gledamo Tirićeve slike vidimo ekspresiju violetnoga koja se proteže cijelim autorovim purpurnim krugom na svjetlo-tamnoj ljestvici, zapravo, iste boje – poput autorskoga slikarskoga traga u našem post-tranzicijskom prostoru i vremenu. Stoga su Josipove slike s onu stranu svake ideologije – humanistički zapis mladoga slikara – koji ih razotkriva istim onim sredstvima, ovdje, umjetnosti, od koje su stvorene. Slike prikazuju interijere i eksterijere u kojima se isprepliću znakovno, stvarno i imaginarno; ujedno opće, pokatkada univerzalno, ali uvijek osobno viđenje stvarnosti, koju svaki dan, dan za danom, živimo.

Sve je isprepleteno nenametljivim vizualnim analogijama. Olovni pruski vojnik sa šljemom i tipičnim brkovima i lik s gas maskom, nad kojima bdije ptica mudrosti izletjela iz pejzaža – slike – u sobi – u slici; djeca u noći obasjanom mjesečinom (prva četvrt) i okruglom lampom, kao i ekranom s ovu stranu prozora; totalni božanski pejzaž s Trabantom i čovjek u maskirnoj uniformi iza slikarskih rešetaka ispod vulkana u pozadini; žena koja briše suze i nos maramicom ispred srušene kuće, reklamna slika s bijelim zubima sa skijanja, kao i slijepa pionirka s crvenim i žutim i plavim petokrakama koje padaju… Mnogo je analogija i poveznica sa simbolima vremena. Naravno, različita je zapadna i istočna melankolija, ona sjevernjačka i ona južnjačka, kao i ona koja je intimna i posve osobna – simptom bolesnoga društva i duha vremena.

Željko Marciuš

Melancholia 1, which entangles man while simultaneously ennobling him with thoughts and sorrow, which is linked to the four elements of ancient philosophy but also the four human fluids, one of which is black bile (see: Kilibansky, Panofsky, Saxl, Saturn and Melancholia, 1964).

When we look at Tirić’s paintings we see the expression of violet which runs through all of the author’s purple circle on a light-dark scale of, actually, the same color – like the mark of the painter in our post-transitional space and time. Which is why Josip’s pictures are on the other side of every ideology – the human records of a young painter who discovers them with the same tools – here, art – from which they are made.

The paintings depict interiors and exteriors in which the symbolic, real and imaginary are intertwined; together general, at times universal, but always a personal vision of a reality which every day, day by day, we live. Everything is interwoven with discreet visual analogies. A leaden Prussian soldier with a helmet and typical moustache and a figure in a gas mask, under the watchful eye of a bird of wisdom which has flow out from the landscape – of the painting – in the room – in the painting; children at night bathed in moonlight (of a first quarter moon) and a round lamp and a screen on the other side of the window; totally divine landscape with Trabant and a masked man in uniform behind the bars of a painter beneath a volcano in the background; a woman wiping tears and her nose with a handkerchief in front of a toppled home, an advertising image with white teeth from a ski-trip, as well as a blind pioneer with falling yellow and blue five-pointed stars … There are many analogies and links to symbols of the times. Naturally, the melancholy of the west differs from that of the east, and the northern from the southern and from that which is intimate and entirely personal – a symptom of a diseased society and the spirit of the times.

Željko Marciuš

Iza Karavanki je spas, 228 x 158,5 cm, ulje na platnu, 2014.

Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Bačva | Barrel Gallery Trg žrtava fašizma 16, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: Srijeda – petak 11 do 19, Subota i nedjelja 10 do 18. Ponedjeljkom, utorkom i blagdanom.

Working hours: Wednesday to Friday 11am – 7pm, Saturday and Sunday 10am – 6pm. Monday, Tuesday and holidays - closed

IMPRESUM Nakladnik / Publisher | Hrvatsko društvo likovnih umjetnika / Croatian Association of Fine Artists, Trg žrtava fašizma 16, 10 000 Zagreb, hdlu@hdlu.hr, www.hdlu.hr | Za nakladnika / For the publisher Josip Zanki | Upravni odbor HDLU / Executive board of HDLU Josip Zanki (predsjednik / president), Tomislav Buntak (zamjenik predsjednika / vicepresident), Fedor Vučemilović (zamjenik predsjednika / vicepresident), Ida Blažičko, Ivan Fijolić, Koraljka Kovač Dugandžić, Anita Kuharić Smrekar | Umjetnički savjet Galerije Karas / Artistic board of Karas Gallery Tomislav Buntak, Suzana Marjanić, Koraljka Kovač Dugandžić, Leonida Kovač, Ivan Fijolić, Josip Zanki, Ivica Župan | Ravnateljica / Director Ivana Andabaka | Stručna suradnica / Associate Mia Orsag | Predgovor / Preface Željko Marciuš | Grafičko oblikovanje kataloga / Catalogue Design Zdravko Horvat | Fotografija / Photography Damir Žižić | Prijevod / Translation Jelena Primorac | Tisak / Printed by Cerovski | Naklada / Copies 150 Izložba je realizirana uz financijsku potporu Gradskog ureda za kulturu, obrazovanje i sport Grada Zageba / The exhibition is financially supported by the City Office for Culture, Education and Sports Zagreb.