MitarŽivković

CrtežiDrawings

Igra, kombinovana tehnika, 20x30cm, 2014.Play, mixed media, 20x30cm, 2014detalj / detailnaslovna strana / cover page

MITAR ŽIVKOVIĆ – CRTEŽI

Pretpostavljajući da većina poznaje umjetničko djelo vajara Mitra Živkovića, otkrivamo i onog drugog i /ili „prvog“ umjetnika kojem je imanentan crtež u stvaralačkim/autorskim samorealizacijama. Upravo, neki od ovih crteža djeluju kao skice za skulptorska ostvarenja, no, to svakako ne umanjuje njihove kvalitativne vrijednosti. Iako nisu produkt jedinstvenog ciklusa/opusa snažan individualni, rukopisni korelativ neumitno povezuje ove radove.

Nazivi radova – Disanje, San, Mir, Majka, Igra...u više produkovanih varijantnih rješenja predstavljaju indikativna semantička čvorišta. Ove karmičke riječi/pojmovi govore suštinom bitisanja i tvore sublimaciju esencijalnog, arhetipskog, primordijalnog, kontinuiranog, svetog...

Potaknuti diferentnim inspirativnim nadražajima, Živkovićevi crteži sadržajno grade međuzavisan odnos – majke i djeteta, koji se kreće u širokoj amplitudi arhetipskog, prvorođenog, iskonskog do svetačkog, ikoničkog, religijskog, ritualnog, čvrstog, nježnog, neraskidivog, konvulzivnog zagrljaja i odnosa, kao osnove/fundamenta za mir, za spokojan san, za igru bez prestanka vječitog kruga i cikličnih, permanentnih pomjeranja...Koji/kakav god raspored napravili unutar kruga, jedno bez drugog, kao zaseban entitet, ne postoji...u tome je suština...

Ruke grle, ljube, vape, pridržavaju, ne puštaju... Neglagoljiva usta, stisnuta u grčevitom bolu, grimasi za nezbor...ćute, dok oči govore...zagledane u daljine neizvjesnosti. Rudimentirani ekstremiteti se prepliću kroz prožimajuće koloplete, u stavove. Krivudava, obla, duga, meka, istovremeno, snažna i strastvena, Živkovićeva linija gradi volumen, definiše situaciju, kompoziciju, narativ.

Preparirana podloga, lavirani tuš, akvarel, bojena olovka, ugljen, tuš pero i sl., alatke su za realizaciju konteksta, koji je dat kroz površinski egzekutivni tretman, što je atipično za umjetnika - vajara. Taj namjerni „bijeg“ u dvodimenzionalnost zarad podsjećanja na fresku, na skicu za veliku kompoziciju, čak i impostacija figura, likova, njihova epicentralnost u fizikumu djela, ukazuju na namjeru, na kontinuitet, na želju da se čitanje odnosa neprekidno istražuje kroz potrebu osvješćivanja čuvanja trajnih, iskonskih/istinskih vrijednosti. „Umjetnost se otvara istini ako ona nije neposredna; utoliko je istina njena sadržina“ (T.W.Adorno)...o tome je riječ... Ne želeći umjetnost „ispranu od svakog smisla, „bez sjećanja“, ne želeći „umjetnost bez lica i bez prošlosti“, Živković nudi sjećanje na pokretačke akumulirane vrijednosti čovječanstva – san, mir, igru, majku - na rođenje, zajedništvo, ljubav.

San, kombinovana tehnika, 30x40cm, 2010.Dream, mixed media, 30x40cm, 2010

Zapravo, čini se da je objedinjujući, vezivni element tih značenjskih punktuma identitet, odnosno, integritet. Jer, čovjek današnjice živi istorijske, političke, društvene i kulturne prekretnice svog vremena i jedina moguća sigurnost je produkt sopstvenog djelanja, sopstvenih sjećanja, vlastitog unutrašnjeg jezika.

Sklupčana figura žene u tjeskobnom grču na Živkovićevim crtežima je personifikacija usamljenosti i beznadežnosti. To je upitanost kao ovovremeni izazov na koji Živković daje svoj mogući odgovor. Postati imun na ovovjekovni virus - otuđenost/samootuđenost – put je ka spasenju. Taj san je kroz korelativnu uzajamnu igru (nekad i sa samim sobom ) ipak moguć...u miru...(u)umjetnosti ...stvaranju...rađanju starog/novog odnosa.

Dr Anastazija Miranović,istoričarka umjetnosti i likovna kritičarka

Igra, kombinovana tehnika 35x50cm, 2010.Play, mixed media, 35x50cm, 2010

MITAR ZIVKOVIC - DRAWINGS

Assuming that most are familiar with the art work of sculptor Mitar Zivkovic we are discovering the other and/or “first” artist to whom the drawing is immanent in his creative/creator self-realizations. Precisely, some of these drawings act as sketches for sculptural works but this certainly does not diminish their qualitative values. Although they are not the product of a unique series/opus a powerful individual, signature correlative inevitably connects these works.

The titles of the works - Breathing, Dream, Peace, Mother, Play...created in various alternative solutions represent indicative semantic hubs. These karmic words/concepts are expressed through the essence of existence and form a sublimation of the essential, archetypal, primordial, continuous, sacred...

Motivated by differential inspiring stimuli, Zivkovic’s drawings substantially build an interdependent relationship – that of a mother and her child, which ranges in a wide amplitude from the archetypal, the firstborn, the primordial to the sacred, iconic, religious, ritual, hard, tender, unbreakable, convulsive embrace and relationship as a basis/ foundation for peace, serene dream, for an endless play of the eternal circle and cyclical, permanent displacements ... Whichever/whatever schedule we made within the circle, one without the other, as a separate entity, it does not exist ... that is the essence…

Hands are embracing, kissing, crying out, holding on, not letting go ... Mouths that do not speak, squeezed in spasmodic pain, in a voiceless grimace ... they are silent, while eyes are talking ... staring into the distances of uncertainty. Rudimentary limbs are interwoven through pervasive whirls into postures. Winding, round, long, soft, at the same time strong and passionate, Zivkovic’s line builds up the volume, defines the situation, the composition, the narrative.

A specially treated foundation, ink wash, watercolour, colour pencil, charcoal, ink pen, etc. are tools for implementing the context, which is presented through the surface executional treatment - something that is atypical of an artist-sculptor. This intentional “escape” into two-dimensionality with the intention of reminding of a fresco or of a sketch for a large composition, even the posture of the figures, characters, their being in the epicentre of the work itself indicate the intention, continuity and desire that the interpretation of relationships be constantly explored through the necessity of keeping up awareness for guarding lasting, primordial/authentic values. “Art opens up to the truth if it is not direct; inasmuch the truth is its content” (T. W. Adorno) ... that is what it is about ... Not wanting art “washed out of any sense”, “without memory”, not wanting “art without face and without a past” Zivkovic offers the memory of motivating accumulated values of humanity - dream, peace, play, mother; of birth, togetherness, love.

In fact, it seems that the unifying, binding element of these semantic distinct points is identity, i.e. integrity. Because the man of today is living the historical, political, social and cultural turning points of his time and the only possible security lies in the product of his own action, of his own memories, of his own interior language.The curled up female figure in an anxious spasm in Zivkovic’s drawings is the personification of loneliness and hopelessness. This questioning is a contemporary challenge to which Zivkovic gives his possible answer. The path towards salvation is to become immune to the virus of this century - alienation/self-alienation. Through a correlative reciprocal game (sometimes even with oneself) that dream is nevertheless possible...in peace...(in) art…in creation...in the birth of an old/new relationship.

Anastazija Miranovic, PhD art historian and art critic

San, kombinovana tehnika, 30x40cm, 2010.Dream, mixed media, 30x40cm, 2010

Igra, kombinovana tehnika, 25x35cm, 2014.Play, mixed media, 25x35cm, 2014

Mir, kombinovana tehnika, 20x30cm, 2014.Peace, mixed media, 20x30cm, 2014

Mitar Živković je rođen u Zaječaru 1975. godine. Završio je Fakultet likovnih umjetnosti na Cetinju 1999. godine, u klasi profesora Pavla Pejovića.Postdiplomske studije završio je u Ljubljani (odsjek vajarstva), u klasi profesora Dušana Tršara. Član je ULUCG od 2010. godine. Redovan je izlagač kolonije u Danilovgradu od 2007. godine. Status samostalnog umjetnika stiče 2013. godine.

Samostalne izložbe:

- Bar, Galerija „Velimir A. Leković“- Tuzi, Centar za kulturu - Nikšić, Dvorac Kralja Nikole – Galerija „Ilija Šobajić“

Učesnik je brojnih izložbi.

Značajni radovi: skulptura crnogorsko kolo „ORO“, postavljena u parku kod zgrade Vlade

adresa: Vlada Martinovića br.55, PodgoricaE-mail: mitar975@gmail.comkontakt telefon: +38267866181

Mitar Zivkovic was born in Zajecar in 1975. He graduated from the Faculty of Fine Arts in Cetinje in 1999, in the class of Professor Pavle Pejovic. He completed his post-graduate studies in Ljubljana (Department of Sculpture) in the class of Professor Dusan Trsar. He has been a member of the Association of Fine Artists of Montenegro (ULUCG) since 2010. He has been exhibiting on a regular basis at the Danilovgrad colony in since 2007.He has acquired the status of independent artist in 2013.

Solo exhibitions:- Bar, Gallery “Velimir A. Lekovic”- Tuzi, Cultural Centre- Niksic, King Nikola’s Palace - Gallery “Ilija Sobajic”

He participated in numerous exhibitions.

Significant works: the sculpture Montenegrin dance “ORO”, set up in the park near the building of the Montenegrin government

address: Vlada Martinovića br.55, PodgoricaE-mail: mitar975@gmail.comtel: +38267866181

www.csucg.co.me Mitar Živković Galerija Centar Njegoševa 2, PodgoricaIzdavač Centar savremene umjetnosti Crne Gore Za izdavača Nenad Šoškić

Kustoskinja Nikolina Zuber Tekst Anastazija Miranović Prevod na engleski Darja Marija Vuletić Tehnička realizacija izložbe Novica Vuković, Nebojša Raspopović

Tiraž 150 Štampa DPC, Podgorica decembar 2016

ISBN 978-86- 85797-77- 4COBISS.CG-ID 31863568