arandus documentum

7/31/2019 arandus documentum

1/20


2/20


3/20

Umjetniki paviljon, poDGoRiCa, 2011.

ARANDUSdcuu


4/20

4

Stadt-Galerie Teloy-Mhle, Meerbusch, 2010.


5/20

Thoughts to the paintings of Arandus

Arandus is an artist, who ollows his intuition with an eradicative consequence. He thereby takesa special position in versatile settings o present art, Arandus does not ollow any ashion attitudesor short-term trends: being a veritable border crosser, his paintings agitate between emphaty andscepsis, between realism and sur-realism, between intellect and emotion. At rst sight his paintingsshow the ?beautiul illusiveness, the beautiul surace, but, at a second glance you can tell that thisragile beauty is being questioned and erased. Contrasts and contradictions rule his uwe, especiallyi his topics quote clergy contents.

His painting Schnuller (engl. Soother) shows the extreme diversity o metaphorical levels: In ront o astrongly physical daedal ond with glowing shades o red, in a dark over-all, the ciphes o a bird anda bird house seem to appear in the upper border o the painting. Within these ciphers the magicallyilluminated body o a sparsely dressed model rises. Barely behnv the vulva, the abdomen is coveredby a lustrous bright pitbull, who is foating above an ensemble o clergies one o them pictured witha soother in its mouth. Each object in this painting is ambivalent: the model so innocent but yet solascivious, the dog so artless and dangerous, the clergies indierent and inantile. The bird, fyingas a ree character o nature, yet is connected (even through a line) to the house assigned to him,

Arandus associates heterogeneous pictographs without embracing them to a consistent message.In this context you could say he is a sur-realist.

Nevertheless, his picturesque articulation is ar beyond conventional sur-realism he developed aunique style or every pictograph. These range >rom linear counter drawings to Rembrandt-likechiaroscuro. The artist Arandus has a competent way o handling with ragments o art history yetat the same time negating a historical classication in the main appearance o his painting. With anincredible intelligence, the artist plays with the requirements o artistic locations, which he conrmsand conutes in the same sentence. This renement demonstrates, in particular, Arandus*s art deal-ing with erotic connotations such as Maculata, On a roughly textured, crosswised and torn screen,

the artist appationally shows the ace o a young woman with big, wet eyes stepping orward romthe dark background.

Physic a I-inormal painting is, in this case, associated to realistic-modelling concreteness. Highlyvisible, the title Maculata evokes its opposite the Immaculata and thereby denes the person asbeautiul sinner, Arandus*s masterpiece prooves in his complete act, by translating the semanticbreakings o his topics into stylistic rejections. The enigma and ambivalenve o his unique picturelanguage herewith becomes a continuous principal in style, whose allusions and antagonisms cansolely be solved by the consciousness o each individual viewer. The joy o knowing how to read apainting and yet having the reedom o subjective interpretation is a special quality o art, in which

Arandus always nds a new way o representing it to his audience.

Jost Funke, Proessor or Visual Arts and Art History


6/20

6

Stadt-Galerie Teloy-Mhle, Meerbusch, 2010.


7/20

Archeology of Antithesis

Ve u prvom susretu sa Aranusovim slikama 1997. godine,ormirao sam linu odrednicu prema njegovoj likovnoj poeticikao svojevrsnoj arheologiji antiteze. Uinilo mi se da ova sim-patina ormulacija na prihvatljiv nain sugerie, ne samo sve-

prisutnu tematsku angaovanost autora, koja zna da se graniii sa dnevnopolitikom, ve i njegovu unutranju borbu-traenjesa uticajima koje je sticao izuavajui tradicionalne slikarsketehnike, ali i aktuelne moderne izraze likovnog angaovanja.Naime, njegova vizuelizacija, kao neskrivena potreba da seodredi prema stvarnosti i konkretnim deavanjima u okruenju,obavezno sadri antipod kao zadatu tezu, a izraajna tehnikaantisklad ili ak antianr osnovne, poetne postavke platna.

Tako je nastao program.

I dok tematski, kao orjentacija, ciklusi poput oreivanja prema:religiji, ratu, ekologiji, ljubavi, eni, socijali itd; sami po sebi nisupredstavljali problem, metaore pro i kontra u likovnom izrazuzahtijevale su koncept u kojem kontra argument ne smije ugrozitisliku. Aranus to rjeava kompozocijom svojih radova u kojimaesto u prvom planu dominiraju ekspresivni potezi etke, ili cr-tei koji podsjeaju na grate, tim prije to su simboli koje koristiurbani, opti, lako prepoznataljivi i u kontrastu sa harmoninom,klasinom postavkom i slikanjem portreta, likova i objekata kojisainjavaju ostatak poruke. Rezultat sugerie itanje/gledanje,doivljaj, koji u konanom rezultira dramskim karakterom djela.

I to je poenta.

Tonalitet, paleta boja ili materijali na kojima izraava svoje stavo-ve, mogu biti, a najee i jesu - iznenaujui, ponekad na prvipogled i zaudni, vic ili doskoica; aav, padobran, vrea, a-tor, bure, ili transparent ogromnog ormata u prostoru, na zgradiili mostu, nad ijim se sadrajem meutim neemo razgaliti.Ozbiljan je, promiljen i vapi za odnosom. ak, kada nakondueg vremena smiruje izraz, poput ovog poslednjeg ciklusakojim se upravo predstavlja podgorikoj publici, na dramatur-ko pitanje zato Aranus ne odgovara samo kontra pitanjem

(a zato ne?), mada je ono veoma blisko njegovom tempera-mentu, ve i u likovnom i u lozoskom smislu sugerie kako dase i sami zapitamo.

Pro. Neven Stanii


8/20

8

Sophies Fear, oil and acryl / canvas, 95x190 cm, 2004.


9/20


10/20

0

untitled, oil / wood, 40x40 cm, 2011.


11/20


12/20


13/20

untitled, oil / canvas, 95x190 cm, 2009.


14/20

4

bronze, 38x15x14 cm, 1/20, 2010.


15/20

untitled, oil / canvas, 190x200 cm, 2010.


16/20

6


17/20


18/20

8

AUSSTELLUNGEN (Auswahl):

1991 St. Andreas, Dsseldor1992 Galerie ACP, Salzburg / Austria

200 Meter-Kunst gegen Gewalt, Knigsalle, Dsseldor1993 Galerie Weihergut, Salzburg / Austria

200 Meter-Kunst gegen Gewalt, Kurrstendamm, Berlin1994 200 Meter-Kunst gegen Gewalt, Ljubljana / Slowenien

Linden-Museum, Stuttgart, ,,Das Kind im Krieg1995 Galerie Kontraste, Dsseldor

Theater und Konzerthaus, Solingen, Institut r politische Kultur1996 Galerie Strudlho, Wien / Austria

Jahresausstellung-Kunstpalast, DsseldorKind in Not, Landesmuseum r Volk und Wirtschat, Dsseldor

1997 Galerie Hame-Diehl, DsseldorZndorer Wehrturm, Stadtmuseum Kln

1998 Viskonti Fine Art, Arco Madrid / Spanien1999 Viskonti Fine Art, Arte Fiera, Bologna / Italien

Viskonti Fine Art, Arco Madrid / Spanien

2000 Stadt-Galerie Buca, Tivat / Montenegro2001 Art Reprsentenz Austria, Kitzbhel / Austria2002 Deutsche Bundesbank, Dsseldor

Galerie Henseleit, Dortmund50 Meter Bhnenbild, Theater Open Air, Tivat / Montenegro

2003 Museum Meyenburg, NordhausenDresdner Bank, LeibzigGalerie Kunsthaus Oberkassel, Dsseldor

2004 Galerie Viellage, L`Art Lonnes, WorpswedeGalerie Kunsthaus Oberkassel, DsseldorStaatliches Museum Buca, Tivat / Montenegro

2005 Museum o Non-Conormist Art, St. Petersburg / RussiaGalerie Kunsthaus Oberkassel, DsseldorMuseum Artera, Spazio Thetis Arsenale Novisimo la Biennale die Venezia

2006 Galerie Henseleit, Kln2007 Temporre Galerie Schloss Neersen, Neersen

Galerie Der Turm, Schwalmtal2008 Art Innsbruck, Austria2009 Galerie Lonnes, Bremen2010 Stadt-Galerie Teloy-Mhle, Meerbusch

European Art Gallery, Badenweiler

Vita Arandus:1964 geboren in Kotor,Montenegro1979 Fachschule r Elektronik1986 bersiedlung nach Deutschland1992 Kunststudium an der Akademie in Dsseldor bei Pro. Michael Buthe


19/20


20/20

0

www.arandus.de

Documents

arandus documentum