Escolar Documentos
Profissional Documentos
Cultura Documentos
jevovar
15 godina poslije
15 years on
24. 4. 25. 5. 2013.
15 godina poslije
antun marai
Izlobom Marijana Jevovara Galerija Forum obiljeava petnaestu godinjicu autorove smrti (5. srpnja 1998.), no takoer i
petnaestu godinjicu njegove posljednje
samostalne izlobe koja se odrala upravo
u Galeriji Forum od 22. sijenja do 10. veljae 1998. Istodobno, dakle, ovom izlobom Galerija ostvaruje onaj dio svojeg
programa u kojem evocira najvitalnije dionice hrvatske umjetnosti druge polovine
20. stoljea, kao i najvrjednije vlastite povijesne trenutke.
Marijan Jevovar je autor koji je ve ranih
1960-ih godina prakticirao radikalne postupke u slikarstvu. Razmilja o plohi, formatu, boji, namazu, potezu... svim onim
elementima koji tvore sliku kao materijalnu injenicu. Izbjegavajui ne samo bilo
kakav oblik naracije i predstavljanja izvanmedijskih sadraja, nego i emocionalne
apstraktno-ekspresionistike iskaze, Jevovar je, iako se pojavljuje u razdoblju ra-
slikarstva, a klonei se nadgradnje i vatrometa kratkotrajnih improvizacija. U cijelom svom gotovo polustoljetnom slikarskom stau, Jevovar je, prema vlastitim
rijeima, tek uporno traio tajnu koja pojedino ostvarenje ini umjetnikim djelom.
Zbog silnog autorskog uloga i dosljednosti
u svojem plemenito-utopijskom konceptu
Jevovarovo djelo, kako vrijeme odmie,
postaje sve snanije i vanije.
Vjerujemo da e ova izloba to jasno pokazati.
15 years on
dubina povrine
antun marai
In this exhibition of works by Marijan Jevovar, the Forum Gallery is commemorating the 15th anniversary of the artists death, as well as the fifteen years since his
last major solo show, put on in the very
same Forum Gallery, from January 22 to
February 10, 1998. Simultaneously, then,
with a single exhibition, the Gallery is satisfying that part of the programme in which
it evokes the most vital parts of Croatian
art in the second half of the 20th century as
well as the most valuable parts of its own
history.
Marijan Jevovar is an artist who as early as the beginning of the 60s was practising radical procedures in painting. He
thought hard and long about surface and
plane, format, colour, application, brush stroke about all the elements that
make up the painting as fact. Eschewing
not only any form of narration and representation of extra-medium contents but
also the emotional utterances of Abstract Expressionism, Jevovar, although he
appeared at the time of radical Informel,
can only provisionally be said to have pra-
ivana mance
ctised Art Informel. The expressivity of his
work is just the inevitable consequence of
the hand-work activity that was generated by the independent speech of the painting material. But in essence, Jevovar
was a forerunner of the elementary, primary and analytical painting that in Europe appeared at the beginning of the 1970s.
In a reworking of the Italian phrase pittura pittura, which lays stress on the independence of this practice from any kind
of application as well as from the ballast
of external contents, we might call Jevovar a painter painter; although he was also
considered at the same time an anti-painter, who, allergic to the slightest trace of
eye-candy, attempted (if in vain) to paint
the ugly painting.
Sharing the existential spiritual organisational structure and behaviour of his Gorgona comrades of various phenomenal
forms of expression Knifer Koari, Mangelos he, just like them, always returned to the same forms and gestures, incessantly testing out the grounds, the zero
point, as it were, of painting, and staying
away from the superstructure, the firework
4
naelo izgradnje slike, ve e temu izraziti izborom boje nakon vie desetljea egzistencijalnog sivila pojavljuje se agresivna
crvena, zastirui vidno polje slike poput kakvog krvavog mraka.
Izbor iz slikarskog opusa zavrava neoekivano razigranim ciklusom Dijalog s etverokutom iz 1995. Nakon to je vei dio
svojega opusa posvetio enformelno artikuliranoj povrini slike, u navedenom nizu
Jevovar sliku gradi iskljuivo na propoziciji ruba; neodreene geometrijske forme
pojavljuju se rubno u polju slike ili iz njega
nestaju, dok ostatak miruje u bjelini. Nakon
dugo vremena, slici je opet doputeno da
funkcionira kao iluzionistiki kadar, i to kadar koji se prema umjetnikovu naputku slobodno moe rotirati, varirajui niz u svim
moguim kombinacijama.
Cijelog radnog vijeka Jevovar je i kontinuirano crtao; crte nije bio samo priprema slike, ve i njezina refleksija. Veina crtakog
opusa prati slikarski ili obratno; pronalaze se korespondentna grafika rjeenja za
probleme koji se elaboriraju i slikarski.
I petnaest godina nakon smrti, Jevovarov opus ostaje primjer ivotne upornosti,
emotivne snage i misaone jasnoe. Prihvativi sizifovsku narav svojega posla, Jevovar je oistio slikarstvo od svega bez ega
slikarstvo moe motiva, prie, prostornog iluzionizma, kolorizma, dopadljivosti
svake vrste, zadravi tek vrsti koncept i
elementarnu ekspresivnost slikarske materije i ljudskog traga u njoj. U takvom je reduciranom slikarstvu izdrao cijeli radni vijek
a da nijedanput nije posumnjao u ispravnost svoje odluke. A takva postojanost prije svega zahtijeva unutarnju samou, kakvu izdravaju samo rijetki.
depth of
the surface
ivana mance
Few are the artists who have been capable in their work of facing steadily up to
the absurd, of confronting the pointlessness of existence with the possibility of
the work of art; or, as the author of a philosophy resting on this concept said more
neatly by mere play of consciousness to
turn what was an invitation to death into
a vital rule. One of them was Marijan Jevovar. He did this through the whole of
his work in art, without a bit of over-emotionalism and yet with a clear commitment. Events of meaning on the astringent surface of his canvases were never
either aesthetically appealing or ideologically explicit. They were primarily analytically functional, elaborating clearly the
laws of the painting medium determined
by surface and edge, material and movement, and the other parameters of the image. Only in the background or, rather, in
addition to this conceptually scrupulous
programme, these abstract visual events
were also expressively powerful, moving
in their muted, restrained mediation of the
existential sense of division between being alien and belonging to the world.
Pozitivna i negativna forma, 1992., ulje na platnu | Positive and Negative Form, 1992, oil on canvas
Marijan Jevovar opted for this kind of poetic commitment almost at the beginning
of his career in painting, at a time when it
implied not merely an artistic option but
also a worldview and a political stance. On
what was at base the same poetic foundation, his painting survived the vicissitudes of the following decades, tolerating well the daily definitions of art ranging
from analytical and primary to postmodern. This was because the questions that
it raised were not only in principle universal, but also intimately deeply felt and live
through. In this artistic dedication of his,
Jevovar for the whole of his career remained above averagely collected, finding
the right measure between consistence to
his own option and sharing in the historical
time. On this occasion, the fifteenth anniversary of the artists death, his painting is
above all an invitation to sobriety in a time
in which the recourse to consolations has
long since ceased to enjoin moral doubts.
The works on show are aimed at encompassing almost the whole range of Jevovars work in art although it is not a
critical retrospective, the scope of the artists personal bequest was quite enough
to make a selection to document almost
all the important elements of his journey
in painting. The chronologically earliest
works at this exhibition were created in
the period of Jevovars repeated stays in
Paris between 1953 and 1956. In spite of
the stylistic questing in several directions,
works from this period tell of a rapid abstracting of objective contents and a symbolic generalisation of motif: still lifes, pairs
of lovers and scenes from the studio exit
the documentary and denotative function,
urative contents from the picture, the emblematic pair reappear overcoming the
law of abstract expression, once again
pushing through the pigment - and gesture - saturated surface of the painting into
the domain of the representable world.
The total desertion of figurative contents
as raison dtre of the painting would happen as early as the end of the fifties. While
the abstract series from the end of the fifties still assume a minimally illusionist
space of the picture, from the beginning
of the sixties the surface of the painting
articulated by Informel had entirely driven out any imaginary visual contents. In
the painting Yellow in Black of 1959, the
geometrical figures in mere traces seem
to have been left on a ground that would
have been capable of functioning as a
monochrome. In the well-known Grey
Surface of 1960, today in the Museum
of Contemporary Art, a painting created
by successive application and scraping
of paint until the support was exhausted,
they no longer exist. The poetics of Art Informel would be then the grafting stock
for Jevovars works from the time of his
participation in Gorgona: in a range from
the mentioned reduction of the painting
to the minimum of its capacities to explosive manifestations of the poetic strength
of the painting material that aimed at
overcoming the absurdity of its own occurrence in time and space, as in the dramatic painting Event in Grey, exhibited
on this occasion, but otherwise an atypical Jevovar work created between 1960
and 1963.
The acquired experience of the painting
plane as hypostatised basis for the paint-
10
with drawing, of plane with frame. Although such an apparently illogically, absurd intervention in which the next configuration cancelled out the previous, seems
to aim at the abolition of the painting field,
the result is actually the opposite: totally
deprived of any attractiveness the image
figures in its essential conceptual determination of painted surface set by an edge,
but also in its always present, muted expressive quality.
Works from the early nineties would follow
the same concept, but would unobtrusively change the mood: a lighter gamut of colours, with a lot of hazy whiteness, would
bring the melancholy of the void into the picture. Along with a sequence of white and
grey paintings, at the beginning of the nineties a series dedicated to the war appeared. Taking as his subject some external
historical event in his painting for the first
time, Jevovar would not abandoned the
generic principle of constructing the painting, but express the theme with the selection of colour after several decades of
existential grey drab an aggressive red
showed up, covering the visible field of the
painting like a blood-suffused darkness.
The selection from the painting oeuvre
ends with an unexpectedly cheerful series
Dialogue with Quadrangle of 1995. After
having devoted the major part of his oeuvre to a surface of the painting articulated in Informel idiom, in this new series Je-
11
13
Dijalog s etverokutom, 4 A, triptih, 1997., akrilik na platnu | Dialogue with Quadrangle, 4 A, triptych, 1997, acrylic on canvas
14
15
| individual exhibitions, a
selection
galerija, Opatija
Rudolfom Sabliem)
greb
__________
muzeja, Zadar
jetnosti, Zagreb
ne umjetnosti, Zagreb
ch, Njemaka
greb;
strija
izloeni radovi
slike
01. Ljubav (Ljubavni par), 1954., ulje na platnu, 55.3
x 57.5 cm
02. Nature morte (Mrtva priroda s lubanjom), 1954.,
ulje na platnu, 44 x 61 cm
03. Slikar i akt (Akt u atelijeru), 1955., ulje na platnu, 65
x 81.4 cm
Zagreb
lo, Brazil
artisticum, Sarajevo
biografija
collective exhibitions, a
u Zagrebu.
selection
biography
Australija
jeka
nu, 71 x 134 cm
11. Smei namaz valjkom (Namaz/1), 1979., ulje na
platnu, 70 x 100 cm
12. Sjeanje na monotip iz 1956., 1956.-1986., ulje na
platnu, 54 x 65 cm
13. Plavo-uokviren trei namaz, 1986., akrilik na plat-
Kalemegdanu, Beograd
ja Karas, Zagreb
tiv, Beograd
16
17
nu, 60 x 73.5 cm
x 153 cm
works exhibited
drawings
cm
17. Blijedo-siva povrina, 1992., ulje na platnu, 80 x
paintings
100.4 cm
18. Pozitivna i negativna forma, 1992., ulje na platnu,
60.3 x 80.3 cm
canvas, 65 x 81.4 cm
04. Landscape, around 1954, oil on canvas, 54 x 65 cm
05. Still Life, 1955, oil on canvas, 47.5 x 68 cm
07. Event in Grey (Large Grey Painting), 1960 -1963,
31.5 x 23.5 cm
04. Confirming the Surface II, 1963, marker on paper,
06. Confirming the Surface IV, 1963, marker on paper, 31.5 x 23.5 cm
Preradovieva 5, Zagreb
naklada | edition
250
www.kic.hr
__________
za izdavaa | for the publisher
Gabrijela Krmpoti Kos
izlobu omoguili |
ravnateljica KIC-a
31.5 x 23.5 cm
08. La Forme parfaite no 1/10, 1963.-1967, ink, 51 x
on canvas,130.3 x 97.2 cm
09. Stroke, 1978 oil, graphite on canvas, 38 x 55 cm
10. Ochre-Blue-Black Research, 1979, acrylic on canvas, 71 x 134 cm
11. Brown Coat with Roller (Coat 1), 1979, oil on canvas, 70 x 100 cm
12. Recollection of a Monotype of 1956, 1956-1986,
Antun Marai
71 cm
09. Perfect drawings wrapper, 1963 -1966, pencil,
predgovor | preface
Ivana Mance
60 x 73.5 cm
cm
16. Untitled, 1991, graphite, eraser, 49.8 x 35.5 cm
153 cm
__________
Rosanda Tometi
Graham McMaster
postav izlobe | exhibition set up
Antun Marai
cm
18. Positive and Negative Form, 1992, oil on canvas,
60.3 x 80.3 cm
Vanja Babi
__________
fotografije | photographs
Tomislav Turkovi
18
prijevod | translation
zahvale | acknowledgements
Snjeana Jevovar Kneevi
oil on canvas, 54 x 65 cm
13. Blue-Framed Third Coat, 1986, acrylic on canvas,
Kerschoffset, Zagreb
gf@kic.hr
31.5 x 23.5 cm
tisak | printing