Vrijeme je, ka\u017eu, jedina valuta koju nikada ne mo\u017eemo nadoknaditi. Ipak, suvremeni \u010dovjek svakodnevno ga rasipa \u2013 u redovima, u birokratskim papirima, u ritualima \u010dekanja i ponavljanja koji oblikuju na\u0161u stvarnost. Upravo iz tog rasipanja, iz tih sitnih i naizgled banalnih gubitaka, ni\u010de umjetnost Vedrana Ru\u017ei\u0107a.<\/p>\n
Ru\u017ei\u0107evi radovi pretvaraju ono nevidljivo i prolazno u simbole kolektivnog iskustva. U \u201eTepihu od pra\u0161ine\u201c pra\u0161ina vi\u0161e nije tek smetnja koju uklanjamo, nego tihi zapis protoka vremena, talog neprimjetnih trenutaka i tijela koja su tu boravila. Ona postaje arheologija sada\u0161njosti, otira\u010d na kojem se skuplja ono \u0161to dru\u0161tvo nastoji zanemariti. Sli\u010dno se doga\u0111a u radu \u201ePena od sapuna\u201c: krhka forma sapunske pjene pretvara se u metaforu za rije\u010di i obe\u0107anja koja nestaju jednako brzo kao \u0161to su izgovorena.<\/p>\n
Ta poeti\u010dnost nikada nije li\u0161ena kritike. U \u201e\u010cekaonici \u2013 \u0107ikaonici\u201c repetitivni crte\u017e priziva prostore u kojima vrijeme gubi smisao i pretvara se u beskrajnu pauzu. \u201ePa ti sviraj violinu i pjevaj pjesme\u201c priziva Mahlerovu partituru, ali i betonsku simfoniju dana\u0161njice: gudalo zamijenjeno gra\u0111evinskim metrom postaje slika glazbe birokracije, gdje note na papiru nikada ne odgovaraju zvuku stvarnosti.<\/p>\n
U seriji \u201eNalozi za nacionalna pla\u0107anja\u201c standardizirani formulari, u keramici raspuknuti i krhki, postaju relikvije jednog doba \u2013 materijalizirane bilje\u0161ke o dru\u0161tvu u kojem je i novac pretvoren u ritualni znak. \u201eMoje je vrijeme dragocjenije od tvojega\u201c sa svojim kerami\u010dkim opu\u0161cima otvara prostor u kojem se osobne pauze i dru\u0161tveni ritmovi sudaraju, podsje\u0107aju\u0107i nas da je i trenutak odmora politi\u010dki \u010din.<\/p>\n
Ono \u0161to povezuje sve ove radove jest stalno preispitivanje vrijednosti: vremena, objekta, geste. Ru\u017ei\u0107 se igra granicama izme\u0111u umjetnosti i svakodnevice, izme\u0111u onoga \u0161to smatramo neva\u017enim i onoga \u0161to postaje trajni znak. Njegova umjetnost je istodobno meditacija i ironija, prostor kritike i prostor poezije.<\/p>\n
U kona\u010dnici, Ru\u017ei\u0107evo stvarala\u0161tvo postavlja pitanje: postoji li uop\u0107e \u201edobar trenutak\u201c? Ili je upravo pogre\u0161an ritam, neuskla\u0111enost, vi\u0161ak i \u010dekanje ono \u0161to nas oblikuje? Izme\u0111u pra\u0161ine i pjene, violine i uplatnice, Ru\u017ei\u0107 gradi prostor u kojem osobno postaje univerzalno, a banalno se pretvara u kriti\u010dki dokument na\u0161eg doba. Njegova umjetnost poziva na usporavanje, na sagledavanje nevidljivog i na otkrivanje vrijednosti u onome \u0161to se \u010dini trivijalnim.<\/p>\n
Matea Bakoti\u0107, mag. art.<\/p>\n
eng<\/p>\n
Good Timing?<\/p>\n
Time, they say, is the only currency we can never reclaim. And yet, the modern person wastes it daily \u2013 in queues, in bureaucratic paperwork, in rituals of waiting and repetition that shape our reality. It is precisely from this squandering, from these small and seemingly banal losses, that the art of Vedran Ru\u017ei\u0107 emerges.<\/p>\n
Ru\u017ei\u0107\u2019s works transform the invisible and fleeting into symbols of collective experience. In \u201cCarpet of Dust,\u201d dust is no longer merely a nuisance to be removed, but a quiet record of the passage of time, a sediment of unnoticed moments and the bodies that once occupied the space. It becomes an archaeology of the present, a doormat collecting what society tries to ignore. A similar process occurs in the work \u201cSoap Foam\u201d: the fragile form of soap bubbles becomes a metaphor for words and promises that disappear as quickly as they are spoken.<\/p>\n
Ru\u017ei\u0107\u2019s works transform the invisible and fleeting into symbols of collective experience. In \u201cCarpet of Dust,\u201d dust is no longer merely a nuisance to be removed, but a quiet record of the passage of time, a sediment of unnoticed moments and the bodies that once occupied the space. It becomes an archaeology of the present, a doormat collecting what society tries to ignore. A similar process occurs in the work \u201cSoap Foam\u201d: the fragile form of soap bubbles becomes a metaphor for words and promises that disappear as quickly as they are spoken.<\/p>\n
That poetics is never devoid of critique. In \u201cWaiting Room \u2013 Smoking Room\u201d, the repetitive drawing evokes spaces where time loses its meaning and turns into an endless pause. \u201cSo You Play the Violin and Sing Songs\u201d invokes Mahler\u2019s score, but also the concrete symphony of today: the bow replaced by a construction measuring tape becomes an image of the music of bureaucracy, where the notes on paper never match the sound of reality.<\/p>\n
In the series \u201cDomestic Payment Orders,\u201d standardized forms, cracked and fragile in ceramic, become relics of an era – materialized notes on a society in which even money has been transformed into a ritual sign. \u201cMy Time Is More Precious Than Yours\u201d, with its ceramic cigarette butts, opens a space where personal moments and social rhythms collide, reminding us that even a moment of rest is a political act.<\/p>\n
What connects all these works is a constant questioning of value: of time, of the object, of the gesture. Ru\u017ei\u0107 plays with the boundaries between art and the everyday, between what we consider insignificant and what becomes a lasting sign. His art is meditation and irony all at once, a space of critique and a space of poetry.<\/p>\n
Ultimately, Ru\u017ei\u0107\u2019s work poses the question: does a \u201cgood time\u201d even exist? Or is it precisely the wrong rhythm, the misalignment, the excess and the waiting that shape us? Between dust and foam, the violin and the payment slip, Ru\u017ei\u0107 constructs a space where the personal becomes universal, and the banal transforms into a critical document of our time. His art invites us to slow down, to perceive the invisible, and to discover value in what seems trivial.<\/p>\n
Matea Bakoti\u0107, mag. art.<\/p>\n
rom<\/p>\n
\u0160ukar vaxtipe?<\/p>\n
O vaxt si, phenen, jekhutni valuta sava so nikana na\u0161ti te irana. Ama pale, o nevovaxtuno manu\u0161 sakova dives xard\u017einel les- ane ad\u017eikeripa, ke birokratikane papiria, ane ritualia thaj nevljaripe savo so formirinel amaro \u010da\u010dipe. Adale xard\u017eipastar, katar e xurde thaj jakhasa dikhle banalnikane na\u0161alipastar ikljovel o arto e Vedraneskoro Ru\u017ei\u0107.<\/p>\n
E Ru\u017ei\u0107eskere butja oven kerde ko bidikhlo thaj nakhavkerdo ane simbolia katar kolektivnikano nakhlipe. Ano \u201eTepiko e pra\u0161inakoro\u201c i pra\u0161ina nane adava so amenge xulel sar pharipe, ama si nih\u0161abime xramovipe e nakhipaskoro e vaxteskoro, talogo katar e bidikhle momentia thaj badania save so sas akate. Voj ovel arheologia e akanipaskoro, tepiko saveste so khedel pe sa adava so o amalnipe mangel te garavel. Jekh adaleske ovel thaj ki buti \u201ePena katar sapuno\u201c: tang forma e sapuneskere penakoro ovel kerdi ki metafora va\u0161e lava thaj dende lava save so na\u0161algjoven but sig palo so ka oven vakerde.<\/p>\n
Adava gajakipe nikana nane bizo kritike. Ani \u201eAd\u017eikerlin \u2013 Thuvarlin\u201c o repetitikano \u010ditrope akharel o thanipe saveste o vaxt na\u0161alel o godipe thaj kerel pe jekh biagordi pauza. \u201eTu ba\u0161al violina thaj gilav gila\u201c akharel i partitura Mahlereskiri, ama thaj i betonikani simfonia e avdisutnipaskiri: gudalo averimo e tamiripaskere metrosa ovel piktura e muzikakiri e birokratiakiri, kote so e note ko papiro nikana na den d\u017eovapi ko sesi e \u010da\u010dipaskoro.<\/p>\n
Ani seria \u201eDendina va\u0161e nacionalnikane pokinipa\u201c o standardiyirimo formularo, ani keramika si pharpale thaj ki\u0161le, oven relikvia jekhe vaxtipaskoro \u2013 materializirime notiripa va\u0161o amalnipe saveste e love si kerde ano ritualnikano signalo. \u201eMiro vaxt si ku\u010deder tirestar\u201c e keramikane \u010dhudimenca putarel thanipe savende e personalnikane pauze thaj e amalnikane ritmia khuven pe, deindoj amen godi kaj thaj o momento e dajanipaskoro si politikano kotor.<\/p>\n
Adava so phandel sa akala butja si o savaxtuno rodljaripe e beripeneskoro: vaxt, objekto, gestia. O Ru\u017ei\u0107 khelel peske e granicenca ma\u0161kar o arto thaj o sakodivipe, ma\u0161kar adava so gindinas sar bibaro thaj adava so ovel savaxtuno simbolo. Leskoro arto si ko jekh thaj meditacia thaj ironia, thanipe e kritikakoro thaj thanipe e poeziakoro.<\/p>\n
Ano agor, o Ru\u017ei\u0107eskoro butikeripe pu\u010del: isi vaj na saske \u201e\u0161ukar momento\u201c? Vaj pale si bango ritmo, biskladipe, buteripe thaj ad\u0111ikeripe adaleskoro so amen formirinel? Ma\u0161kar i pra\u0161ina thaj i pena, violina thaj pokinipaskere lila, o Ru\u017ei\u0107 tamirinel o thanipe saveste o personalnikano ovel univerzalnikano, a o banalnikano kerel pe ko kritikano dokumento amare vaxteskoro. Leskoro artipe akharel ko poxaripe, ko dikhipe e bidikhleskoro thaj putaripe e baripenengoro adaleske so kerel amen trivialnikane.<\/p>\n
Matea Bakoti\u0107, mag. art.<\/p>\n[\/vc_column_text][\/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” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][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”][toggles style=”minimal”][toggle color=”Default” heading_tag=”default” heading_tag_functionality=”default” title=”+Komentatorica+”][vc_column_text]\n
Uz izlo\u017ebu \u201cPoezija Drage Gervaisa\u201d<\/p>\n
Va\u017eno (iako u medijskom prostoru zanemareno) polje suvremenog problematiziranja odnosa rije\u010di i vizualnog, likovna je kritika. \u201cEseji o slikarstvu\u201d francuskog filozofa i knji\u017eevnika Denisa Diderota smatraju se prete\u010dom likovne kritike jer autor, kroz vlastite izvje\u0161taje o izlo\u017ebama \u2013 Salonima, raspravlja o knji\u017eevnosti, umjetnosti i umjetni\u010dkoj gesti, upli\u0107u\u0107i pritom osobno stajali\u0161te u kriti\u010dki sud temeljen uglavnom na tome svi\u0111a li mu se pojedini rad ili ne, \u0161to je s dana\u0161njeg stajali\u0161ta problemati\u010dno. Suvremena pozicija kriti\u010dara ovisi o njegovoj upu\u0107enosti u aktualna dru\u0161tvena, politi\u010dka, umjetni\u010dka i druga zbivanja te sposobnosti da vlastito \u201c\u010ditanje\u201d vizualne kulture, prenese publici.<\/p>\n
No, odnos teksta i \u201cslike\u201d izaziva interes jo\u0161 od antike. \u201cUt pictura poesis\u201d (u prijevodu: Neka poezija bude kao slika) poznat je Horacijev stih rimskog pjesnika kojim ovaj autor poziva na pauzu u naraciji u obliku slikovitog opisa, a \u010dija je zada\u0107a opustiti slu\u0161atelja (kasnije \u010ditatelja), u napetom misaonom procesu. I upravo se to tuma\u010di kao po\u010detak dvojbe u narednim razdobljima o tome je li slika nadmo\u0107na nad tekstom ili ona tek zavodi duh. Pravi interdisciplinarni izazov donosi prijelaz iz 19. na 20. stolje\u0107e kada promi\u0161ljanje o tekstu i njegovoj vizualnoj mo\u0107i postaje temelj za poigravanje umjetni\u010dkim izri\u010dajem. Pa, primjerice, poema \u201cBacanje kocki nikada ne\u0107e ukinuti slu\u010daj\u201d francuskog pjesnika St\u00e9phanea Mallarm\u00e9a, koja nagla\u0161ava vizualnost pri \u010ditanju, inspirira konceptualnu umjetnost, a \u201cKaligrami\u201d Guillaumea Apollinairea primjer su istra\u017eivanja osjetilnog svijeta kroz kreiranje slika od stihova. U dana\u0161nje, slikovitim sadr\u017eajima optere\u0107eno vrijeme, pravi je izazov privu\u0107i pa\u017enju \u010ditatelja, a zada\u0107a kulturno-umjetni\u010dkih sadr\u017eaja je da ga (vizualno) opismeni na tom putu.<\/p>\n[\/vc_column_text][\/toggle][\/toggles][\/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” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][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_column_text]CRTA ZA BESKRAJ -PROGRAM<\/a>[\/vc_column_text][\/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” top_margin=”3%” bottom_margin=”5%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ 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