Henri Bergson memoriju smatra kao poveznicu izme\u0111u percepcije i prisje\u0107anja. Prisje\u0107amo se putem mentalnih slika u odnosu na trenutnu percepciju iz okoline. No, s obzirom da na\u0161a prisje\u0107anja nisu u potpunosti pouzdana i kronolo\u0161ki savr\u0161ena, u svojim radovima Miran \u0160abi\u0107 stvara svojevrsni kola\u017e mjesta i predmeta iz vlastitih do\u017eivljaja.<\/p>\n
Izlo\u017eba u Galeriji Doga\u0111anja predstavlja skup \u0160abi\u0107evih nepouzdanih i kronolo\u0161ki nesavr\u0161enih mentalnih slika.<\/p>\n
Otvorenje izlo\u017ebe planirano je za 13.11.2025. u 19 sati.<\/p>\n
Miran \u0160abi\u0107 (r. 1986., Slovenija) hrvatski je likovni umjetnik. Doktorirao je na Poslijediplomskom studiju ALU s radom Arhiviranje sje\u0107anja na granici \u017eivota i smrti. Kroz figurativni crte\u017e, grafiku, slikarstvo i umjetni\u010dku instalaciju istra\u017euje suvremene aspekte osobnog sje\u0107anja. Pod pretpostavkom da osoba rekapitulira \u017eivot u trenutku smrti, \u0160abi\u0107 iznosi sje\u0107anja koja bi \u010dovjek do\u017eivljavao kao najva\u017enija u svom \u017eivotu. Tako\u0111er, zanima ga postoji li univerzalni model najva\u017enijih sje\u0107anja koji se mo\u017ee primijeniti na svakog \u010dovjeka te kako ta sje\u0107anja materijalizirati kroz umjetnost.<\/p>\n
Umjesto doslovnog prikaza pripovijedanog trenutka ili ilustracije osobnog doga\u0111aja, \u0160abi\u0107 pri\u010da pri\u010du kroz predmete kori\u0161tene ili vi\u0111ene u odre\u0111enoj situaciji. Na taj na\u010din je na gledatelju da se pove\u017ee s pri\u010dom i da upotrijebi vlastitu ma\u0161tu kako bi vizualizirao pri\u010du. Bez prisustva gledatelja, koji svojim sje\u0107anjima i ma\u0161tom zami\u0161lja ispri\u010dani doga\u0111aj, \u0160abi\u0107evo djelo ne mo\u017ee biti dovr\u0161eno.<\/p>\n
Miran \u0160abi\u0107 je izvanredni profesor na Grafi\u010dkom odsjeku Akademije likovnih umjetnosti u Zagrebu. Sudjelovao je na brojnim samostalnim i skupnim izlo\u017ebama od SAD-a do Ju\u017ene Koreje i osvojio nekoliko nagrada i priznanja za svoj rad.<\/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” 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