Roberta Vilić - Timeline: odgađanje

Roberta Vilić rođena je 1971. Završila je Školu za primjenjenu umjetnost i dizajn u Zagrebu, a na Akademiji likovnih umjetnosti je diplomirala 1998. u klasi profesora Zlatka Kesera.

Izlagala je od 1992. na preko 20 samostalnih izložbi i brojnim skupnim izložbama u Hrvatskoj, Sloveniji, Italiji i Njemačkoj.

Dobitnica je triju nagrada za slikarstvo i priznanja za grafiku. Članica je HDLU-a i HZSU-a.

Roberta Vilić was born in 1971. She graduated from the School of Applied Arts and Design in Zagreb, and then from the Academy of Fine Arts in 1998, in the class of Prof Zlatko Keser. Since 1992 she has exhibited at more than 20 solo exhibitions and numerous group exhibitions in Croatia, Slovenia, Italy and Germany. She has won three awards for painting and certificates of merit for graphics. She is a member of the Croatian Association of Artists and Croatian Freelance Artists Association.

Kontakt: Atelje: Cerjanska 13, Zagreb Mob: 0981622287 E-mail: roberta.vilic@gmail.com

Contact: Studio: Cerjanska 13, Zagreb Mob: 0981622287 E-mail: roberta.vilic@gmail.com

Roberta Vilić

TIMELINE

Hrvatsko društvo likovnih umjetnika | Croatian Association of Fine Artists Galerija Karas | Karas Gallery Praška 4, 10000 Zagreb, Croatia | www.hdlu.hr Radno vrijeme: utorak - petak: 11 - 19 h, subota i nedjelja: 10 - 14 h; zatvoreno ponedjeljkom i blagdanom.

Working hours: Tuesday - Friday: 11 am – 7 pm, Saturday and Sunday: 10 am - 2 pm; closed on Mondays and holidays.

IMPRESUM | Nakladnik/Publisher: Hrvatsko društvo likovnih umjetnika/Croatian Association of 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 (dopredsjednik/vicepresident), Fedor Vučemilović (dopredsjednik/vicepresident), Ida Blažičko, Ivan Fijolić, Monika Meglić, Melinda Šefčić | Umjetnički savjet HDLU/Artistic board of HDLU: Tomislav Buntak, Leonida Kovač, Suzana Marjanić, Ivica Župan, Koraljka Kovač Dugandžić, Ivan Fijolić, Josip Zanki | Ravnateljica/Director: Ivana Andabaka | Stručna suradnica/Associate: Mia Orsag | Predgovor/Preface: Branka Benčić | Grafičko oblikovanje kataloga/Catalogue Design: Duje Medić | Prijevod i Lektura/Translation and Proofreading: Zana Šaškin | Fotografije radova: Renata Škrinar | Tisak/Printed by: Cerovski | Naklada/Copies: 150 Izložba je realizirana uz financijsku potporu Ministarstva kulture Republike Hrvatske i Gradskog ureda za kulturu, obrazovanje i sport Grada Zagreba / The exhibition is financially supported by the Ministry of Culture of the Republic Croatia and by the City Office for Culture, Education and Sports Zagreb.

Otvorenje izložbe - 02. listopada u 19:00 sati | Opening of the exhibition - 02nd of October at 7:00 pm Galerija Karas | 02. - 11. listopada 2015. | Karas Gallery | October 02nd - 11th, 2015

I can choose a writing- surface which will preserve intact any note made upon it for an indefinite length of time–for instance, a sheet of paper which I can write upon in ink. I am then in possession of a “permanent memory-trace.” The disadvantage of this procedure is that the receptive capacity of the writing-surface is soon exhausted. The sheet is filled with writing, there is no room on it for any more notes, and I find myself obliged to bring another sheet into use, that has not been written on.

Moreover, the advantage of this procedure, the fact that it provides a “permanent trace,” may lose its value for me if after a time the note ceases to interest me and I no longer want to “retain it in my memory”.

I can choose a writing- surface which will preserve intact any note made upon it for an indefinite length of time–for instance, a sheet of paper which I can write upon in ink. I am then in possession of a “permanent memory-trace.” The disadvantage of this procedure is that the receptive capacity of the writing-surface is soon exhausted. The sheet is filled with writing, there is no room on it for any more notes, and I find myself obliged to bring another sheet into use, that has not been written on.

Moreover, the advantage of this procedure, the fact that it provides a “permanent trace,” may lose its value for me if after a time the note ceases to interest me and I no longer want to “retain it in my memory”.

Sigmund Freud, A note upon the “Mystic Writing Pad”

Sigmund Freud, A note upon the “Mystic Writing Pad”

Ekrani predstavljaju mjesta susreta, to je sučelje, interface, mjesto posredovanja, emitiranja, upisivanja i kodiranja, plohe putem kojih su posredovani različiti oblici informacija i poruka. Zamisao ekrana u slikarstvu pojavljuje se pod utjecajem psihoanalize, tvrdi Miško Šuvaković, a polazi od stava da površina slike nije direktni mimezis svijeta (prizora), nego pikturalna materija u vidnom polju slike proizvodi semantičke efekte. “Površina slike se u metaforičkom smislu može opisati kao ekran koji omogućava beskrajna prelaženja pogledom površine slike i uspostavljanja čitanja. Čitanje je resemantizacija pogleda.” – tvrdi Šuvaković. U okviru slikarske prakse Roberte Vilić, ističe se kako je „samo je djelo ekran autoričine unutrašnjosti”.

Radovi Roberte Vilić razvijali su se kontekstu prisvajanja enformela, naglašavajući materijalnost slikarske plohe, pristupom materiji koja je tretirana kao asocijativno subjektivno polje. U tom rebusu asocijacija iz strukture izranjaju ili iz nje iščezavaju dijagrami i tragovi, znakovi, rezovi, slova.

Novom izložbom Roberta nam donosi blagi zaokret od uobičajenog vizualnog koda i vlastite slikarske prakse. Njezini novi ciklusi radova naslovljeni «Odgađanje» i «Pravda i ne» predstavljaju pročišćeni prostor slike, kompleksniju upotrebu riječi i rečenica kojima autorica pristupa kao da se radi o grafičkoj matrici. Na monokromnoj plohi / podlozi prisutni su tipografski elementi slova, uz ispisivanje stihova pjesme «Odgađanje» Fernanda Pessoe, a središnji je sadržaj usmjeren upravo na značenje ispisanog teksta. Medijski krajolik koji nas okružuje, zagušen je različitim porukama i imperativima svakodnevnog života, a Roberta nam donoseći poeziju Fernanda Pessoe, fragmente iz pjesme «Odgađanje» pruža podsjetnik, u kojem u ponavljanjima razlomljenih riječi čitamo «prekosutra»...

Screens are meeting points; this is an interface, a place of mediation, transmission, inscription and coding; surfaces that mediate various forms of information and messages. The idea of screen in painting appears under the influence of psychoanalysis, claims Miško Šuvaković, and it is based on the belief that the surface of the painting is not a direct mimesis of the world (scene), but that semantic effects are produced by the pictorial matter in the field of view of the painting. “In a metaphorical sense, the surface of the painting can be described as a screen that allows the endless scanning of the surface of the painting and the possibility of interpretation. Interpretation is the re-semantization of the gaze“ – claims Šuvaković. In Roberta Vilić’s artistic practice, “the work itself is the screen of the author’s inner world“.

The works of Roberta Vilić have developed in the context of the appropriation of Art Informel, by emphasizing the materiality of the painting surface, treating the matter as an associative subjective field. Diagrams and traces, signs, cuts, letters, emerge from the structure or disappear from it within this rebus of associations.

With this new exhibition, Roberta brings a slight change from the usual visual code and her own artistic practice. Her new cycles of works, titled “Odgađanje“ (“Procrastination“) and “Pravda i ne“ (“Justice and not“), represent a refined space of the painting, a more complex use of words and sentences, which the author treats as a graphic matrix. The monochrome surface / background contains typographic elements, and she also uses the verses from Fernando Pessoa’s poem “Procrastination“, whereas the main content is focused on the meaning of the written text. Media landscape that surrounds us is swamped with various messages and imperatives of everyday life, and by quoting Fernando Pessoa’s poetry, that is, fragments from the poem “Procrastination“, Roberta gives us a reminder in which, in the repetitions of fragmented words, we read “the day after tomorrow“...

- Prekosutra, prekosutra samo...

Provešću sutra misleći o prekosutra...

Upotreba stilizacije tiskarskog sloga, daje s jedne strane naslutiti impersonalan karakter, mehaničko porijeklo materijala, međutim ruka koja intervenira trag je autora. Reducirane kompozicije tamnog kolorita, gotovo monokromne, obraćaju se praznini, izvrću odnos pozitiva i negativa, formiraju se konceptualizacijom metoda redukcije i ponavljanja, dok u ujednačenoj repetitivnosti ritam i promjenu donose minimalni i diskretni pomaci i grafički kontrasti.

Na tom tragu Iva Korbler primjećuje kako «Slojevi materije koje očitavamo na njezinim slikama – kao i latentno nagnuće grafičarskim elementima oblikovanja kadra - ukazuju na kompleksno poimanje i osjećanje stvarnosti, ali i na potrebu uspostavljanja reda i ravnoteže».

Branka Benčić

- The day after tomorrow, yes, only the day after tomorrow ...

Tomorrow I’ll start thinking about the day after tomorrow...

On the one hand, stylization of typography suggests an impersonal character, mechanical origin of the material; however, this intervening hand is the trace of the artist’s presence. Reduced dark-coloured compositions, almost monochrome, address the void, turn the relation between positive and negative upside down, take shape through the conceptualization of methods of reduction and repetition, while in this uniform repetitiveness, rhythm and change are brought by minimal and discrete shifts and graphic contrasts. Along these lines, Iva Korbler notices how “The layers of the matter we pick up from her paintings – as well as the latent tendency towards graphic elements of scene design – suggest a complex understanding and feeling of reality, but also the need to establish order and balance“.

Branka Benčić