{"id":12007,"date":"2025-02-07T15:18:40","date_gmt":"2025-02-07T14:18:40","guid":{"rendered":"https:\/\/www.knap.hr\/centar\/?p=12007"},"modified":"2025-03-27T11:30:16","modified_gmt":"2025-03-27T10:30:16","slug":"magdalena-katarina-petrcicneke-ptice-nikad-ne-polete14-02-2025-07-03-2025","status":"publish","type":"post","link":"https:\/\/www.knap.hr\/centar\/magdalena-katarina-petrcicneke-ptice-nikad-ne-polete14-02-2025-07-03-2025\/","title":{"rendered":"Magdalena Katarina Petr\u010di\u0107
Neke ptice nikad ne polete
14.02.2025. \u2013 07.03.2025."},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_video link=”https:\/\/www.youtube.com\/watch?v=HwTxViWGj4c”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”30″][vc_column_text css=”.vc_custom_1738937766925{margin-top: 15px !important;margin-bottom: 30px !important;}”]Evociraju\u0107i ekspresionisti\u010dko slikarstvo, u formalnim karakteristikama, ali i u njegovoj socijalno usmjerenoj kriti\u010dkoj misli, autorica donosi jednu tjeskobnu i kaoti\u010dnu viziju strujanja bi\u0107a u dru\u0161tvu. Poput figura koje izranjaju ni od kuda, prikazuju nam se nadrealni i zastra\u0161uju\u0107i likovi, provociraju\u0107i gledatelja i poti\u010du\u0107i ga na pitanja u kojoj vremenskoj dimenziji se zatekao; dalekoj pro\u0161losti, simulaciji sada\u0161njosti ili potencijalnoj budu\u0107nosti. Glavni motiv u radovima \u010dine prikazi ljudi s razli\u010ditim pti\u010djim glavama, a upravo distinkcija dvije suprotne struje koje autorica \u017eeli prenijeti jasno je odijeljena kompozicijski. U prvom planu to je grupacija s glavama vrap\u010di\u0107a; obi\u010dan puk,masa, dok drugi plan \u010dini manja grupa s gu\u0161\u010djim glavama simboliziraju\u0107i osobe na polo\u017eaju, one u \u010dijim rukama le\u017ei mo\u0107. Mo\u0107nici, pojavljuju se samo u po\u010detnom momentu, nestaju\u0107i iz ostalih radova, utjelovljuju\u0107i tako svoju agendu u groteksnom prikazu agresivnosti i nasilja koje se rasplamsava izme\u0111u obi\u010dnih ljudi. U gra\u0111enju narativnosti ciklusa \u201eNeke ptice nikad ne polete\u201c va\u017enu ulogu \u010dini boja; kako izborom pojedine, tako i tonskom modelacijom posti\u017ee se postupno poja\u010davanje napetosti do njezine kulminacije i ponovnog povratka u prvobitno stanje, predo\u010davaju\u0107i tako promatra\u010du circulus vitiosus. Autorica \u017eeli do\u010darati kako se mo\u0107 i kontrola nad pojedincima pojavljuju u svojem suptilnom, perfidnom obliku. Fizi\u010dki i direktan oblik prisile ovdje je nepostoje\u0107i, ono se odvija kroz razli\u010dite strategije manipulacije, vode\u0107i se principom podjele pojedinaca u dru\u0161tvu kako bi se njima lak\u0161e upravljalo i preusmjerilo ih,odvuklo od njih pravi objekt pa\u017enje. Sna\u017ena je to poruka i o dru\u0161tvu \u010dijim se porama pro\u0161irio koruptivni na\u010din djelovanja, mo\u017ee li takvo dru\u0161tvo napredovati i za \u010diji boljitak, odnosno ho\u0107e li i(kada) (po)letjeti?<\/p>\n

Ana-Marija Senfner<\/p>\n

Nakon zavr\u0161ene srednje \u0160kole primijenjene umjetnosti i dizajna u Zagrebu, Magdalena Katarina Petr\u010di\u0107 upisuje Akademiju likovnih umjetnosti u Zagrebu 2018. smjer Konzerviranje i restauriranje umjetnina. 2021. godine upisuje smjer Slikarstvo, pod mentorstvom prof. art. Zoltana Novaka. Do sada je izlagala na nekoliko grupnih izlo\u017ebi od kojih su neke: Boje u nama, u Tehni\u010dkom muzeju Nikole Tesle u Zagrebu 2024., Slikarstvo ALU Zagreb, u Galeriji APURI, Rijeka 2024. te na izlo\u017ebi Pejza\u0110 u \u0110ur\u0111evcu 2023., pod vodstvom prof. art. Danka Fri\u0161\u010di\u0107a, Ba\u0161 Na\u0161 Festival 2023., u Zagrebu, Art Zagreb 2023. na Zagreba\u010dkom velesajmu, me\u0111unarodna izlo\u017eba mozaika u Ravenni 2023. Premio AIMC Studenti.
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Some Birds
\nNever Fly<\/h1>\n

Evoking expressionist painting, both in its formal characteristics and in its socially directed critical thought, the author presents an apprehensive and chaotic vision of the flow of beings in society. Like figures emerging from nowhere, surreal and frightening characters appear to us, provoking the viewer and prompting them to ask in which temporal dimension they have found themselves; in the distant past, a simulation of the present, or a potential future. The main motif in the works consists of depictions of people with different bird heads, and the distinction between the two opposing currents the author wants to convey is clearly separated compositionally. In the foreground, there is a group with sparrow heads\u2014ordinary people, the masses\u2014while the background features a smaller group with goose heads, symbolizing those in power, the ones in whose hands power lies. Those in power only appear in the initial moment, disappearing from the other works, embodying their agenda in a grotesque portrayal of aggression and violence that flares up between ordinary people. In building the narrative of the cycle “Some Birds Never Fly,” color plays an important role; both through the choice of individual colors and tonal modulation, a gradual intensification of tension is achieved until its climax and a return to the initial state, thus presenting the viewer with a circulus vitiosus. The author aims to convey how power and control over individuals appear in their subtle, insidious form. Physical and direct forms of coercion are nonexistent here; instead, it unfolds through various strategies of manipulation, guided by the principle of dividing individuals in society to more easily manage and divert them, drawing attention away from the real object of focus. This is a strong message about a society in which a corrupt way of functioning has spread through its very pores; can such a society progress, and for whose benefit, or will it ever (and when) take wing?<\/p>\n

Ana-Marija Senfner<\/p>\n

After graduating from the School of Applied Arts and Design in Zagreb, Magdalena Katarina Petr\u010di\u0107 enrolled at the Academy of Fine Arts in Zagreb in 2018, specializing in Conservation and Restoration of Artworks. In 2021, she switched to the Painting program under the mentorship of Prof. Art. Zoltan Novak. She has exhibited in several group exhibitions, including: Colors Within Us at the Nikola Tesla Technical Museum in Zagreb in 2024, Painting ALU Zagreb at the APURI Gallery in Rijeka in 2024, and the Pejza\u0110 exhibition in \u0110ur\u0111evac in 2023, under the guidance of Prof. Art. Danko Fri\u0161\u010di\u0107, Ba\u0161 Na\u0161 Festival in 2023 in Zagreb, Art Zagreb 2023 at the Zagreb Fair, and the international mosaic exhibition in Ravenna 2023, Premio AIMC Students.
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Varesave phak\u0161a
\nnikana na urjana<\/h1>\n

Kerindoj evociripe ko ekspresionikano piktoripe, ane formalnikane karakteristike thaj ani leskiri socialnikani dromardi kritikani gind, i auktori anel jekh tangutni thaj haotikani vizia ko thavdipe e d\u017eivdutneskoro ano amalnipe. Sar so si e figure save so ikljovena nikotar, sikaven pe amenge upral \u010da\u010dipaskere thaj daravnikane sime, kerindoj provokacia ma\u0161kar o dikhutno thaj vazdel ano leste o pu\u010dipe saveste ani vaxtikani dimenzia arakhel pe; durutno nakhlipe, simulacia e sikavdipa e manu\u0161engere saven isi averikane phak\u0161ikane \u0161ere, a ko \u010da\u010dipe si distinkcia e duje thavdipangiri sava so i auktori mangel te legarkerel thaj jakhasa si dikhutno kaj si ulavde ke kompozicie. Ano jekhto plano adava si grupacia e \u0161erenca katar e \u010dirikle; sadanikano sel, masa, d\u017eikaj o aver plano keren jekh tikni grupa katar e papinakere \u0161erenca kerindoj simbolizacia e manu\u0161enge so si ki pozicia, adala savengere vastende arakhel pe i zor. E zorne, ikljoven sade ano startuno momento, garavindoj pe pale avera butja, kerindoj badanipa lengere agendake ano groteskikano sikavdipe e agresivipaskoro thaj e \u010dhelalipaskoro savo so jagalinel pe ma\u0161kar e sadane manu\u0161a. Ano keripe e naraciakoro ko cikluso \u201eDisave\/Varesave phak\u0161a nikana na urjana\u201c bare d\u017eanlipaskiri rola keren e ranga; sar ko alusaripe e varesavengoro, adjaxar thaj e tonalipaskere modeliripasa tha resel pe poxarutno zoralipe e tenziakoro d\u017ei lakiri kulminacia thaj palutno iranipe ko \u0161irdutno xali, kerindoj sikavdipe e dikhutneske jekh circulus vitiosus. I auktori mangel te kerel anipa va\u0161o dikhipe sar i zur thaj i kontrola upral e individue ikljovel ani peskiri suptilnikani thaj perfidikani forma. Fizikani thaj direktikani forma e zoralkeripaskoro akate nanaj thaj voj kerel pe prekal e ververikane strategie e manipulaciakere, legarindoj pe e principenca ko ulavdipe e individuakoro ano amalnipe te \u0161aj lesa lokheder te vastarel pe thaj te kerel aver droma vi te oven cxidinkerde lestar o \u010da\u010dutno objekto e samakoro. Zoralo si adava vakeripe thaj va\u0161o alamnipe save morikate buvljarel pe o koruptivnikano \u010dhand e keripaskoro buti thaj o pu\u010dipe \u0161aj vaj na asavko amalnipe te d\u017eal angle thaj kaskere la\u010dhipaske ovel adava thaj ka \u0161aj vov nekana te urjal?<\/p>\n

Ana-Marija Senfner<\/p>\n

Pali agorkerdi ma\u0161karutni \u0160kola va\u0161e e aplikativnikane artipa thaj dizajno ano Zagrebo, Magdalena Katarina Petr\u010di\u0107 xramonkerel pe ki Akademia va\u0161e artikane artipa ano Zagrebo 2018. ko departmento Konzerviripe thaj restavracia e artipangoro. Ano 2021. xramonkerel pe ko Demaprtmento Piktoripe, telo mentoripe e prof. art. Zoltan Novak. D\u017ei akana kerda pskere pradar\u0161ane ane nekobor grupakere pradar\u0161ane kolendar varesave si: Ranga amende, ano Tehnikano muzejo Nikola Tesla ano Zagrebo 2024., Slikartsvo ALU Zagrebo, ani Galeria APURI, Rijeka 2024. thaj ki pradar\u0161ana Pejza\u0110 ano \u0110ur\u0111evac 2023., telo legaripe taro prof. art. Danko Fri\u0161\u010di\u0107, Ba\u0161 Na\u0161 Festival 2023., ano Zagrebo, Art Zagreb 2023. ko Zagrebeskoro velesajam, ma\u0161karthemutni pradar\u0161ana e mozaikongiri ani Ravenna 2023. Premio AIMC Studenti.
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\n

U sklopu izlo\u017ebe “Neke ptice nikad ne polete” Magdalene Katarine Petr\u010di\u0107<\/p>\n

Godine 1980. talijanski umjetnik i teoreti\u010dar umjetnosti Bruno Munari izdaje knjigu \u201cdisegnare il sole\u201d posve\u0107enu tome kako vidimo i prikazujemo \u2013 (S)sunce. To je svojevrsni ud\u017ebenik za pojedince ili kolektive temeljen na jednostavnom, univerzalnom motivu koji nam ilustrira kako se razlikuje na\u0161 pogled na svijet. Za neke je sunce skriveno iza oblaka, neki vide samo njegovu sjenu na tlu, nekoga privla\u010de \u0161arene boje koje se na nebu pojavljuju kada zalazi, pri \u010demu se i ti prizori razlikuju, a ne vide svi iste nijanse boje. Jedni ga tuma\u010de kao izvor \u017eivota, a drugi kao praznu zvijezdu. S jedne strane ostavlja direktan i opipljiv trag na Zemlji, a s druge pluta u bespu\u0107ima svemira.<\/p>\n

Talijanski renesansni slikar Francesco del Cossa bilje\u017ei ga u misti\u010dnom tonu kao djeli\u0107 kompozicije neke freske, francuski umjetnik Andr\u00e9 Masson prikazuje ga kao plo\u0161nu igru zakrivljenih linija, a \u0161panjolski lirski autor Joan Mir\u00f3 sa\u017eima ga u jednu crvenu to\u010dku. Ovaj motiv ponekad ima lice, \u010desto je kru\u017ene forme, a povremeno s izra\u017eenim \u0161iljastim zrakama. Monumentalan je ili umno\u017een, jasan na papiru ili skriven iza raznih objekata.<\/p>\n

Knjiga ne donosi kronolo\u0161ki pregled, ve\u0107 se poigrava vizualnim rje\u0161enjima \u2013 konkretnim primjerima i op\u0107enitim promi\u0161ljanjima o tome \u0161to i kako uvjetuje na\u0161 pogled, kako se sami prilago\u0111avamo postavljenim okvirima i preprekama te kako ih i kojim sredstvima nadilazimo. Ovom umjetniku prire\u0111ena je 1973. godine izlo\u017eba u Galeriji suvremene umjetnosti u Zagrebu, prilikom \u010dega je u katalogu izlo\u017ebe Paolo Fossati zapisao: \u201cTreba shvatiti da umjetnost, dok ostaje otu\u0111enom od problema \u017eivota, zanima samo mali broj ljudi. Danas je potrebno, u civilizaciji koja postaje masovna, da umjetnik si\u0111e sa svoga pijedestala i da se udostoji nacrtati znak mesara (ako to zna). Nu\u017eno je da umjetnik (\u2026) postane aktivan \u010dovjek me\u0111u ostalim ljudima, upoznat sa suvremenom tehnikom, s materijalima i metodama rada\u201d\u2026<\/p>\n

Bruno Munari, \u201cdisegnare il sole\u201d, 1980.<\/p>\n

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