MInimal and Maximal

  

   /  -      / :     /  :  ,      ,  ,  ,  ,  ,  ,  ,  ,  ,  ,      ,  - (     ),  ,  ,      ,   (    ),  ,   ,  ,  ,  ,  ,  ,  

.

7.12. / 28.12. minimalno i maksimalno

                 /  

Pitanje veličine svaki društveni, obrazovni, znanstveni ili umjetnički segment tumači i rješava drugačije, ali ga ne može zaobići!

Nas je zanimalo kako se pitanje veličine ponaša u primijenjenoj umjetnosti, i to kad je riječ o ekstremnom rasponu veličina. Zato naša tema i nosi naziv „Minimalno i maksimalno“. U primijenjenoj umjetnosti postoji u tom pogledu stanovit limit. Ekstremnost i minimalnost nekog uporabnog umjetničkog predmeta limitirana je njegovom funkcijom .

Primjena mu određuje dimenzije. Zato se od autora očekivalo najmanje dva rada: jedan u najmanjoj logičnoj, minimalnoj verziji, a drugi u najvećoj logičnoj, maksimalnoj verziji. Uporabna vrijednost rada nije se pritom smjela izgubiti iz vida. U izabranom području accessoiresa, odnosno modnih dodataka autori su različito reagirali na poziv na putovanje od „sensa“ prema „nonsensu“ koji po svojoj definiciji negira uporabnu vrijednost i zato se intuitivno izbjegava. Ali otvara vrata zanosu koji istražuje granice oblikovne prepoznatljivosti!

Autori se dakle nužno oslobađaju razmišljanja o beskonačno velikim ili beskonačno malim veličinama kojima se bavi matematička analiza. Cilj jest funkcionalni ekstrem, ali određen umjetničkom imaginacijom, a ne teorijom funkcija. Moguće je da se neki umjetnički oblici asimptotski približavaju traganju matematike i fizike za odgovorima o beskonačno velikom i malom. No mi se ovdje bavimo konačnim stvarima nastalim iz razmišljanja o beskonačnom.

Renata Svetić upozorava na dvije beskonačnosti. Prilaže bikini, minimalni dakle kupaći kostim, kao primjer maksimalnog rada. Uz njega je multifunkcionalan predmet u obliku kupaćeg kostima mikro veličine u odnosu na prvi rad, a upotrebljiv je kao tekstilna ogrlica ili ukras za glavu. No za katalog predlaže put u tekstilni svemir: daje fotografiju rabljenog tekstila uvećanu do zamućenja iza kojeg se dakako dalje ide u beskonačnost. Uz jači objektiv, ili mikroskop… Pitanje je ide li se tako dalje u minimalni ili u maksimalni red veličina.

Gdjekad se u radovima uočava (možda i nesvjesno rabljen) matematički sustav kao oblikovni temelj rada, kao kod Ete Linčir i Patrizie Donà, no „matematičnost“ se 2

 

The minimal and the maximal as a disciplining of the infinite The issue of size is one that is both approached and solved differently by every social, educational, scientific and artistic niche. We were interested in how the issue of size, particularly in extreme ranges, behaves in applied art. This is why our theme is titled: “The minimal and the maximal”. In applied art, there is a limitation in this sense.

The extremity and minuteness of a usable object of art is limited by its function, while its dimensions are dictated by its application.

It is for these reasons that the authors were expected to produce at least two works; one in its smallest logical version, the second in its absolutely largest logical size. They were also instructed not to lose sight that the objects should also remain functional.

In the chosen area of accessoire, fashion accessories, the authors had a various range of reactions in the journey from “sense” to “nonsense”, which by its definition negates usability and is therefore intuitively avoided, but may open the doors to inspiration is search of the limits of artistic recognisability.

The authors are therefore freed by necessity to consider the limitlessly large or infinitely small sizes dealt with by mathematical analysis. The goal is a functional extreme, but determined by artistic imagination, not theory of function. It is possible that some art forms asymptotically approach mathematics and physics in search of answers regarding the smallest and largest possibilities, but here we deal with finite objects created through a consideration of the infinite. Renata Svetić alerts us to two infinities. She presents a bikini, a minimal bathing suit as an example of maximal effort, and next to it, a multifunctional object in the shape of a bathing suit in miniature size when compared to the first, also usable as a textile necklace or a headdress. For the catalogue, she offers us a path to the textile universe: she presents a photograph of some worn textile, magnified to a blur beyond which it reaches, through a stronger lens or a microscope, into infinity, not certain if that takes it into a minimal or a maximal order of size. In certain works, such as the work of Eta Linčir or Patrizia Donà, we find evidence

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of a (perhaps even incidentally) mathematical system as a basis for the form of their work. However, the “mathematicity” of such works is simply lost in a personalized artistic authorship that puts any possible mathematical system away from the foreground.

In the work titled “Sphere”, Ljiljana Fabijanić couples geometry and the organic nature of a curved human form. By multiplying a minimalist prototype, maximization appears to be infinitely possible! Through addition, a pendant for a necklace grows to the size of a brooch, the present dimensions of which need not be finite…

On the other side of cold mechanics is the work of Gordana Drinković. Here too, there is multiplication, a doubling of the same form- a penis- the minimalism and maximum of which is defined by a socio-political message engraved on its surface. The author uses it to demonstrate her position, while considering the possibility of additional ethno-linguistic meanings of the form that she chose to present.

The same linguistic energy is found in the pamphlet-message Ajd-u-k /Go-to-d(ick) presented by Boris Ljubičić, whose entire series of works is shaped in the form a t-shirt to be mused over. Just like the work O(ću) K(ući) (I want to go home), it conveys two messages at once. It contains a graphical separation into a minimal and maximal, while at the same time addressing not one, but several levels of perception.

In this, we also recognize the work of Staša Čimbur, who in her work Balaclava and Pom-pon, uses a piece of camouflage uniform (a black cap with slits for eyes), which se “disarms” with fashion elements (pompons) and colour. From military minimalism to the maximum of fashion, incorporated with additional meanings. For Karmen Ptičar, colour is a wildcard. To her accessoire devoid of colour, she adds a strong colourized version! The colourless piece is a minimal version, while the colourful one is a maximal version of the same form.

Among most artists, the functional minimum and maximum of the formed objects is an intuitive category. They consider the maximum and the minimum as a product of large and small dimensions, without exploratory

.

takvog rada naprosto gubi u personaliziranom umjetničkom autorstvu koje mogući matematički sustav stavlja u drugi plan. U svom radu „Sfera“ Ljiljana Fabijanić sljubljuje geometričnost i organiku oble ljudske forme.

Umnažanjem minimalističkoga prototipa maksimalizacija se pokazuje beskonačno mogućom! Privjesak za ogrlicu adicijom istovrsnih oblika raste do veličine broša, čije sadašnje dimenzije ne moraju biti i konačne…

Na suprotnoj se strani hladne mehanike nalazi rad Gordane Drinković. I tu je riječ o multiplikaciji, zapravo o udvajanju istog oblika – penisa – čiju minimalnost i maksimalnost određuje sociopolitička poruka ugravirana na površini. Autorica njome iskazuje svoj stav, računajući i na dodatna etnolingvo-značenja oblika kojeg je izabrala!

Istu lingvističku energiju ima i pamfletporuka Ajd-u-k koja stiže s adrese Borisa Ljubičića čiji je cijeli niz radova oblikovan kao T-shirt nad kojim se mozga. Kao i u radu O(ću) K(ući), imamo dvije poruke u jednoj.

K tome grafičku podjelu na minimalno i maksimalno. I istovremeno obraćanje ne jednoj nego nekoliko razina percepcije.

U tome se prepoznaje i rad Staše Čimbur koja u radu Balaklava i Pom-pon barata dijelom maskirne uniforme (crnom kapom s prorezima za oči) koju „razoružava“ modnim elementima (pomponima) i bojom. Od vojnog minimalizma stiže do modnog maksimuma. U paketu s dodatnim značenjima.

Boja je adut i Karmen Ptičar. Odsustvu boje u njezinu accessoiresu pridružena je njegova jaka koloristička verzija! Bezbojno je minimalna verzija, a šareno maksimalna vizija jednako oblikovanih radova.

Uporabni minimum i maksimum oblikovanih predmeta je kod većine autora intuitivna kategorija. O maksimumu i minimumu zapravo razmišljaju kao o proizvodu velikih i malih dimenzija, bez istraživačkog intelektualiziranja.

Kod Igora Dobranića veliko i malo sadržano je u jednom proizvodu – ogrtaču koji se u drugoj uporabnoj funkciji minimalizira skupljanjem oko vrata u šal maksimalnih proporcija. Duo Karaka skulpturira malu i veliku formu pokrivala, prebacujući pažnju s veličine na oblikovnu ljepotu! Grandio-

zna kostimografska krinolina Ivane Bakal i Katarine Radošević Galić scenografskih je dimenzija i zato nije apsurdna, jer joj je to i zadana veličina. Mišljena u minimalnoj verziji postaje oglavlje s istom osnovnom definicijom. Oglavlje je mala krinolina.

Uvećanjem ili smanjivanjem gradbenih elemenata i njihovom reorganizacijom u objekt drugačije, ali i dalje uporabne namjene, svoje radove oblikuju Stjepan Balja, Vesna Pleše, Nataša Jeletić, duo I-gle, Viola Grgasović, Eleonora Apostolova, Jadranka Hlupić Dujmušić i Petra Krpan, Vesna Kolobarić, Smiljka Franjić, Višnja Iris, Vesna Jakić, Vesna Kovačić Novak, Sabina Sokač i Pavao Bohaček u kojega najneposrednije pratimo relativnost veličina kad iz maksimalnog konteksta izvlači jedan element oslobađajući ga pritom imperativa da bude minimalan ili maksimalan. Kako će to biti shvaćeno u odnosu na zadanu temu, ostavlja se promatraču. Kontekstna zadanost veličina je ono što prvenstveno poštuju autori koji minimalno i maksimalno shvaćaju kao veliko i malo. Kontekst pritom može biti i određeni stil ili ukus kao kod Sabine Sokač čiji prsten u minimalnoj verziji zadovoljava klasični modni ukus, a u maksimalnoj, onaj puno rjeđi: punkerski. Tamo gdje je razmišljanje o ekstremnim veličinama prigušeno, pažnja se prenosi na likovne kvalitete djela koje nisu u fokusu zadane teme, ali se podrazumijevaju.

Vesna Jakić najjasnije je pokazala da i te kvalitete ovise rasponu minimuma i maksimuma. Minimalna količina materijala i tehnika dala je – ne samo u nje - neusporedivo bolje likovno rješenje nego kod maksimalnog umnažanja elemenata korištenih u oblikovnom procesu.

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intellectualizing. With Igor Dobranić, the large and the small is contained in a single product- a robe which in its second applicable function minimizes by wrapping around the neck as a scarf of maximal proportions.

The Karaka duo sculpt a small and large form of a wrap by diverting the attention from its size to its beauty in form. The grandiose costume-design of a crinoline by Ivana Bakal and Katarina Radošević Galić is made in scenographic proportions, and avoids absurdity by its intended size. Considered in a minimal version, it becomes a headdress with its original definition, it remains a small crinoline-headdress. By enlarging and reducing the constructive elements, and by reorganizing them into objects of different, but still functional purpose, Stjepan Balja, Vesna Pleše, Nataša Jeletić, the I-gle duo, Viola Grgasović, Eleonora Apostolova, Jadranka Hlupić Dujmušić and Petra Krpan, Vesna Kolobarić, Smiljka Franjić, Višnja Iris, Vesna Jakić, Vesna Kovačić Novak, Karmen Ptičar, Sabina Sokač and Pavao Bohaček all shape their works in which we directly observe the relativity of size as singular elements are taken from a maximal context, thus being freed from an imperative to at once be both minimal and maximal. How this will be interpreted in relation to a chosen subject is left to the observer. The contextually determined size is primarily understood by artists who understand the minimal in terms of big and small. The context can also be a specific style or taste, such as with Sabina Sokač, whose ring in its minimal version satisfies a classic taste in fashion, while in its maximal version satisfies a rarer “punk” taste. In the instances where consideration of extreme sizes is muted, the attention is diverted to the artistic qualities of work which are not in the focus of a given subject, but are implied.

Vesna Jakić most clearly demonstrates that even these qualities depend upon the range of the minimum and the maximum. The minimal amount of material and technique has produced- not only in her work- an incomparably better artistic solution than the maximal repetition of elements used in the creative process.

   , .  ( ); , ,   , .  ( ); , ,     ;    

.

 /     @.

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 

 /  -

 /   :   , @.

 , . :    , . - :  

  :   ; ..@.

     ,  ; :           ,  ; :     ,     ,         :    :  

6

  , . , .          , .       , . ,  ,  ,   /     

7

   , .    /   , .    ( )    ;      /     @.

8

    -, .     -      ;          . , .  /   ,   ; :        ;       :  ,     :     -, .   -      . , .  /    , -  ; :    :  ,    :  

 /     @.; .. 9

  /, . ,  /, . ,     ;      /     .@.

10

 

 

.

   „  “, . ,     : „  “, . ,       ;      

 /     @. ..

11

 

     :  , . ;   ,    :   , ; ,        :  , . ;   ,     :   , ; ,   

 /  @.; .-.

12

   , .   ;    ;    ,  ;       : ,  ,  , ; : ,  ,  ,     , .   ;     ;    ,   ;       : ,  ,  , ; : ,  ,  ,   /      _@.

 : , .   ; ,  , .   ; ,      ,    ,  ,   /      @.

13

  , .    ; ,  , .    ; ,    ,  , ;        /  .@.

14

 / -: , . , ; , . , ;     , . , ;   , . , ;  

 /   ,    , @.   ,    , @. ...

15

- (     )  , .    ,         :    , .    ,           :      , .    ,         : -     , .    ,           : -  /     -@-., .-.

16

  , .    ,    :   , . ; -  ,     :    /     .@.

17

  , . ,  , . ,  , . , ; , ,  , . -, ; , ,   /     @.-. .-.

18

  , .         , .                      :    :    /      @.

19

  (    ):       , ., ,        ; .; ,   , .; ,   ; .; ,   /     ;     @-.

20

  , . ,  ; () , , ,  , ;  ;  () ; , , ,  , ;  ;  × , × ,  ; () , , ;  ×  × ,  :    (); , ,  (); :    :    /     @. .-.

21

    , . ; , ;  :  ; :    , . ; , ;  :  ; :   :    :  

 /     _@.

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  , .      : , ;  :       ;  :   , .      : , ;   :      ;   :  

 /     @.

23

   ( ), . – .      -   (:     ), . – .       /     @-. .-.

   , .   –  ; , ,    , . - –  ; , ,     ;      /      .@.

24

  , .    ,  , .    ,   /     .@.

25

   , . ,  , ;    :  ; :    , . ,  , ;  - :  ; :    /     .@.-.; .-..

26

  , . ,  :   .  :      , . ,      , :  

 /      @.

27

/:

  /  :  / :  / :    /   :     /    /  /      / :    / :  /  :

 Hrvatska udruga likovnih umjetnika primijenjenih umjetnosti, Preradovićeva /, / Croatian Association of Artists of Applied Arts, Address: Preradovićeva /, Zagreb, Croatia Ivana Bakal, predsjednica -a /  president Maša Štrbac Ana Lendvaj Borna Pleše kuna zlatica Printera grupa, Zagreb, .  primjeraka/ copies Ana Lendvaj Ana Lendvaj Vesna Pleše Izložba je ostvarena sredstvima svih autora izlagača. /Exhibition has been put on with the financial support of exhibiting authors.

 /   

Borna Pleše, Vesna Pleše i učenici Tekstilnog odjela Škole primijenjenih umjetnosti i dizajna u Zagrebu



CIP zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu. / A CIP catalogue record for this book is available from the National and University Library in Zagreb.



 

28

----

 / Tkalčićeva , Zagreb, Croatia / / + ()    / galerija-ulupuh@zg.t-com.hr  / www.ulupuh.hr  

 

.

7.12. / 28.12. minimalno i maksimalno minimal and maximal     

.