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Velibor Pavićević
BuđenjeAwakening
naslovna strana / cover page
PISMO IIkamen, kovano gvožđe,37x42x14cm, 2016.
LETTER IIstone, wrought iron,37x42x14cm, 2016
ŽENA SA PTICOMkamen, h=55cm, 2014.
WOMAN WITH A BIRDstone, h=55cm, 2014
UMJETNOST KAO EKSPERIMENT
Benjamin smatra da „osjetiti auru neke stvari znači podariti joj moć podizanja očiju“. Djela skulptora mlađe generacije Velibora Pavićevića su auratična bez obzira da li je riječ o skulpturama, crtežima, kolažima koje objedinjuje zajednički narativ Buđenje (kako se i zove jedna njegova skulptura). Taj pojam treba shvatiti u fizičkom - buđenje materije i metafizičkom kontekstu.
Umjetnik temelji svoja iskustva u radu s materijalom na jednoj od najvažnijih premisa moderne skulpture–svijesti o govoru materijala, prilagođava materijal ideji i obrnuto jer je ta linija interaktivna i poliznačna. Eksperimentiše u kamenu, drvetu i gvožđu ponegdje spajajući gvožđe i kamen kao u skulpturi Pismo II. Kontrast materijala nije barijera već naprotiv tako formira polja interferencije gdje gustina, savitljivost gvožđa čine interakciju reljefno obrađenom kamenu, gdje ta zaumna abeceda ima svoja ispupčenja i udubljenja, ritam koji je supstancionalna kategorija svega živog. Pismo je realizovano u gvožđu, forma dobijena redukcijom i konstrukcijom gdje su projektovane lične fascinacije i fiksacije. Tu je prvi i jedini put koristio nađene oblike - grabulje. Oblikovnim postupcima transponovao je rešetkastu skulpturu gdje je bitan dinamičan odnos masa, faktura i boja gvožđa. Uglačane oblike vajar suprotstavlja onim namjerno rustičnim pa skulptura dobija arhaične prizvuke što uostalom određuje Pavićevićevo shvatanje forme, čime se približava velikom broju vajara moderne. Buđenje je u biti cilindrična kompaktna forma u metalu s drvenim postoljem, a te kompaktne oblike koristi na Kraljici, Buđenju kaktusa prelazeći lako iz apstraktne forme u figurativnu, ne praveći podjele te vrste. To su neka vrsta modernih totema koji čuvaju čitav potencijal značenja, a gdje je arhetipsko jedno od čvorišta.
Gvožđe obrađuje kovanjem svakog elementa posebno pa ih spaja u harmonične cjeline. U Buđenju kaktusa bitne su i male šupljine između elemenata koje sugerišu ivice, odbijanja, krhkost , alogičnost a ta začudnost iščitava se i na Kraljici, gdje je tek nagovješteno tijelo. Reći ću nešto onima koji preziru tijelo… Duša je samo jedna riječ za tijelo. Tijelo je velika mudrost, mnoštvo sa jednim smislom, rat i mir, stado i pastir... (Fridrih Niče, Tako je govorio Zaratustra). Amelija Džouns označava „tijelo kao neprekinuto u odnosu na svijet i u odnosu na biće, mjesto preko koga se i umjetnici i tumači međusobno angažuju u činovima stvaranja značenja“. Takvu ulogu ima tijelo u skulpturama Bez naziva, Figura sa pticom (kamen) i Igra (gvožđe) kao i na crtežima i kolažima.
Ostrvo (drvo) je kompaktan volumen, sa ispupčenjima i udubljenjima koja se ritmalno smjenjuju, gdje je poštovana struktura ovog materijala. Metodološki odabran je ovakav pristup djelima Velibora Pavićevića jer ih je teško grupisati u cjeline što potvrđuje njegov stav da je skulptura odnosno umjetnost sui generis eksperiment.
Nataša Nikčević
ART AS AN EXPERIMENT
Benjamin believes that “feeling the aura of a thing is to give it the power to raise the eyes”. The artworks created by the sculptor Velibor Pavicevic, who belongs to the younger generation of artists, are auratic regardless of whether it is about sculptures, drawings or collages which are unified by a common narrative Awakening (as one of his sculptures is entitled). This concept should be understood in the physical - the awakening of the matter and metaphysical context.
The artist bases his experience of treating the material on one of the most important premises of modern sculpture – awareness of the language of the material; he adapts the material to the idea and vice versa because that line is interactive and polysemous. He experiments in stone, wood and iron by combining iron and stone sometimes, as it is the case in the sculpture Letter II. The contrast of materials is not an obstacle; on the contrary, in this manner he forms fields of interferences where the density and flexibility of iron interact with the relief-like treated stone, wherein that estranged alphabet has its protuberances and depressions, the rhythm that is the substantial category of all life. Letter is carried out in iron; the form is obtained by reduction and structure where private fascinations and fixations are projected. Here the artist, for the first and only time, used an existing form – a rake. Through shaping proceedings he transposed the grid sculpture where the dynamic relationship of mass, texture and colour of iron is important. The sculptor opposes polished shapes to those intentionally rustic ones so the sculpture obtains archaic overtones, which in fact determines Pavicevic’s comprehension of form. Thereby he becomes closer to a number of Modern Art sculptors. Awakening is essentially a cylindrical, compact form created in metal, with a wooden stand; he uses those compact shapes also in Queen, Awakening of the Cactus passing easily from an abstract form into a figurative one, without making divisions of this kind. These are some kind of modern totems that preserve a whole potential of meanings and where the archetypal is one of the hubs.
He processes iron by forging each element separately and combining them later on into harmonious entireties. In Awakening of the Cactus essential are also the cavities between the elements that suggest edges, rejections, fragility, illogicality and this strangeness may be observed also in the sculpture Queen, where the body is only implied. I will say to those who despise the body ... The soul is only a word for the body. The body is a great wisdom, a plurality with one sense, a war and a peace, a flock and a shepherd ... (Friedrich Nietzsche, Thus Spoke Zarathustra). Amelia Jones designates “the body as uninterrupted in relation to the world and the being, as the place in which both the artists and interpreters are mutually engaged in acts of creating meaning”. The body has this kind of role in the sculptures Untitled, A Figure with a Bird (stone) and Play (iron) as well as in drawings and collages.
Island (wood) is a compact volume, with protuberances and depressions which rhythmically alternate and where the structure of this material is respected. This kind of approach to Pavicevic’s artworks is methodologically selected since it is difficult to group them into entireties - this confirms his view that sculpture and art are an experiment sui generis.
Natasa Nikcevic
BRODdrvo, bakar, olovo, 31X40cm, 2012.
SHIPwood, copper, lead, 31X40cm, 2012
BEZ NAZIVAkamen, 38X15cm, 2014.
UNTITLEDstone, 38X15cm, 2014
BUĐENJE KAKTUSAkovano gvožđe, h=48 cm, 2014.
AWAKENING OF THE CACTUS
wrought iron, h=48cm, 2014
KRALJICAkovano gvožđe, 43X22cm, 2017.
THE QUEENwrought iron, 43X22cm, 2017
VELIBOR PAVIĆEVIĆ je rođen 1977. godine u Titogradu. Diplomirao je na Fakultetu likovnih umjetnosti na Cetinju, vajarski smjer 2001. godine a magistrirao je na istom fakultetu 2005. godine. Izlagao je na više samostalnih i grupnih izložbi. Učesnik je Internacionalnog simpozijuma skulpture „Umjetnička kolonija“ u Danilovgradu 2005. godine i Internacionalnog simpozijuma skulpture „Cross Border Sculpture Symposium, Albania-Montenegro“, Skadar, 2011. godine.
NAGRADE• Nagrada za crtež FLU Cetinje, 1999. • Nagrada na Bijenalu studentskog crteža, Beograd, 2000.• Godišnja Nagrada za skulpturu FLU Cetinje, 2001.• Nagrada „Milunović-Stijović-Lubarda“ za skulpturu na Godišnjoj izložbi
ULUCG, Podgorica, 2006.• Nagrada 12. Podgoričkog likovnog salona (Decembarski dani kulture),
Podgorica, 2008.• Nagrada za skulpturu, Crnogorski likovni salon „13.novembar“, Cetinje,
2011.• Nagrada „Milunović-Stijović-Lubarda“ za skulpturu na 70. Tradicionalnoj
izložbi ULUCG, Podgorica, 2015.• Nagrada „Drago Đurović” na tradicionalnoj izložbi „Savremena crnogorska
skulptura”, Danilovgrad, 2015.
IZVEDENE SKULPTURE U JAVNOM PROSTORU• skulptura u kamenu, park Umjetničke kolonije, Danilovgrad, 2005.• bista narodnog heroja Sava Ilića, bronza, Gradski park Kotor, 2006.• scena „Nojeva barka“, kamena plastika, Hram Hristovog Vaskrsenja,
Podgorica, 2007.• scena „Crnogorka s kolijevkom“, kamena plastika, Hram Hristovog
Vaskrsenja, Podgorica, 2008.• spomenik „Odžačar“(gradskim oriđinalima), bronza, Herceg Novi, 2009.• skulptura u kamenu „Kompozicija”, Gradski park Skadra, Skadar, Albanija
KONTAKTAdresa: Dalmatinska 146 A, PodgoricaTelefon: +38267167002E-mail: [email protected]
VELIBOR PAVICEVIC was born in 1977 in Titograd. He graduated from the Faculty of Fine Arts in Cetinje, Department for Sculpture in 2001 and obtained his master's degree at the same Faculty in 2005. He has exhibited at several solo and group exhibitions. He took part in the International Symposium of Sculpture “Art Colony” in Danilovgrad in 2005 and the International Symposium of Sculpture “Cross Border Sculpture Symposium, Albania-Montenegro”, Skadar in 2011.
PRIZES• Award for Drawing, Faculty of Fine Arts Cetinje, 1999• Biennial of Student Drawing Award, Belgrade, 2000• Annual Award for Sculpture, Faculty of Fine Arts Cetinje, 2001• The “Milunovic-Stijovic-Lubarda” Prize for Sculpture, Annual exhibition of
the Association of Fine Artists of Montenegro (ULUCG), Podgorica, 2006• 12th Podgorica Art Salon Award (The December Days of Culture),
Podgorica, 2008• Montenegrin Art Salon “November13th”, Prize for Sculpture, Cetinje, 2011• The “Milunovic-Stijovic-Lubarda” Prize for Sculpture at the 70th Traditional
exhibition of the Association of Fine Artists of Montenegro (ULUCG), Podgorica, 2015
• The "Drago Djurovic" Award at the traditional exhibition “Contemporary Montenegrin Sculpture”, Danilovgrad, 2015
SCULPTURES IN PUBLIC SPACE• Stone sculpture, Art Colony Park, Danilovgrad, 2005• Bust of the National hero Savo Ilic, bronze, City Park in Kotor, 2006• The “Noah’s Ark” scene, stone sculpture, the Temple of the Resurrection
of Christ, Podgorica, 2007• The “Montenegrin Woman with the Cradle” scene, stone sculpture, the
Temple of the Resurrection of Christ, Podgorica, 2008• Monument “The Chimney Sweeper”, bronze, Herceg Novi, 2009• Stone sculpture “Composition”, City Park Shkodra, Shkodra, Albania
CONTACTAddress: Dalmatinska 146 A, PodgoricaTelephone: +38267167002E-mail: [email protected]
www.csucg.co.me Velibor Pavićević Perjanički dom Kruševac bb, PodgoricaIzdavač Centar savremene umjetnosti Crne Gore Za izdavača Nenad Šoškić
Kustoskinja Teodora Nikčević Tekst Nataša Nikčević Prevod na engleski Darja Marija Vuletić Tehnička realizacija izložbe Novica Vuković, Nebojša Raspopović
Tiraž 150 Štampa DPC, Podgorica maj 2017.
ISBN 978-86- 85797-90- 3COBISS.CG-ID 32919824
