Luka Širok: RRRRRRR

LUKA ŠIROK

RRRRRRR

LUKA ŠIROK

R R R R R R R slike, skulpture

4.–28. 6. 2021

Luka Širok je eden vidnejših umetnikov mlajše generacije na Goriškem. Po temeljni izobrazbi je slikar, vendar ustvarja v različnih medijih, kot so slika, risba, kolaž, print, fotografija, instalacija ali kombinacije naštetega. Svoj značilno eklektičen pristop uporablja tudi znotraj posameznega medija, v slikarstvu denimo kombinira različne tehnike (pastel, tuš, akril, olje, sprej), jezike (abstrakcija, figuralika) in sloge, instalacije pa ustvarja iz najdenih predmetov in materialov, ki jih poveže v novo celoto, včasih tako, da jih preprosto sestavi v kompozicijo, včasih pa jim doda tudi malo plastiko, ki jo izdela sam, in/ali barvo. Skozi ta pristop skuša podati avtentično podobo vsakdanjosti, ki jo zaznamuje za sodobno življenje značilen kadriran način dojemanja sveta, razpad velikih mitoloških sistemov, heterogenost etičnih in moralnih kodov, pluralizem različnih mnenj in stališč, skrajni individualizem itd.

Hiter pregled umetnikovega slikarskega opusa, ki predstavlja glavnino njegovega ustvarjanja, pokaže, da so ga v različnih obdobjih delovanja pritegnile različne umetniške smeri, s podrobno analizo pa se iz tega eklektičnega konglomerata izluščijo sidrišča, okrog katerih je zgradil prepoznaven osebni slog. Prvo sidrišče, najzgodnejše in, kot se zdi, tudi najbolj osebno, je urbana ulična umetnost, predvsem grafiti in murali, od koder izhajajo nekatere likovne značilnosti njegovega sloga, denimo palimpsestnost, ploskovitost, stilizacija, uporaba popkulturnih znakov in likov, ne nazadnje tudi spreja kot tehnike. Vendar je skoraj bolj kot skupne likovne značilnosti pomembna notranja vez s tem načinom izražanja, saj mu podobno kot uličnim umetnikom predstavlja prostor svobode, samoizražanja in komunikacije, pa tudi družbene kritike, uporništva in subverzije.

Drugo sidrišče, ki je vplivalo na oblikovanje umetnikovega sloga, je šolanje v Italiji, najprej na umetniškem liceju v Gorici in kasneje na akademiji v Benetkah, pa tudi sodelovanje v različnih umetniških iniciativah, društvih in rezidencah že v času šolanja in desetletju za tem. Skozi študijski proces in delovanje v italijanskem umetnostnem prostoru je dodobra spoznal mediteransko umetniško tradicijo, ki v njegovem ustvarjanju odmeva v občutku za uravnoteženo in skladno kompozicijo, uporabi živahnega in svetlega kolorita, neobremenjenem, sproščenem, optimističnem vzdušju in pritrjevanju življenju nasploh. Kljub omenjenim potezam pa bi bilo napačno ustvarjanje Luke Široka označiti za tipično mediteransko. Že takoj po koncu študija je namreč navezal stike z nemškim umetnostnim prostorom, večkrat je razstavljal v Berlinu in tudi v Dresdnu, kjer je od blizu spoznal srednjeevropske umetnostne tokove. V tej navezi je treba iskati tretje sidrišče njegovega osebnega sloga, saj je skozenj prišla do polnega izraza ekspresivnost, ki je vseskozi prisotna v oblikovanju figur, občasno pa tudi v ekspresivni rabi barve in poteze. Že od umetnikovih najzgodnejših del naprej je namreč očitno, da njegove figure nimajo nikakršne zveze s klasičnimi mediteranskimi ideali lepote, skladnosti in razuma, pač pa jih v skladu s severnjaško ekspresionistično tradicijo zaznamujejo deformirana in fragmentarna telesnost neskladnih razmerij in nenaravnih barv, manjkajoči udi, neprepoznavni, zabrisani obrazi, stapljanje z ozadjem in zraščenost z drugimi figurami, predmeti

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ali abstraktnimi formami. Prav tako je v skladu s to tradicijo mestoma ekspresivna uporaba barve in poteze, saj se umirjene barvne ploskve in polja vzorcev prekrivajo in/ali izmenjujejo z ekspresivnimi nanosi s čopičem, tušem in sprejem ali različnimi oblikami drippinga.

Kompozicije, ki se porajajo iz te specifične mešanice vplivov, so polne nasprotij in protislovij, zato v gledalcu, gledalki vzbujajo mešane občutke, ki jih dobro povzemajo pojmi tragikomičnost, ironija, groteska, obešenjaški humor, bizarnost, eksotika, dražljivo nelagodje. Podobno velja tudi za opus instalacij, objektov in skulptur, ki jih umetnik posamično ustvarja že od konca šolanja, bolj načrtno pa šele v zadnjih petih letih. Tudi ta opus se je izoblikoval okrog omenjenih treh sidrišč. Pri zasnovi skulptur umetnik uporablja najdene predmete in materiale, kar izhaja iz ulične umetnosti, v kompoziciji pa pogosto povezuje nasprotujoče si materiale (naravne z umetnimi, težke z lahkimi, prosojne z masivnimi itd.), oblike (geometrijske z organskimi) in motive (najdene predmete z ustvarjenimi plastikami). Preplet teh nasprotij, v katerem se mediteranska urejenost, lahkotnost in igrivost mešajo z ekspresivnostjo, pa podobno kot pri slikah zbuja protislovna občutja.

Vse navedeno zaznamuje tudi slike in skulpture, predstavljene na tokratni razstavi. Serija slik je v celoti nastala v letu 2020, ko je naše življenje zaznamovala pandemija nove koronavirusne bolezni.

Večina slik je v ležečem, razmeroma ozkem in dolgem formatu, ki že sam po sebi izraža stisko in tesnobnost. Na njih prevladujejo motivi človeških figur, živali, rastlin in predmetov, ki lebdijo v brezprostorju, katerega koordinate so tu in tam nakazane, nikakor pa ne obvezujoče. Posamezen motiv je od ozadja, ki je večinoma monokromno ali sestavljeno iz barvnih zaplat organskih oblik, ločen z obrisno risbo, ki zamejuje njegov bivanjski prostor kot neke vrste kokon. Motivi v kokonih so nanizani drug ob drugem ali pa se med seboj prelivajo, vendar med njimi večinoma ni komunikacije ali interakcije – kot bi bili svetovi zase, ki vznikajo v življenje iz niča in se vanj spet vračajo, ko nastopi čas za to, ne da bi sploh vedeli drug za drugega.

Na osnovni ravni torej slike govorijo o porajanju in minevanju življenja, pa tudi o njegovi enakovrednosti v neskončni raznolikosti.

Kot je celotni obstoj muhe enodnevnice za človeka le trenutek, je tudi celotni človekov obstoj za sekvojo le trenutek, s stališča življenja (in smrti) pa so vse tri oblike bivanja enakovredne. Glede na to ni naključje, da se na večini slik pojavlja takšna ali drugačna referenca na Afriko, naj bo to motiv značilne afriške flore in favne, temnopolta oseba ali kolorit v prevladujočih peščenih odtenkih.

Afrika namreč za povprečnega Zahodnjaka predstavlja nekaj primarnega, divjega in strašljivega, a hkrati tudi privlačnega, nekaj v prostoru in času oddaljenega, a kljub temu domačega, nekaj, kar nam je tuje, pa vseeno blizu srca – Afrika v tem kontekstu nastopa kot simbol naše skupne pradomovine, od koder smo prišli in kamor se bomo nekoč vrnili.

Mojca Grmek

monster behind the mask akril na plastični podlagi / acrylic on found pvc plastic panel, 200 x 200 cm, 2020

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Luka Širok is one of the most prominent artists of the younger generation in the Goriška region of Slovenia. By basic training, he is a painter, but he creates in a variety of media, such as painting, drawing, collage, print, photography, installation, or combinations thereof. Even within a single medium, he applies his typically eclectic approach, for example in painting, he combines different techniques (pastel, ink, acrylic, oil, spray), languages (abstract, figurative) and styles. His installations, on the other hand, are composed of found objects and materials that he combines to create a new whole, sometimes by simply putting them together to form a composition, and sometimes by adding a small sculpture of his own making and/or some colour. Through this approach, he tries to convey an authentic picture of everyday existence, marked by the typical aspects of contemporary life such as perceiving the world in frames, the disintegration of the great mythological systems, the heterogeneity of ethical and moral codes, the pluralism of different opinions and views, extreme individualism, and so on.

A brief survey of the artist's painting opus, which makes up the bulk of his work, shows that he was attracted to different artistic directions in different creative periods, and a detailed analysis extracts from this eclectic conglomerate anchor points around which he built a recognisable personal style. The first anchor point, the earliest and, it seems, the most personal, is urban street art, especially graffiti and murals, from which certain pictorial features of his style emerge, such as a palimpsest quality, flatness, stylisation, use of signs and figures of pop culture, and last but not least, also spray as a technique. Almost more important than the usual pictorial characteristics, however, is the inner attachment to this form of expression, which for him, similar to street artists, represents a space of freedom, self-expression and communication, but also of social criticism, rebellion and subversion.

The second anchor point that influenced the shaping of the artist's style was his schooling in Italy, first at the Art Lyceum in Gorizia, and later at the Academy in Venice, as well as his participation in various artistic initiatives, societies and residencies during his school years and a decade after that. Through studying and working on the Italian art scene, he became familiar with the Mediterranean art tradition, which resonates in his work in the sense of balanced and harmonious composition, the use of vibrant and luminous colours, an unencumbered, relaxed, optimistic atmosphere, and a general affirmation to life. Despite the above points, however, it would be wrong to label Luka Širok's creativity as typically Mediterranean. Immediately after completing his studies he established contacts with the German art world, exhibited several times in Berlin and also in Dresden, where he became acquainted with the art currents of Central Europe. It is in this connection that a third anchor point of his personal style is to be sought, for it was through this that the ever-present full expressiveness in the formation of figures, and occasionally also in the expressive use of colour and stroke, came fully to the fore.

Even from the artist's earliest works, it is evident that his figures have nothing to do with the classical Mediterranean ideals of beauty, harmony and reason, but are characterised, in accordance with the Northern Expressionist tradition, by a deformed and fragmentary corporeality of contradictory relationships and

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unnatural colours, missing limbs, unrecognisable, blurred faces, merger with the background and fusion with other figures, objects or abstract forms. The sometimes expressive use of colour and stroke is also in line with this tradition, as muted colour surfaces and pattern fields overlap and/or alternate with expressive applications of paint, ink and spray or various forms of dripping.

The compositions that arise from this specific mixture of influences are full of oppositions and contradictions, so they evoke in the viewer mixed feelings, which are well summed up by the terms tragicomic, irony, grotesque, gallows humour, bizarre, exotic, irritating discomfort. The same is true of the opus of installations, objects and sculptures that the artist has been creating as one-offs since the end of his school days and more systematically only in the last five years. This opus also formed around the aforementioned three anchor points. In conceiving his sculptures, the artist uses found objects and materials, stemming from street art, often combining in his compositions opposing materials (natural with artificial, heavy with light, translucent with massive, etc.), shapes (geometric with organic) and motifs (found objects with created sculptures). The interweaving of these opposites, in which Mediterranean neatness, lightness and playfulness mix with expressiveness, evokes contradictory feelings, much like in the paintings.

All of the above also marks the paintings and sculptures presented in this exhibition. The series of images was created in its entirety in the year 2020 when our lives were dominated by the coronavirus pandemic. Most of the images are in a horizontal, relatively narrow and long format, which in itself expresses distress and anxiety.

Motifs of human figures, animals, plants and objects dominate, floating in spacelessness, whose coordinates are hinted at here and there but are by no means binding. The individual motif is separated from the background, which is mostly monochrome or composed of colour patches of organic forms, by an outline drawing that delineates its living space like a kind of cocoon. The motifs in the cocoons are lined up one next to another or spill into each other, but for the most part, there is no communication or interaction between them – as if they were worlds of their own, springing into life out of nothing and returning there when it is time, without ever knowing about each other.

On the fundamental level, then, the paintings speak of the coming into being and passing away of life, and of its equivalence in infinite variety. Just as the whole existence of the mayfly is but a moment for man, so the whole existence of man is but a moment for a sequoia, and from the point of view of life (and death), all three forms of being are the same. So it is no coincidence that most of the paintings have one or another reference to Africa, be it a motif of typical African flora and fauna, a black person, or a colour scheme in predominantly sandy hues. For the average Westerner, Africa is something primordial, wild and terrifying, but also attractive, something distant in space and time but nonetheless homely, something alien to us but nonetheless dear to our hearts – Africa appears in this context as a symbol of our common ancestral homeland, from which we have come and to which we will one day return.

Mojca Grmek

what can i say to someone who isn't wearing a mask akril na plastični podlagi / acrylic on found pvc plastic panel, 200 x 200 cm, 2020

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à la carte akril na plastični podlagi / acrylic on found pvc plastic panel, 149 x 270 cm, 2020

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more borders akril na plastični podlagi / acrylic on found pvc plastic panel, 150 x 300 cm, 2020

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lion's game akril na plastični podlagi / acrylic on found pvc plastic panel, 158 x 300 cm, 2020

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wild hunting akril na plastični podlagi / acrylic on found pvc plastic panel, 144 x 300 cm, 2020

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metal dayz in kenya akril na plastični podlagi / acrylic on found pvc plastic panel, 150 x 300 cm, 2020

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safari rerna akril na plastični podlagi / acrylic on found pvc plastic panel, 149 x 300 cm, 2020

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springbreak akril na plastični podlagi / acrylic on found pvc plastic panel, 150 x 297 cm, 2020

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LUKA ŠIROK (1982) je maturiral na Umetniškem liceju Maxa Fabianija v Gorici (Liceo Artistico Max Fabiani di Gorizia) in diplomiral na Akademiji lepih umetnosti v Benetkah (Accademia di Belle Arti di Venezia), smer slikarstvo. Sodeloval je v umetniških društvih Attivarte in SPA+A v Benetkah, trenutno pa je član združenja Fondazione Malutta a Venezia ter DLUSP Ajdovščina. Svoja dela redno predstavlja na samostojnih in skupinskih razstavah v Sloveniji in tujini. Živi in ustvarja v Goriških brdih.

LUKA ŠIROK (1982) completed his studies at the Max Fabiani high school in Gorizia (Liceo Artistico Max Fabiani di Gorizia) and graduated from the Academy in Venice (Accademia di Belle Arti di Venezia), majoring in Painting. He has worked with the art societies Attivarte and SPA+A in Venice and is currently a member of Fondazione Malutta a Venezia and DLUSP Ajdovščina. He regularly exhibits his work in solo and group exhibitions at home and abroad. He lives and works in Goriška brda.

SAMOSTOJNE RAZSTAVE / SOLO EXHIBITIONS RRRRRRR, Mestna galerija Nova Gorica, Nova Gorica, Slovenija, 2021 (Ne)udobje / (Dis)comfort, Hiša kulture, Pivka, Slovenija, 2021 Vice Versa, Galerija Blok, Beograd, Srbija, 2019 Gostota slojevitosti / Stratification Density, Galerija Zorana Mušiča, Grad Dobrovo, Slovenija, 2018 Plastic Playground Now, SiTi ART store, Kristalna palača, Ljubljana, Slovenija, 2014 L'onda stratificata / The Layered Wave, Gary Lee Studio, Trst, Italija, 2013 Answers without questions, Emeroteca Mimexity, Trst, Italija, 2013 Only part of my day, Gradska galerija Fonticus, Grožnjan, Hrvaška, 2009 Also be conceptual, Galleria Spazio Bianco, Mestre, Italija, 2007 IZBRANE SKUPINSKE RAZSTAVE / SELECTED GROUP EXHIBITIONS Zamisli in zasnove / Ideas and Designs, Galerija ZDSLU, Ljubljana, Slovenija, 2020 Majski salon 2019: Slika / May Salon 2019: Painting, Narodni muzej, Ljubljana, Slovenija, 2019 Brain-tooling, Forte di Monte Ricco, Pieve di Cadore, Italija, 2018 Confinis, Villa Nigra, Lago d'Orta, Italija, 2017 This is Today, Galerija Monfort Portorož, Mestna galerija Piran, Slovenija, 2016 Fondazione Malutta, Rob Pruitt's Flea Market, Galleria A + A, Benetke, Italija, 2015 Transfailurejungle, Galleria A + A, Benetke, Italija, 2013 The Bridge, Art Society SPA+A, Galeria Sztuki Współczesnej Profil, Centrum Kultury Zamek, Poznanj, Poljska, 2010 Associazione artistica SPA+A / Art Society SPA+A, Ca' Pesaro Galleria Internazionale d'Arte Moderna, Benetke, Italija, 2009 I'm Blue, Infantellina Contemporary, Berlin, Nemčija, 2009 Sketch it Out, APW Gallery, Van Dam St, Long Island City, New York, ZDA, 2009 Traiettorie liquide / Liquid Trajectories, Fondazione Bevilacqua La Masa, Benetke, Italija, 2008 UMETNIŠKE REZIDENCE / ART RESIDENCIES Terraformazione: Padiglione Sloveno / Terraforming: Slovenian Pavilion, Dolomiti Contemporanee, Borca di Cadore, Italija, 2015 E ultimo venne il bosco / And last came the woods, Dolomiti Contemporanee, Borca di Cadore, Italija, 2014

Naslovnica: heaven, akril na plastični podlagi / acrylic on found pvc plastic panel, 200 x 289 cm, 2020 Razstavo in izid kataloga je finančno omogočila/ The exhibition and catalogue have been financially supported by:

MESTNA OBČINA NOVA GORICA

Katalog izdal/Catalogue issued by: Kulturni dom Nova Gorica (Zanj/Represented by: Pavla Jarc) - Urednica/Editor: Mateja Poljšak Furlan - Besedilo/Text: Mojca Grmek Prevod/Translation: Arven Šakti Kralj Szomi - Lektura/Proofreading: Ana Kodelja - Fotografije/Photographs: GAF lab, Nova Gorica - Oblikovanje in prelom/Catalogue design & DTP: Vid Simoniti - Tisk/Print: Tiskarna Present d.o.o. - Kraj izida/Place of publication: Nova Gorica - Leto izida/Publication year: 2021 - Naklada/Nr. of copies: 250

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MESTNA GALERIJA NOVA GORICA Trg E. Kardelja 5 SI 5000 Nova Gorica T: 05 335 40 17 E: mestnagalerija@kulturnidom-ng.si W: www.kulturnidom-ng.si FB: https://www.facebook.com/groups/Mestna.galerija.Nova.Gorica/

URNIK: od ponedeljka do petka od 9. do 13. ure in od 15. do 19. ure ob sobotah od 9. do 12. ure ob nedeljah in praznikih zaprto