UMJETNIČKA KOLONIJA - DANILOVGRAD / 2005

Razmatrana u najširem smislu skulptura predstavlja trodimenzionalni objekt koji posjeduje likovna svojstva - likovno obradjena površina, volumen, masa, materija, stvarni i virtuelni prostor. U širem spektru razmišljanja skulptura je objekt, skup objekata, prostorna instalacija objekta ili bilo koji fenomen nastao evolucijom i revolucijom tradicije i discipline skulpture, odnosno odlukom umjetnika da ga tretira kao skulpturu. U svakom slučaju umjetnost skulpture se najčešće odredjuje kao istorija, sistem i praksa umijeća stvaranja trodimenzionalnih oblika.
Istorija klasične, moderne i postmodernističke skulpture pokazuje se kao višeznačan i složen proces. Prethodi joj predistorijska faza u kojoj su neki arheološki, etnološki, ritualni i magijski predmeti prepoznati, objašnjeni, interpretirani i imenovani kao skulptorska djela. Istorija evropske mimetičke skulpture je tradicija kreativnog razvoja od antike do XIX vijeka. Modernističko i postmodernističko poimanje skulpture odnosi se na autonomnu umjetničku disciplinu u kojoj se artikulišu specifična i originalna ontološka i morfološka svojstva skulptorske forme.
Istorijat razvoja savremene crnogorske skulpture može se definisati kao proces dug gotovo čitav vijek u kome je poslije dužeg perioda stagnacije nastao, poslednjih nekoliko decenija, značajan i kreativan skulptorski korpus. Teza o skulpturi crnogorskih prostora kao mediju rodjenom i razvijanom tokom XX vijeka u svakoj stručnoj analizi domicilne umjetničke kulture lako se pobija ako se podsjetimo viševjekovne skulptorske tradicije - praistorija, ilirski i antički period, srednjovjekovno doba, novi vijek od renesanse do baroka. Svjedoče o bogatoj skulptorskoj tradiciji: dekorativna plastika i kipovi antičkih vremena, djelatnost čuvene klesarske radionice Mihe iz Bara cijenjene u zapadnoj
Evropi srednjeg vijeka, skulptura Morače, barokna skulptura Boke Kotorske., i dr.Nagli razvoj skulpture u Crnoj Gori duguje svoju očiglednu ekspanzivnost, prije svega, grupi umjetnika angažovanih u okviru edukativnog procesa nakon osnivanja Fakulteta likovnih umjetnosti u Cetinju na kome je školovano gotovo pet generacija mladih talentovanih skulptora. U vremenu prije i poslije usta¬novljenja visokog školskog sistema likovnog profila, pored hercegnovske i nikšićke umjetničke škole, značajnu ulogu u procesu razvoja autentične sa-vremene skulpture posjeduje Umjetnička kolonija u Danilovgradu - institucija koja je kontinuirano obezbjedjivala i producirala skulptorske aktivnosti. Ideja Umjetničke kolonije o organizaciji izložbe grupe od 20-ak crnogorskih skulptora može se smatrati krajnje interesantnim i izuzetnim kulturnim poduhvatom s obzirom na doista rijetke prilike realizacije sintetičkih sku-Iptorskih izložbenih projekata. Način je to da crnogorska publika i javnost spoznaju mogućnosti jednog neosporno kvalitetnog i značajnog heterogenog skulptorskog potencijala različitih umjetničkih generacija. Njihove autorske poetike apsolutno korenspondiraju sa svim registrovanim tokovima evropske moderne i postmoderne kao višeznačnog i složenog procesa koji se odvija kroz napetosti, suprostavljanja i razvoje sasvim različitog usmjerenja : ka idealu skulpture kao autonomne umjetničke discipline i ka konceptu skulpture kao najšireg domena rada sa fenomenima, značenjima i vrijednostima objekta i prostora.
Završavajući ovaj kratak kataloški komentar - ocjenu personalnih kvaliteta prepustimo ozbiljnoj likovnoj kritici - logičnim i neophodnim čini se mišljenje o danilovgradskom projektu kao takvom koji u budućnosti treba da posjeduje karakter tradicionalnog.

Aleksandar Čilikov

CONTEMPORARY MONTENEGRIN SCULPTURE 2005
ART COLONY - DANILOVGRAD / 2005

Considered in a widest sense sculpture represents a three-dimensional object that possesses figurative properties - figuratively dressed surface, volume, mass, matter, real and virtual space. In a wider spectrum of reflection, sculpture is an object, set of objects, spatial object installation or any other phenomenon emerged through evolution and revolution of tradition and the discipline of sculpture, namely by decision of the artist to treat it as a sculpture. In each case, the art of the sculpture is most often defined as history, system and practice of skillful creation of three-dimensional shapes.
History of classic, modern and post-modern sculpture proves as a multi--significant and complex process. It is preceded by a pre-historian phase during which some archeological, ethnological, ritual and magic subjects were recognized, explained, interpreted and named as sculpture creations. History of European mimetic sculpture is a tradition of creative development from antics until XIX-th century. Modernistic and post-modernistic apprehension of a sculpture refers to the autonomous art discipline in which specific and original ontological and morphological properties of the sculptural form are articulated.
Chronicle of contemporary Montenegrin sculpture development can be defined as a process that lasted for almost entire century during which several last decades a significant and creative sculpture corpus had emerged after a long period of stagnation. Thesis about sculpture of Montenegrin spaces as a media that was born and developed during XX-th century is very easy to disprove in every expert analysis of domicile art culture if we remind of sculpture tradition several centuries long - prehistory, Illyrian and Antic period, medieval era, new era from renaissance until baroque. They witness for rich sculptural tradition: decorative plastics and statues from Antic times, activity of famous carving workshop of Miha from Bar that was very respectable in medieval western Europe, sculptures from Moraca, baroque sculptures from Boka Kotorska,... and other. Rapid development of sculpture in Montenegro owes its obvious expansionism a priori to a group of artists engaged in educative process after the Faculty of fine arts in Cetinje was formed where almost five generations of young talented sculptors were educated. During time before and after the University system of art profile has been established, besides the Art School from Herceg Novi and Niksic, Art Colony in Danilovgrad had a significant role in the process of development of authentic contemporary sculpture - as the institution that had continuity in providing and producing sculptural activities. Idea of Art Colony to organize an exhibition of a group of around 20 Montenegrin sculptors could be regarded as an utterly interesting and extraordinary cultural undertaking considering really rare opportunities for realization of synthetic sculptural exhibition projects. It is a way for Montenegrin audience and public to recognize capabilities of one indisputably excellent and significant heterogeneous sculptural potential of different art generations. Their authorial poetics absolutely correspond with all registered trends of European modern and post-modern as a multi-significant and complex process that unwinds through tensions, conflicts and developments of completely discrepant directions: towards ideal of a sculpture as an autonomous art discipline and towards a concept of a sculpture as the widest domain of work with phenomena, meanings and values of objects and space.
While finishing this brief catalogue commentary - let's leave appraisal of personal qualities to serious art critiques - opinion on this Danilovgrad's project as such that should have a traditional character in future seems logical and necessary.

Aleksandar Čilikov