Galerija “Centar”, jun 2014

Tanja Markuš Gledanje u sjenke Looking in the Shadows

„Svaki put samo je put i nemoj se ustezati da ga na-pustiš ako ti srce kaže da to učiniš...Pažljivo osmotri svaki put. Oprobaj ga koliko god puta smatraš da je potrebno. A onda upitaj sebe i samo sebe... Ima li ovaj put srca? Ako ima, onda je taj put dobar; ako nema, uzaludno je traćiti život na njega.”

Karlos Kastaneda, Učenje Don Huana Poetika motivacionog mehanizma

Suvislo je govoriti o egzistenciji istinskog likovnog ili bilo kojeg drugog vizuelnog umjetničkog djela danas, u vremenu kada je hybris - taj brižljivo iznjegovan hibrid aro-gancije i neumjerene ambicije plebsa, ko-načno (i opet) dostigao svoj ciklično kozmo-geni, prepoznatljiv, de-evolucijsko animalni karakter, u najmanju je ruku za savremen i zdrav organizam – apsurdno. S jedne strane – iz aspekta estetike, čini se još apsurdnijim korigovati i liječiti današnju globalnu optičku agnoziju ( složenog pojma suštinske ružnoće modernog svijeta - Umberto Eko) agresivnijim edukacij-skim metodama kulturološko-estetske pseu-dohirurgije, koja na žalost ne bi dala željene rezultate, ili još gore s druge – sada etičke strane, prihvatiti za životnu strategiju „put srca” koji je u modernom i čisto mehanistič-kom svijetu determinisan gotovo kao funda-mentalni receptivno-perceptivni poremećaj. Upravo na ovom potonjem, naizgled utopij-skom i nedokučivom, ali uvijek duboko hari-zmatičnom, katarzičnom i jedinoistinskom - putu srca, baziran je ethos i intiman svijet što nam ga nudi umjetnica Tanja Markuš.Spontano i hrabro se opirući metodama i modusima istrošene socijalne paradigme i hladno nametnutog racionalnog diskursa idejno-političke korektnosti koji oblikuju današnju stereotipnu, strateško-artističku orijentaciju u svim umjetničkim žanrovima, Markuševa, u kreativnom procesu, vješto i na autentičan način koristi iskonske i delikatne elemente svoje, inače, difuzne i introspektiv-ne prirode – instinkt, intuiciju, imaginaciju.

Suštinska komponenta umjetničkog creda

Već se iz makroskopske perspektive djela uo-čava glavna tendencija umjetničkog creda; da nas apstraktnim ambijentom - ambijen-tom ne uvijek i nužno kompoziciono akcen-tovanim, simbolikom naslućivanih figurativ-nih elemenata, prepoznatljivih arhetipskh značenja i snolikih doživljaja - sa lakoćom uvede u svijet Hypnosa u kojem posmatrač prestaje biti površan ili pasivan subjekt. Di-stribucija pažnje posmatrača, od sada pre-nesena na mikro plan, više nije disperzivna, naprotiv - posmatrani objekt postaje mani-festacija interakcije između konkretno gle-danog, simbolike viđenog i nanovo doživlje-nog, gdje posmatrač i posmatrano, subjekat i objekat, ne samo da su nerazdvojivi već posta-ju i neraspoznatljivi! (Fritjof Kapra)Sugestibilan i evokativan karakter ovog je-dinstvenog dijaloga leži i u fluidnom, gotovo mističnom okruženju spontano reorganizo-vane geometrije prostora, unutar same kom-pozicije. Po riječima umjetnice – „ ... površina platna postaje za mene virtuelni prostor iz kojeg i u kojem, jezikom boje pronalazim i činim vidljivim meni bitan sadržaj. Ne postoji ništa unaprijed smišljeno, namjeravano, re-zultat je i za mene otkriće novog.“ Simbolizam vode i boje

Do pojave prvog psihoanalitičkog iskustva, te mistične drame ljudske podsvijesti, sim-bolizam vode je skoro u svim kulturama determinisan elementarnim životnim obra-scima. Drevne kozmogonije je povezuju sa stvaranjem i radjanjem (Eros), ali i sa razara-njem i uništenjem (Tanatos).Pionir psihoanalize u ovim uzročnostima vidi fundamentalne istinkte i nagone, a u samoj vodi – plodnu tečnost. Tanja Markuš i u ovom energetskom seg-mentu slijedi „svoj put”. Osluškujući bilo sop-stvene datosti ostaje vjerna svom kosmič-kom biću, svojoj kosmološkoj simbolici i har-moničnoj konstelaciji. Refleks njenog arhe-tipskog iskustva vizionarskog sanjara – Nep-tuna, posve karakterističnog kao najčešćeg plinovitog gosta-idealiste u životima velikih majstora slikarstva, sastoji se u spontanom tretmanu i odabiru čitave game plave boje.

Ova naglašena simbolika bazične aquatičke boje dominira u većini radova dok je mor-fološka struktura trojne pojavnosti ovog životodarnog elementa, uvijek podesna za konstrukciju i re(de)konstrukciju najrazli-čitijih formi i oblika. Tamni i zagasiti valeri ultramarina, prusko plave i kobalt-plave su metafora snage i ekspresije autorkine pod-svijesti (melanholija) koji se znalačkom dina-mičkom gestom preko pastelne plave (har-monija) definitivno i prirodno transformišu u tirkiz-plavu (katarza).Time se zatvara kompleksan, refleksno-e-mocionalni krug koji, kako se vidi, ima svoje unutrašnje zakonitosti. Slikarski Aquantabile, kaustični passage u kondezovanom vreme-nu, koji materijalizuje vizuelne planove, izu-zetno je plodna podloga daljim, razvijenijim doživljajima nove osjećajnosti misterioznih i još dovoljno neistraženih sinestetičkih pro-cesa (boja-ton).

Fatum i njegova interpersonalizacija

Ovo je prva samostalna izložba slikarke Ta-nje Markuš u zvaničnom galerijskom pro-storu. Odgovor na pitanje zašto smo dugo čekali na ovaj simboličan čin inicijacije kroz koji će proći umjetnica na putu interperso-nalizacije sa društvenom okolinom, možda leži u činjenici s početka same priče. „Put srca“ jeste zapravo instinkt istinskog stvara-oca, a pošto je božanske prirode, pojedinac jeste svjestan činjenice da je harmonično ko-smičko biće i da jeste neraskidivi dio cjeline svekolike prirode. Fenomen Arta jeste pro-dukt akumulacije znanja i vještina, spoznaje i iskušenja, i kao takav jeste krucijelan izazov u dosezanju potrebnog stupnja zrelosti i sa-mostalnosti. Ovaj put i samo ovakav put je mjera svih ljudskih vrlina, a u slučaju naše umjetnice, Tanje Markuš, biće popločan ko-načnom spoznajom o svojoj vlastitoj vrijed-nosti, autorskoj kompetenciji, intaktnosti dječje radoznalosti koju intimno njeguje. Još dalje, njen put srca vodi prema svjesno-sti o budućoj afirmaciji neobično vrijedne umjetničke kreacije - produkta njene spon-tane prirode, snažne individualne svijesti i posebne duhovnosti.

Aleksandar Tamindžić

“A path is only a path, and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you . . . Look at every path closely and deliberately. Try it as many times as you think necessary. Then ask yourself alone, one question . . . Does this path have a heart? If it does, the path is good; if it doesn’t it is of no use.”

Carlos Castaneda – The Teachings of Don Juan

The poetics of motivational mechanism

There is no need to talk about the existence of a true painting or any other visual work of art in the time when hybris – that carefully nurtured hybrid of arrogance and excessive ambition of plebs, finally (and again) reached its cyclical cosmogenic, recognizable, de-evolutionary animalistic character, it is at least for a modern and healthy organism – absurd. On one hand – in terms of esthetics, it seems more absurd to correct and heal today’s glob-al optical agnosia (a complex concept of essen-tial ugliness of modern world – Umberto Eco) with more aggressive educational methods of cultural-esthetic pseudo-surgery, which

unfortunately wouldn’t give the desired re-sults, or worse on the other (now esthetical) hand, accept the “path of the heart” as a life strategy which in modern and purely mecha-nistic world is determined almost as a funda-mental receptive-perceptive disorder. Ethos and intimate world of the artist Tanja Markuš is exactly based on the latter, seemingly uto-pian and inconceivable, but ever deeply char-ismatic, cathartic and one true – path of the heart. Spontaneously and boldly resisting the methods and modes of well-worn social para-digm and bluntly imposed rational discourse of ideo-political correctness, which shape today’s stereotypical, strategically artistic ori-entation in all artistic genre, Markuš, in the creative process adroitly and in her own way uses primordial and delicate elements of her, otherwise, diffusive and introspective nature

– instinct, intuition, imagination.

Essential component of artistic credo

Already from the work’s macroscopic perspec-tive the main tendency of artistic credo is no-table; to introduce us with an abstract ambi-

ent – ambient which is not always and neces-sary compositionally emphasized, with sym-bolic of anticipated figurative elements, rec-ognizable archetypal meanings and dreamy-like experiences – into the world of Hypnos in which the observer stops being superficial or a passive subject. Distribution of observ-er’s attention, now transferred onto the micro plan, is no longer dispersive, on the contrary

– the object observed becomes the manifes-tation of interaction between specifically ob-served, symbolic of the already seen and new-ly experienced, where the observer and the thing being observed, subject and object, not only are inseparable but become indistinguish-able! (Fritjof Capra)Suggestible and evocative character of this unique dialogue lies in a fluid, almost mystic surrounding, spontaneously reorganized geometry of space, inside the same compo-sition. In the words of the artist: “For me, the surface of the canvas becomes a virtual space from which and in which, with language of colors I find and make visible the content important to me. There is nothing deliberate, intended; the result is also for me a revelation of something new.”

Water and color symbolism

Until the first psychoanalytical experience, those mystical dramas of human subcon-scious, symbolism of water was almost in every culture determined with elementary life patterns. Ancient cosmogonies link it with creation and procreation (Eros), but also with demolition and destruction (Thanatos).Pioneer of psychoanalysis in these causalities sees the fundamental instincts and urges, and in the very water – fruitful fluidity. Even in this energetic segment, the artist Tanja Markuš follows “her path”. Listening to the pulse of her own facts, she remains faithful to her cosmic being, her cosmologi-cal symbolism and harmonious constella-tion. The reflex of her archetypical experi-ence of visionary dreamer – Neptune, en-tirely characterized as most frequent ardent guest-idealist in lives of great masters of painting, consists of spontaneous treatment and choice of the whole gamma blue color. This emphasized symbolic of basic aquat-ic color dominates in most of the paintings

while the morphological structure of triple appearance of this life-giving element is al-ways adjustable for the construction and re(de)construction of the most various forms and shapes. Dark and dusky shades of ultra-marine, prussian and cobalt blue are the met-aphors of power and expression of author’s subconscious (melancholy), which in know-ingly dynamical motion over the pastel blue (harmony) definitely and naturally transform into the turquoise blue (catharsis).With that ends a complex, reflexive-emotion-al circle which, as can be seen, has its inner va-lidity. Pictorial Aquantabile, caustic passage in a condensed time, which materializes visual plans, is an extremely fertile basis for further developed experiences of new sensibility of mysterious and enough unexplored synes-thetic processes (color-tone).

Fatum and its inter-personalization

This is the first independent exhibition in the official gallery space of the painter and art-ist Tanja Markuš. Why have we been wait-ing so long for this symbolic act of initiation, through which the artist will go by on her way of inter-personalizing the dialogue with social environment, the answer maybe lies in the fact from the very beginning of the sto-ry. “Path of the heart” is in fact the instinct of a true artist, and being of divine nature, the individual is aware of the fact that he is har-monious cosmic creature and that he is an inextricable part of the altogether universal nature. The Art phenomenon is the product of accumulating knowledge and skills, cog-nition and temptation, and as such is a cru-cial challenge in reaching the needed level of maturity and independence. This path and only this path is a measure of all human vir-tues, and in case of our artist, Tanja Markuš, it will be paved with final realization of her own value, author competence and intactness of child’s curiosity which she intimately nurtures. Furthermore, her path of heart leads towards awareness of future affirmation of an unusu-ally valuable artistic creation – the product of her spontaneous nature, strong individual conscience and special spirituality.

Aleksandar Tamindžić

40x40cm, ulje na platnu, 2010-2012

70x100cm, tempera i akvarel na platnu, 2011

70x100cm, kombinovana tehnika na platnu, 2014

100x70cm, kombinovana tehnika na platnu, 2014

100x70cm, kombinovana tehnika na platnu, 2014

50x50cm, tempera na platnu, 2010

50x50cm, tempera na platnu, 2010

40x40cm, ulje na platnu, 2010-2012

Tanja Markuš je rođena 1981. godine u Podgorici. Završila je studije slikarstva na Fakultetu likovnih umjetnosti na Cetinju 2010. godine. Učestvovala je na kolektivnim izložbama u zemlji i inostranstvu (Austrija, Francuska) a ovo je njena prva samostalna izložba u galerijskom prostoru.

Tanja Markus was born in Podgorica in 1981. She completed studies of painting at the Faculty of Fine Arts – Cetinje in 2010. She participated in group exhibitions at home and abroad (Austria, France). This is her first individual exhibition at an official gallery space.

15x15cm (x20), kombinovana tehnika, 2010-2014

csucg.meTanja Markuš | Gledanje u sjenke | Galerija “Centar” | Njegoševa 2, Podgorica

Izdavač: Centar savremene umjetnosti Crne Gore | Za izdavača: Nenad Šoškić | Tekst: Aleksandar TamindžićPrevod na engleski jezik: Marko Jusović | Tehnička realizacija izložbe: Sava Radević, Rajko Raičević

Tiraž: 150 | Štampa: DPC, Podgorica | jun 2014