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The Pictorial offering aka Das bildliche Opfer

by Nikola Šuica

“Everything has disappeared; only a mass of materials from which new forms will be built remains… Until now, we had the realism of the object, but not painted formations of colors. Each form is free and individual. Each form is the world.”
Kazimir Malevich, Moscow, 1915

A visual society is permeated by demanding information systems. Visible sensations permeate all types of communication in a fluctuating civilization, and seem to be challenging the millennial dominance of word over image. However, this is not a tested and undisputable shift. Seeking insight into the areas of the discrete and hidden still survives in the sphere of art, as a retreat from the consumer-centered, overwhelming and simplified visual dominance. Expansive presentations and transferring of images, through any type of visible publication and form of use, have reached conventional offers and an epidemic indifference. This is also the case with liberal, democratically secured, as well as transitional and totalitarian societies in the unfolding 21st century.

The Hegelian creation of the philosophy of history and the formation of personal artistic vision do not resemble a competition in systematization, or in comprehensiveness. It seems that Hegel’s path towards the materialization of politics and spirit came to a halt in unusual creative areas, the visibility of representation and visual processing. However, the methodical layering of contemporary life in modern culture could not be in any way imagined without the solitary art constructors, liberated researchers such as Duchamp and Rothko, altogether different than anyone else, except in purposeful quest for the spirit of secrets, the apparent absence of world affairs, through the vibrancy of emotions in their various endeavors of reaching the unreachable.

The period established in arts after postmodernism has often become a dynamic unloading of casual games in ideology, ethics, identities and society. Principles of creative freedoms had rarely before, as in the second decade of this century, entered the spectrum of constructed and categorized object properties. Their free fluctuation and exchange are an obvious tendency of cyclical repetitions and morphing variants.

On the other hand, the apparent intrusiveness of the masses, and superficial uniformity, suppress or impede sensitive approaches to understanding, as well as cognitive experiences, both of the observers, and the creators.

The ancient custom of creating images, more than thirty thousand years old, has acquired its anthropological interaction with various types of drawing and painting of dramatic sequences of serial imprints. The human species has recessed into obsessive oscillations of visual design since its ritual, craft and workshop principles in the creation of art. Right in the period of the awaited entering into a new era, in the 1990s, the French philosopher Jacques Derrida holds an exhibition at the Louvre, Memoirs of the Blind,[1] where, in the museum’s selection of drawings and prints, the notion of people affected by blindness or loss of visionis emphasized; a personality or an individual in a narrative who does not notice things, becomes blind and,in accordance with his understanding of difference, attains a rooted, memorized meditation. The timing of the exhibition and the publication of Derrida’s essay serves as testimony to the geopolitical fracture of the temporal threshold of change: understanding of “new world order,” global trade agreements, the beginning of the IT revolution of the PC, as well as tribal warfare and genocide in African territories and the misery of a once colonized and undermined world below the equator. The political consolidation of the decomposition of the Soviet empire was in full force at the time, along with a host of Western parliamentary crises, the fall of the Berlin Wall and the reunification of Germany, and, above all, regarding the Balkans, the bloody collapse of the Yugoslav federation. One of the planet’s stormiest periods of trials and tribulations, of involuntarily invisible, automated, ideologically blind and explosively executed multi-reality. The exhibition of Western art of drawing from the rich museum collections presented an abundance of examples, from the Renaissance to Symbolist sketches and detailed drawingsof devotional, mythological, often supernatural excesses and tragedies. The topic of “blinding”and the tragic tales of the human race has been demonstrated in the thesis of the Italian and northern masters, from Rembrandt and JL David, to Odilon Redon. The act of drawing, for Derrida,r epresents a special kind blindness, and the replacement of reality with a void between the memorized and the transmitted, as well as the desired and expected, from the perspective of the observer.

In particular reflective artistic settings, it would be revealed that the discovery of a universe of artistic style, and similar, unpredictable, or vast planes, brings up a confrontation with the paradoxes of fear, enjoyment, satisfaction, as well as captivating tensions and authorial responsibilities.

The origin and instigation of these images reaches uneasy entanglements and complex directions of invisible or undetectable associations.The resonant direction of artistic quest which Goran Juresa, in Novi Sad, puts into creating his visual compositions, follows an imposed structural experiment. Although such reflexivity comes from the experience of creation that occurs in our time after the experience of the media, the applied lines, dimensions and implied forms are subjected to the dynamics of the depths of plunging into contradictory knowledge of topics and causalities. Replacing the lines of the drawing, their multitude, with all the shapes and representations of the world are a substitute for verbal confession, chronicle or testimony.

Deviations from observing the world, from the self-centered parochial and Western viewpoint, brings sensual discomfort. The distance between memorized events, transmitted knowledge and fascinations, through the artist’s rules of experience and susceptibility to play, has been given to sensitive thematic experiences: rule, plunder, self-promotion and subjugation of others and the different, amassing loot, recognition in reward, fame, sensual love and, ultimately, the metaphor of the sweet triumph of the taste of chocolate. The instance of minimum harmony travels a long authorial path of transformation, and the focus on the Third World, in the authorial horizon, has been processed in the imperial kitchens of Europe. Hence, even in artistic maturity, this type of eccentric mental and cognitive overlap in thematic choices and references reveals a disciplined indulgence in self-analysis, from children’s day-dreams, to excessive details. From manifestations, equilibrium and introducing fine visual text and layering, to the balance of visual drama, scene by scene, and from one variation and identification to lyrically elevated expressions of temperament.

Similar to this is the basis of defining the point between a real issue and invention as aprocess of creative freedom. The baseis inhabited by the elaboration of the author’s presencein opposition to the world of objects and events. The road of entering a painting, drawing or the image deployment of a collage, for the phases of Goran Jureša, representsthe marking of a path and a play with one’s own physical act.

Creating a painting in given circumstances, and the surrounding changes, since Plato, through to the painting-illusion of our time, haspersistently been bound with a segment of reality. The Greek word eco, introduced by the German naturalist Ernst Haeckel in eco-logy is equally related to the establishment of ecologos oreconomics – aprocess that can be adapted to a wider understanding of observation: of the surrounding flora and fauna, and, it would be revealed, of the atrocities in social relations.

Since the end of the 1970s, Susan Sontag, in her examination of the development of properties of the medium of photography, offered a crucial diagnosis on substituting the real world with the world of the image. Similarly, on the equalization, or, conversely, distinguishing the image from its phenomenon.[2]  The capacity of the image to disrupt or usurp reality, following the silver nitrate trail throughout the history of the photographic medium, would also reveal the survival of the most banal and ubiquitous evidence of recordings from the world stage, as it is, in all its phases of change.

Unlike depersonalization in photography, the unexpected positions of painting in culture hinder comparability, but bring in textures of the ecology of the system of images, as well, this mode of examination, which, in painting, grows into an authorial operating system of the science of life and a procedural adaptation of reality around us, as it really physically exists.

The understanding and acceptance of the space of experience within the range of works of art refers to situations, characters, and the language of expression of the presenters, themselves. Dynamics, similar to narration, or words, close to proclamations and evidence, is appropriated by easy and simple comprehensions. Changes in the human species regarding knowledge, beliefs and utilization are generalized images of the surrounding world. A visual polyphony of painted life matter, as well as life opportunities, sometimes eludes static definitions of frozen moments. Forms of reality and its changes, this narrative need for refuge and conquering, would be revealed as sublimation for most of the opus and the stabilized dynamic explosiveness which the paintings and drawings of Goran Juresa exhibit in many years of persistent work. For paintings are surfaces with meaning.

The civilizational supremacy of the word over the image, only in the time of micro measurements in pixels, had begun as a coded battle with the universe of comprehensible energy of human perception. The reconstruction of something from before, or from who-knows-when, and who-knows-where, consistently appears as an open route to knowledge. The process is made from tracing crossed, broken, vanquished, demolished, as well as new frontiers. It is possible that for these reasons, the painter’s compositional themes, notes, references and metamorphosis take into account the effect of all kinds of elements, features that exist from day to day, apart from any actual referential representation.

These are the battles in the artist’s process to highlight the remains of ideals and associations as results of lost and hopeless situations.



[1]Jacques Derrida:  Mémoires d’aveugle: l’autoportrait et autres ruines, Musée du Louvre, Paris: 26 October, 1990 – 21 January 1991.

[2]Susan Sontag, Eseji o fotografiji/On Photography, Radionica SIC, Belgrade1982.


 

Ursprung des Trauerbild

Creating a painting is an excess of freedom. Post-war existential agony brought resignation which conditioned creativity according to the dictate of random procedurality. These performance principles in visual arts, probably resulting from the motoricof surrealist automatism, introduced final products as parts of mental acts. Action mapping and painting, coloring, dripping and scribbling, sudden and impulsive patterns, became logical and artistic coherence. The medium of freely performed deconstruction is inseparable from the schools of artistic liberation and feverish pursuits in painting, the now unavoidable phenomena in the museums of Europe (Dubuffet, Mathieu, Wols, Burri), as well as America (Gorky, De Kooning, Frankenthaler, Gotlieb, Pollock). Such processes of artistic creation and different interpretations of their objective content could open up, in the diversity of expression, interpretations for psychological and motivational understanding.

It is possible that with shifts from figurative presences, from visual themes of visibility of the environment, landscape, plan, or human revelations, a sort of interpretation of the process of creating an action input could emerge, and the existential dynamics of creating a scene as an arena. In his operating principles towards the overlapping of painting materials in tone and by surface, Mark Rothko exhibited a very consistent method of layering color in shape of the direction of opening new outcomes. It is evident that the concentration of a romantic version of ecstasy appeared in his technique of layering,up to the threshold of making the invisible visible, causing a gradual revolution in perception.[1]In functions and meanings of the material world, the declaration of human presence, that figurative-portrait entity, has been viewed as the main determinant and phantasm of hidden content, from the individual texts of visual arts to the broader world of culture, and back, with ample semantic baggage and spontaneous, affectively inserted content. Works of art are not a mere formation of analogies.Creating intuitive emotional forms within vibrant scenes of object manipulation and shiftslikely suggest a certain obsession and awareness of a not at all harmless world of social relations. Paintings can, paradoxically, become more real than any reality upon which they are made. Is color density or a compressed emerging visibility of form another name for beauty or truth?

A fragmented insight into the process of Goran Jureša contains contours, remains of shapes, and some visible traces of anthropological findings. The decomposition process is evident. Color sections and passages, serial incidents of intimate visions of activities, realistic plans and fantasy,they string along, ending with entertaining relationships. The series of paintings entitled Wolfgang, created in the first half of the decade, mostly from 2003 to 2008, introduced the experience of the offensive and the particularly unusual. Mozart’s correspondence with his father Leopold, or descriptions that this unique prodigy had with his wife Constanza, were transferred from fragmented epistolary chronicles, along with jovial sighs, linguistic scatological fantasies of creation, as well as verbally disrespectful descriptions of excrement. This is also the starting point for all that would later follow with the sensory impact of the effectively sweet Austrian confectionary recipe for Mozartkugeln chocolate nougat balls with pistachio and marzipan, which grew into a global brand of attractive consumer desires.[2]

The same is true for the sentence in the title of the paintingErzlümmel[3]and equally for the works that unite the Wolfgang series, with ripped, fragmented and quirkily entertaining excesses from Mozart’s correspondence and titles of paintings, such asGroster Schroll get das moll, Without hardness or Why don’t I have three heads.

Culturologically speaking, within the context of European Enlightenment, dealing with the historical, even artistic and transcendental phenomena of a prodigy, as well as an absolutely supreme traveler into the internal dimensions of musical harmony of classicism, the painter choses his first childhood name as title.[4]

It must be this entertainingly obscene narrative from the letters, processed as bizarre legacy of the astonishing formative proceedings of the composer,himself, which paved the way towards a sweet and minuet-like seductive implementation of a lamenting and unflinchingdeep parallelof experiencing the world.

Works focused on portrait, gesture and the spoken word possibly invoke their own circularity and reveal a self-conscious quest for multilayered meanings of artistic freedom, liberation from constraints and childish offenses. Mozart’s writings are also scandalized evidence of the psychological effectof a youthful character and focus on details which, in an analytical experiment, can be found in the musical alphabet of individual citations, personal paraphrases and closed plays, in theworld of the very essence of musical form. The Wolfgang series brings, along with chromatic gestures, sharp sections of color, and individual sentences which,through the destruction of the expectation offaces and bodies, express a dilapidated dissolution of any personality and where the nature of human virtues and volcanic passions is visually dynamized.

Necessarily visible in the lines and passages of this series is the trace of halted action of the painter’s mobility. “As Paul Klee reminds us, movement is of essential importancein graphic gesture, and thedrawing is only a subsequent consequence. Thus it stands opposite to the gesture of writing and painting. The gesture of writing must actually master graphic convention of the sign that conveys thought; the gesture of painting obtains its effect through the purpose of compliance with the pictorial plan; the gesture of drawing, itself, achieved instantly, without the possibility of repetition, does not draw its uniqueness from anything else other than the ability of the hand to allow connection with the movement that is being executed. The line tells us more about the movement than any other form of tracing. (…) The first difficulty we face (….) refers to the ephemeral character of the gesture. Is it not that which diesin order for the trace to survive?”[5]

The parallel and persistent versions of dealing with monuments in all media, with researched areas and discovered directions, serve as testimony to how much the surface of painted traces, carved and inscribed visibilitieshad changed. The works of Goran Jureša, with shifted, opposite senses of arch-words or arch-images, reveal the psychology of an individual intense style in the art of drawing, painting and transformation. Fragmentation of images and words is again found in the constructs of collages, creating an insightful and open momentum of volition in his procedure, as well as in the reach of his art. It is about locating the understanding of changes in human movement in the past.

An organic, internal anatomy of historical presence in the painting is the objectification of mental processes, speech and genetic understanding of the nature of human expression, presumably laughter, anger or motivation, as well as creating a new set of causal questions. Causal explanations of behavioral phenomena are also the opening of a catalog of causes and selected figures from the European tradition of classifying ethics of action.

A loose and proportional encircling structure in the works emanates from the set posture of the body and the function of the dominant human head derived from the portrait in space.

Through a linear and visually variously treated amount of strokes and actions, there is a discernableand core orientation towards the investigation of liberated human weight, this disembodied or, through urges and expressions, invoked identification. Starting with Mozart and questions of disembodiment, strong demarcations and contrasts will also permeatethe subsequent series of drawings, paintings and collages, which, from 2008 until 2014, include schools of portrait and human agglomeration of being thrown into space. Theses for a common denominator can be found in the introductions of visual traces, incisions, rubbing, chromatic and linear overlaps and, in general, invisceral outbursts of the ethereal painting material in a dynamic scene.

Presumably, the basic setting is a careful and initial concentration of processes: it is possible that such physiological and anatomical degradation of physicality serves as an alimentary canal of the human species, through intake, digestion, processing and transformation. The material history of the world –the accumulation of traces, statements and opinions which follows a ceremonial portrait would be revealed as a distracted and melancholy confrontation with human will and decisions as memorials of dishonor. Navigation and sailing, this productive path of discovery and utilization of the New World, had been carried out by setting sail of the painter’s working process, itself, as well as through observing new opportunities and satisfying appetites. The gradation and intensity of the visual material, its physical properties and indirect meanings undeniably invoke an adventure of longing and desire for transcendence within mythical roots enveloped in memory. Circumstancesthat are evidence of human inadequacy and depths of cruelty open up as an appetite for deep interplay between finality and eschatology, andthe real unfolding of history within secular struggles for political power. The royal supreme legislative and devout beingwould reveal itself through a central speculative construction of figurative traces in the paintingsof Goran Jureša. The spread of visual material in the compositions is free of structural components and compounds. The presence of the head as a starting point and the sacrosanct European past reaches a ‘satanic zone’ of sovereignty, which Walter Benjamin recognized in trauerspiel, or the German tragedy, a folk heritage, which, from early Baroque determined the anthropological fate of Western self-consciousness.



[1]The position of Rothko and careful concentration towards painted vision is evidence of an influential, trans-historical interpretation of the craft of painting. It is about the announcement of change in representation as a romantic impulse – Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko, Thames & Hudson, London and New York 1975.

[2]On the indicator and status of “Mozart balls” in the collection of stories: Mileta Prodanović: Putopisi po slikama i etiketama: Jedanaest lakih komada / Travels through pictures and labels: Eleven Easy Pieces, Matica Srpska, Novi Sad 1993.

[3]These are Mozart’s small organ pieces.

[4]Originating on the trail of a manuscript search through infantile outbursts and unexpectedness. In the artworkwith characterizations of drawings and paintings from the eponymous series. The procedure differs from the scoring of the film adaptation of Peter Schafer’s playthat, for its title and moment of conflict, takes on Wofgang’s middle name Gottlieb, i.e. the italianized Amadeus or “One Loved by God,” which is not Mozart, himself, but the main character, his envious rival from the time of Joseph II, the Viennese composer Antonio Salieri.

[5]Serž Tiseron: Naum crteža – grafički gest i žalovanje, Gradac no. 160-161, theme: Melanholija/ Melancholia, Dom kulture Čačak 2007, pp.184-193.