tag:blogger.com,1999:blog-84941518564342485552024-03-04T20:40:05.651-08:00Stjepan Gračan - suvremena skulptura (Contemporary Sculpture)Online exhibition of Stjepan Gracan contemporary sculpture.Mirsad Todorovachttp://www.blogger.com/profile/16481738092879336960noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8494151856434248555.post-42011179251802261692014-12-04T06:27:00.000-08:002015-09-10T04:05:12.806-07:00Monografija<div style="box-shadow: 10px 10px 5px #888888; border: 1px solid; background-color: #fdfaf5;">
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<h3>ZDENKO RUS: STJEPAN GRAČAN</h3>
IZD: <br />
GALERIJA LIKOVNIH UMJETNOSTI, OSIJEK;<br />
AKADEMIJA LIKOVNIH UMJETNOSTI, ZAGREB, 2014.
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<tr><td><h3>KOMENTAR</h3>
<strong>Magazin KONTURA br. 126<br />
listopad 2014.<br />
str. 74-75</strong></td></tr>
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<td><h3>BEBE I ODOJCI</h3>
Piše: <strong>Enes Quien</strong><br />
Rus primjećuje da Gračan nije apologet „estetike odvratnosti" već da je njegov problem etički, a ne estetički. Gračana zanima stanje čovjeka i čovječanstva, ljudska tragičnost, a ne tjeranje nekog trendovskog „novoestetskog" aksioma o estetici ružnog i odvratnog.
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<strong>UGLEDNI KIPAR STJEPAN GRAČAN</strong>, profesor emeritus Akademije likovnih umjetnosti Sveučilišta u Zagrebu, nije mogao dobiti boljega tumača svojega opusa i života, pisca monografije, od jednog od najboljih hrvatskih živućih likovnih kritičara i povjesničara umjetnosti, gospodina Zdenka Rusa. Rus i Gračan su vršnjaci. Rus prati Gračanov rad od početka, čak su studirali povijest umjetnosti zajedno, da bi kasnije, kada je počela djelovati grupa Biafra, koju su osnovali kipari Stjepan Gračan, Miro Vučo i Ratko Petrić, bio njihovim pozitivno nastrojenim kritičarom, za razliku nekih drugih, koji Biafru zbog raznih razloga nisu nimalo cijenili, naprotiv, okomili su se negativno pišući o njoj (Šimat Banov, Maković, Maleković, Gudač). Rus je velik i iskusan znalac i istraživač, minuciozni i tankoćutni pisac koji dubinski ulazi u materiju, i, izbjegavajući kronološki ili opći diskurs uobičajen u pisanju monografija, razvija bolju metodologiju: ulazi in medias res u meritum stvari, i kontekstualizirajući ga u prostor i vrijeme, briljantno analizira uzroke i posljedice, te smisao nastanka i postojanja određenog tipa umjetnosti o kojoj piše. To je učinio sa slikarskim opusom nedavno preminuloga Borisa Demura i sada, s kiparstvom i ličnošću Stjepana Gračana.
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Užitak je čitati tekstove gospodina Rusa, pa tako i ovaj u Gračanovoj monografiji. Veliki je znalac, erudit, i sjajan pisac. Osim analitičkog teksta, Rus je napisao Gračanov životopis, godinu po godinu, s obiljem informacija iz života i rada kipara Gračana, otkrivši sve o ovome čovjeku i umjetniku. Otkrio je početke kipareve, i radove za koje i oni koji poznaju Gračanov opus, nisu znali. Još za studija povijesti umjetnosti, Gračan radi organičke, bijele skulpture, čistih oblika, pod utjecajem Konstantina Brancusija i Jeana (Hansa) Arpa. Također, izradio je i niz kolaža, potpuno samosvojnih, na tragu prve hrvatske neoavangarde, posve apstraktnih. Po upisu Akademije okreće se figuraciji u doba prevlasti apstrakcije i konceptuale. Oduševljava se pop-artom i u njemu vidi spas za umjetnost, za razliku od mnogih drugih stručnjaka, povjesničara umjetnosti. Kada osniva grupu Biafra, nazvanu po krilu zgrade studentskog doma kod Meštrovićevog paviljona, u kojoj su stvorili prvi radni prostor i priredili prvu izložbu 1970, inzistira na figuraciji, ne bi li izravno progovarali (on i njegovi istomišljenici, biafranci) o čovjeku, svakodnevnom anonimnom čovjeku, ali u Gračanovom slučaju posebno, čovjeku - žrtvi svijeta u kojemu obitava. Daleko bi nas odvelo pisti o Biafri i biafrancima, o tome se ionako dosta zna, pa ćemo samo spomenuti da su priredili 15 izložaba u osam godina trajanja grupe (1970. -1978.). Važna je stvar da su prvi izašli sa skulpturama (i slikama: Atač, Rudi Labaš, Tanay, Jakelić, Jobo...) u vanjski prostor, na otvoreno, među ljude. Jančić i Petrić prvi su i najvrsniji popartisti, a oni te Gračan i Vučo pod izravnim su utjecajem velikih njujorških popartističkih kipara Georga Seagala i Edwarda Kienholza.</p>
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Rus prvo objašnjava međunarodni fenomen, pojavu nove figuracije, u Parizu, kada 1959. Kritičar Jean-Louis Ferrier vodi kampanju za novu figuraciju i kada se održavaju mnoge izložbe pod tom sintagmom. Izlažu Appel, Bacon, Corneille, Dubuffet, Giacometti, Jorn, Lapoujade, Maryan, Saura, de Stael. Kritičar Michel ragon postavlje izložbu Nova figuracija 2. Nastavilo se kroz šezdesete godine s raznim prijedlozima poput
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„narativne figuracije" (Gerald Gassiot-Talabot), „figurativna apstrakcija" (Michel Ragon), itd. To je konkretan kontekstualni europski okvir figurativne umjetnosti kojoj su se u Hrvatskoj priklonili biafranci, uz spomenuti izrazito jak utjecaj pop-arta. Prva generacija biafranaca: Branko Bunić, Ratko Petrić, Stjepan Gračan, Miro Vuco te pozvani član za prvu izložbu, Izet Đuzel, oduševljeno prihvaćaju ideju o figurativnoj umjetnosti okrenutoj čovjeku i za čovjeka. Izlažu na neuglednim, perifernim, pustim mjestima, parkićima, haustorima i si.</p>
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Gračan je razvio kiparenje ljudskih figura uništenih egzistencija, izgubljenih i usamljenih u prostoru i vremenu, jadnike, žrtve, gubitnike. To su ljudi-zombiji, živi mrtvaci, sjajno izvedeni u tehnikama kojima Gračan suvereno vlada: poliesteru, poliuretanu, čak i gumi. Imaju bizaran izgled, ali neposredno i efektno ostavljaju učinak na promatrača. Kasnije su figure postale čiste groteske: naredale su se figure zgrčenih i spaljenih beba i svinja, za koje bih osobno rekao da mnogo više duguju pepelom prekrivenim jadnicima u Pompejima koje je žive spalila vulkanska lava provalom Vezuva 69. godine nego modelima Seagala ili Kienholza. Nije nevažan ni utjecaj profesora s Akademije Valerija Michielija, majstora raspadajućih ljudeskara egzistencijalističke tragike. Gračan izvodi Princa karnevala, maske i ciklus Poslije svega. Saznanjem da su ljudi i svinje identične DNK strukture, stvara pougljenjene figure beba i odojaka, s gotovo frivolno-morbidnim predznakom. No, Rus ispravno primjećuje da Gračan nije apologet „estetike odvratnosti" (koju sam pripisivao Gračanu u svojim tekstovima) već daje njegov problem etički, a ne estetički. Slažemo se s tom postavkom, jer Gračana zanima stanje čovjeka i čovječanstva, ljudska tragičnost, a ne tjeranje nekog trendovskog „novoestetskog" aksioma o estetici ružnog i odvratnog. Došli su i klonovi na red, pa su ružičaste bebe završile u vrećama, što osnažuje ideju o umjetnikovim preokupacijama što je danas čovjek i što znanost s čovjekom može napraviti u ime „napretka", pitajući se opet o etičkim normama svih aspekata ljudskosti. U vrijeme nihilizma sve je moguće, ljudi postaju sjene. Otuđenici. Gračan je ostavio i niz crteža koji opsesivno istražuju bit i sudbinu čovjekovu, pa su izrazito ekspresionistički, kao što su mu ostalom, u krajnjoj instanci, i većina skulptura.</p>
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Kako je to uobičajeno u monografijama, na kraju se nalazi popis samostalnih izložaba, važnijih skupnih izložaba, nagrade, popis po godinama postavljanja javnih spomenika (Vladimiru Nazoru u Zagrebu, 1972.; druga varijanta spomenika Vladimiru Nazoru u Petrovaradinu, 1973.; Augustu Cesarcu i Vladimiru Nazoru u Osijeku i Vinkovcima, 1974.; spomenik žrtvama fašizma u Zatonu kraj Zadra, 1979.; Đuri Đakoviću u Slavonskom Brodu, 1980.; spomenik Gradišćanska majka u Velikom Borištofu i Velika žaba u Zagrebu, 1984.; skulptura Ivan Krstitelj u Zadru, 1986.; spomenik Mariji Jurić Zagorki u Zagrebu, 1990.; skulpturalna skupina Zabinjak (spomenik žabama) u Zagrebu, 2000.; spomenik Kumica u Zagrebu na tržnici Dolac, 2006.; spomenik žabi u Karlovcu, 2008. i spomenik papi Ivanu Pavlu II. u Vrbovcu), katalog reprodukcija (104) te izbor iz bibliografije (od 1968. do danas). ■
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Mirsad Todorovachttp://www.blogger.com/profile/16481738092879336960noreply@blogger.com0tag:blogger.com,1999:blog-8494151856434248555.post-15891585226863757782014-06-18T04:09:00.000-07:002015-09-10T04:06:25.851-07:00Stjepan Gračan - suvremena skulptura (Contemporary Sculpture)<div style="background-color: #fdfaeb; box-shadow: 10px 10px 5px #888888; border: 1px solid;">
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<td><h2>O autoru</h2>
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Rodio se 1941. u Prugovcu (Podravina). Nakon prekinutog studija na Filozofskom fakultetu u Zagrebu (1961-1963) uspio je upisati Akademiju likovnih umjetnosti, smjer kiparstva. Diplomirao je 1968. u klasi prof. A. Augustinčića, te postdiplomski studij 1969. Od 1969-1971. suradnik je Majstorske radionice A. Augustinčića. Suosnivač je i član grupe Biafra (1970-1978). Od 1988. profesor je na Akademiji likovnih umjetnosti u Zagrebu.</td></tr></table>
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<td rowspan="2" valign="bottom"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ejSFarCRj7Jk7nwB_oLoVLsYbwFAMxCq10Y-FZaukIHtwefW0e590_PflUBuLRAgTmoyTYXlxo7yVYD1W_aasZCmD2UgTiMqjXbQbaO4Ar0LYGTVQxut7Np_Iu2uATa2Ks7AdcJOeps/s1600/StjepanGracan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ejSFarCRj7Jk7nwB_oLoVLsYbwFAMxCq10Y-FZaukIHtwefW0e590_PflUBuLRAgTmoyTYXlxo7yVYD1W_aasZCmD2UgTiMqjXbQbaO4Ar0LYGTVQxut7Np_Iu2uATa2Ks7AdcJOeps/s1600/StjepanGracan.jpg" height="320" width="198" /></a>
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<td><h2>Author's biography</h2>
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Stjepan Gračan was born in 1941 in Prugovac in Podravina, a region in Croatia. After breaking his studies in the Faculty of Philosophy in Zagreb (1961-1963), he enrolled in the sculpting section of the Fine Arts Academy. He finished the course in the class of Antun Augustinčić, and did postgraduate studies in 1969. From 1969-1971 he was an associate of the master class of Antun Augustinčić. He was cofounder and member of the Biafra Group. Since 1988 he has been a professor at the Fine Arts Academy in Zagreb.</td></tr></table>
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<h2>Izbor radova - A selection of sculptures</h2>
<h2>Moderna skulptura</h2>
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47.1. Bez naziva XXV, 1976.<br />
paljeni poliester; vis. 175 cm<br />
Moderna galerija, Zagreb<br />
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32. Bez naziva XII, 1972.<br />
poliester, paljena ugljena prašina;<br />
vis. 70 cm<br />
Moderna galerija, Zagreb
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52. Bez naziva XL, 1981.<br />
poliester, boja, drvo; vis. 173 cm
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Europska skulptura</h3>
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43. Bez naziva XIX, 1975.<br />
paljeni poliester; 30 x 63 x 190 cm<br />
Galerija likovnih umjetnosti, Osijek
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92. Poslije svega, 1998<br />
poliuretan, boja; dulj. 64 cm<br />
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Hrvatska skulptura </h3>
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38. Bez naziva XV, 1973.<br />
paljeni poliester; vis. 94 cm<br />
Galerija Zavičajnog muzeja, Rovinj
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50. Bez naziva XXXI, 1977.<br />
poliester, boja; vis. 175 cm<br />
Moderna galerija, Zagreb<br />
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47.1. Bez naziva XXV, 1976.<br />
paljeni poliester; vis. 175 cm<br />
Moderna galerija, Zagreb
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104. Klonklon u vrtu, 2003.<br />
purpen, nitro boja, PVC, drvo;<br />
pojedinačno 75 x 60 x 100 cm
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45. Bez naziva, 1976.<br />
paljeni poliester; dulj. 145 cm<br />
Galerija umjetnina Narodnog muzeja Zadar
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62. Čovjek koji hoda 1, 1982.<br />
poliester, boja; vis. 65 cm
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61. U kutu, 1982.<br />
poliester, boja; vis. 65 cm
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105. Klonklon (Blizanci), 2003.<br />
poliuretan, boja; vis. 45 cm<br />
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30.2. Grupa X-l, 1971.<br />
paljeni poliester, boja; ležeća figura<br />
dulj. 190 cm; sjedeća figura vis. 80 cm<br />
Moderna galerija, Zagreb<br />
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97. Sjećanje na Bélu Hamvasa, 1999.<br />
grupa 7 skulptura<br />
bojena tkanina, spužva, ljepilo;<br />
vis. 120-175 cm
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95.1. Poslije svega (U vrtu). 1998<br />
poliuretan <br />
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95.3. Poslije svega (U vrtu), 1998.<br />
poliuretan <br />
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45. Bez naziva, 1976.<br />
paljeni poliester; dulj. 145 cm<br />
Galerija umjetnina Narodnog muzeja Zadar
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80. Uzašašće, 1992.<br />
kaširani papir, ljepilo, boja; vis. 186 cm
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31. Bez naziva, 1971.<br />
paljeni poliester, boja; dulj. 60 cm<br />
Moderna galerija, Zagreb
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92. Poslije svega, 1998.<br />
poliuretan, boja; dulj. 64 cm
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100.3. Bez naziva (Bez imena), 2001.<br />
poliuretan vis. 170-178 cm<br />
promjenljive dimenzije
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100.2. Bez naziva (Bez imena), 2001.<br />
poliuretan vis. 170-178 cm<br />
promjenljive dimenzije<br />
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98. Početak, 1999.<br />
poliuretan, boja; vis. 175 cm<br />
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100. Bez naziva (Bez imena), 2001.<br />
poliuretan, boja; vis. 170-178 cm<br />
promjenjive dimenzije
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfMSbUhDkeex9Xq9VULMrHR4NNcGax1aSxdMsWbpILgy1mmTVFtZcxEmKvW9Bh7v7YdF6Y9rCGuT3-veT0yZRnH2wskjlx1fBg9U0_fFxJOtu8TN5MRVd0BE4bbFNyhLC_Oa4pYvJ7iqI/s1600/_BAV2319.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfMSbUhDkeex9Xq9VULMrHR4NNcGax1aSxdMsWbpILgy1mmTVFtZcxEmKvW9Bh7v7YdF6Y9rCGuT3-veT0yZRnH2wskjlx1fBg9U0_fFxJOtu8TN5MRVd0BE4bbFNyhLC_Oa4pYvJ7iqI/s1600/_BAV2319.JPG" height="228" width="320" /></a></div>
99. Bez naziva 100, 1994.-2000.<br />
40 skulptura<br />
sadra; promjenjive dimenzije
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Mirsad Todorovachttp://www.blogger.com/profile/16481738092879336960noreply@blogger.com