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Thursday
22
MAR

Vanishing Fiction - Nemanja Nikolić

20:00
21:00
U10
Event organized by U10

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Na izložbi „Vanishing Fiction“ biće prikazana serija slika nastalih u prethodnih godinu dana. Novi radovi se nadovezuju na prethodne projekte u kojima Nemanja Nikolić referiše na apstraktnu i minimalnu umetnost, film, poziva se na umetničku praksu modernizma, ali ujedno i na avangardu jugoslovenskih umetnika sa fokusom na eksperimentalna istraživanja u domenu pokretne slike.

(...) Da bi u potpunosti dosegao ritmove izvan sopstvenog tela ritamanalitičar, kako ga je opisao Anri Lefevr, mora da se osloni na iskustva sopstvenih ritmova. Ukoliko Nemanju Nikolića posmatramo kao specifičan tip ritamanalitičara, bar kada proizvodi slike u kojima vrši remedijaciju igranih filmova u odnosu na njihovu ritmičku strukturu, onda se svaki od tih njegovih radova mora sagledati kao sažimanje tri ritmičke strukture u jedinstveni vizuelni iskaz koji je idiomatičan za medij koji za to koristi. To znači da su ritmovi koje on otkriva u tim filmovima sažeti sa ritmovima njegovog gledanja tih filmova i ritmovima obrazovanja slikanih površina tokom procesa njihove produkcije. Ritmička struktura filmskog sadržaja nije prosto pomerena u medij slikarstva, sa svim njegovim specifičnim karakteristikama, već je takođe na tom putu subjektivizovana. Sagledani na takav način, ovi slikarski radovi se ukazuju kao veoma subjektivni i pojedinačni, pošto proizilaze iz veoma ličnog iskustva, ali su takođe skoro univerzalno čitljivi na nivou ekspresije, obzirom na njihovu upotrebu konvencionalnih slikarskih kodova. Po Lefevrovoj teoriji, da bi se omogućila takva impregnacija objektivnih značenjskih struktura subjektivnim iskustvima, tokom procesa transponovanja filmskih u slikarske ritmove, ne može se prosto osloniti na subjektivno analitičko prosuđivanje osobina nekog specifičnog ritma, nego je „nužno postati zahvaćen njime“. To znači da „se mora prepustiti, predati, napustiti sám sebe u tom vremenu“, ali uvek sa svešću da „će stvarno razumeti značenja i veze jedino ukoliko dođe do toga da ih sám proizvede“. Stoga, da bi se stvarno razumelo neko filmsko delo, nije dovoljno da ga čulno iskusimo i kognitivno zahvatimo, pa čak ni da ga podvrgnemo formalnoj analizi, već je nužno da napravimo prelaz sa toga što je Rolan Bart zvao čitalački u pisački modus njegovog sagledavanja, da bi u potpunosti subjektivizovali ritmičko ustrojstvo njegovog narativnog sadržaja, da bi ga reartikulisali i komunicirali putem neke lične ekspresije. Mora se ući u specifični set koji se konstruiše putem tog filma, i čak se potpuno izgubiti u njemu, ali sa punom svešću da se nakon povratka mora ispričati priča o tom iskustvu. Za umetnika, to znači krekovanje koda, prisvajanje ritmičke strukture i njegovo replikovanje, uz izbegavanje svih onih elemenata koji nisu suštinski, da bi se kao rezultat proizvelo nešto pojavno potpuno drugačije. Za slikara to znači da se nađe način da se eliminišu sve medijski specifične karakteristike koje oblikuju te ritmičke strukture, da bi se izvršila njihova remedijacija, držeći se toga što je Žorž Brak imenovao kao zadatak slikara, a to je da „konstituiše piktoralni događaj“. (...)

Iz teksta o izložbi „Remedijacija filmskih ritmova“, Stevan Vuković

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Nemanja Nikolić (rođen 1987. godine) je diplomirao na Fakultetu likovnih umetnosti u Beogradu, na slikarskom odseku, gde trenutno završava doktorski projekat. Od 2007. godine ima redovnu izlagačku aktivnost u zemlji i inostranstvu. Dobitnik je više nagrada, kao što su Nagrada za crtež iz Fonda Vladimir Veličković, specijalna otkupna nagrada za mural i zidnu instalaciju Rajfajzen banke i galerije 12HUB i Nagrada za inovaciju iz Fonda Miloš Bajić. Njegovi radovi se nalaze u brojnim privatnim i javnim kolekcijama, kao što je ABN AMRO kolekcija u Amsterdamu, Lukas muzej narativne umetnosti u Los Anđelesu, WAP fondacija u Seulu, Ekard kolekcija u Hagu, Kolekcija oktobarskog salona (Kulturni centar Beograda), Telenor kolekcija u Beogradu, kolekcija centra za likovno obrazovanje Šumatovačka itd. Nemanja je inicijator nastanka Umetničkog prostora U10. Živi i radi u Beogradu.

nemanjanikolic.com

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The exhibition "Vanishing Fiction" will feature a series of paintings created over the past year. New works relate to previous projects in which Nemanja Nikolić refers to abstract and minimal art, film, to the artistic practice of modernism, but also to the avant-garde of Yugoslav artists with a focus on experimental research in the field of moving images.

(...) In order to fully grasp rhythms outside of his body, the rhythmanalyst, as he was described by Henri Lefebvre, has to rely on the experiences of his own rhythms. If we take Nemanja Nikolić to be a specific type of rhythmanalyst, at least when producing paintings in which he remediates feature films in respect of their rhythmic structure, then each of his works has to be seen as a condensation of three rhythmic structures into a single visual statement idiomatic to the media he uses for that. That means that the rhythms he discloses in those films are condensed with his own rhythms of watching them, and the rhythms of his construction of painted surfaces during the process of their production. The rhythmic structure of the filmic content is not simply displaced into the medium of painting, with all its specific features, but also subjectivized on the way. Seen in that way, these painterly works appear to be at the same time quite subjective and particular, since they were resourcing in very personal experiences, but also almost universally readable on the level of expression, due to their use of conventional pectoral codes. According to Lefebvre’s theory, to make possible that kind of impregnation of the objective signifying structures with subjective experiences during the process of transposing the filmic into painterly rhythms, one cannot rely solely on the subjective analytic reasoning of the characteristics of a specific rhythm, but “it is necessary to have been grasped by it”. That means that “one must let oneself go, give oneself over, abandon oneself to its duration”, but always bearing in mind that “one only really understands the meanings and connections when one comes to produce them”. So even in order to really understand a cinematic work, it is not enough to sensory experience it and cognitively grasp it, not even to convey a formal analysis of it, but one has to make a shift from what Roland Barthes has called the readerly to the writerly mode of viewing it, by fully subjectivizing the rhythmical rendering of its narrative content, in order to rearticulate it and communicate it via some personal expression. One has to enter that specific world constructed by the film, and even become entirely lost in it, but with full awareness that one has to tell the story of that experience upon return. For an artist, that means also to crack the code, appropriate the rhythmic structure, and replicate it avoiding all those elements which are not substantial, producing as a result something phenomenologically totally different. For a painter, that means also to find a way how to eliminate all media-specific features that shape those rhythmic structures, and to remediate them, sticking to what Georges Braque named as painter’s task, to “constitute a pictorial event”. (...)

From the text about exhibition "Films' Rhythms Remediated", Stevan Vuković

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Nemanja Nikolić (born 1987) graduated from the Faculty of Fine Arts in Belgrade in 2010, department of Painting. Currently a student of doctoral art studies at same faculty. Since 2007 his works was exhibited on numerous solo and group exhibitions in Serbia and abroad. He has won several awards, such as Award for drawing from Vladimir Veličković Fund, special award for mural and wall installation from Raiffeisen Bank and Gallery 12HUB and Award for an exceptional creative innovation from Miloš Bajić Fund. His works featured in many private and public collections including ABN AMRO collection in Amsterdam, The Lucas Museum of Narrative Art in Los Angeles, WAP Foundation in Seoul, The Ekard Collection in Hague, Telenor Collection in Belgrade, Collection of October Salon (Cultural Center of Belgrade), etc. Nemanja Nikolić is initiator of Belgrade based U10 Art Space. Lives and works in Belgrade.

nemanjanikolic.com

Venue

U10