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U sklopu ciklusa Katamaran Art 2020., u galeriji "Kravata" – Muzeju općine Jelsa, ovoga petka u 21 sat bit će postavljena izložba Nine Ivančić.
Izložba će trajati do 9. kolovoza.

Kustos izložbe Božo Majstorović spominje kako je Nina slike s motivom brodova počela raditi neposredno nakon povratka iz New Yorka, gdje je boravila od 1986. do 1993. godine.

"Budući da su američko razdoblje obilježila platna apstraktne geometrijske morfologije, nameće se zaključak o trenutnom i radikalnom rezu. Identične posljedice isprovocirao je i dolazak u umjetničku metropolu.

Naime, priklon neekspresivnoj 'novoj geometriji' značio je nagli i dosljedni otklon od neoekspresivne 'nove slike'. Preko noći s platna su nestali irealni prizori organičke bujnosti i pikturalne raskoši. Dinamičke kompozicije biomorfnih oblika, koje rukopisna nesputanost i raznolikost istovremeno gradi i razgrađuje, zamijenili su sofisticirani rasteri geometrijskih formi odmjerene dekorativnosti i posve prigušene geste.

Međutim, bez obzira na to je li slikano polje oblikovano po načelu ekspresije ili konstrukcije, ono uvijek manifestira visoku likovnu kulturu autorice. Imajući u vidu upravo to posezanje za različitim oblikovnim načelima, može se postaviti pitanje originalnosti, autentičnosti i individualnosti izraza.

Mimetička redukcija

Ninine slike iz 80-ih svojevrsni su dijalog s tim ultimativnim modernističkim kategorijama. Posvajanjem, parafraziranjem ili simuliranjem stilskih obilježja ekspresionističke ili apstraktne umjetnosti, ona ključne topose visokog modernizma svodi na 'retoričke figure', odnosno kulturalno posredovane konvencije", bilježi Majstorović, napominjući u vezi s aktualnom izložbom kako je "za prikaze konkretnih predmeta europska umjetnost razradila reprezentacijske sheme koje su predstavljačke mogućnosti dovele do savršenstva.

Nasuprot tomu, Nina preuzima, bolje rečeno simulira, način predočavanja karakterističan za tehničku reprezentaciju proizvoda.

Umjesto realističkog prikaza broda u prirodnom ambijentu, kadar ispunjava njegova tamna silueta na neutralnoj svjetlijoj podlozi. Mimetičku redukciju prati redukcija likovnog izraza, čime je nastavljen proces započet na newyorškim platnima.

Monokromatski minimalizam likovnog jezika isisao je iz značenjima bremenitog motiva svaku simboliku. Distancirani izvođački postupak također je u funkciji izbjegavanja literarizacije prizora. Korak dalje u osvještavanju činjenice da slika nije izraz osobnosti ni odraz realnosti dogodio se kada je, ispisivanjem službenog naziva prikazanog broda, ikoničkom znaku na površini platna pridružen jezični ekvivalent."

Inače, Nina Ivančić rođena je u Zagrebu 1953., a diplomirala je slikarstvo u klasi prof. Šime Perića na Akademiji likovnih umjetnosti u Zagrebu 1977. godine.

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U sklopu ciklusa Katamaran Art 2020., u galeriji "Kravata" – Muzeju općine Jelsa, ovoga petka u 21 sat bit će postavljena izložba Nine Ivančić.
Izložba će trajati do 9. kolovoza.

Kustos izložbe Božo Majstorović spominje kako je Nina slike s motivom brodova počela raditi neposredno nakon povratka iz New Yorka, gdje je boravila od 1986. do 1993. godine.

"Budući da su američko razdoblje obilježila platna apstraktne geometrijske morfologije, nameće se zaključak o trenutnom i radikalnom rezu. Identične posljedice isprovocirao je i dolazak u umjetničku metropolu.

Naime, priklon neekspresivnoj 'novoj geometriji' značio je nagli i dosljedni otklon od neoekspresivne 'nove slike'. Preko noći s platna su nestali irealni prizori organičke bujnosti i pikturalne raskoši. Dinamičke kompozicije biomorfnih oblika, koje rukopisna nesputanost i raznolikost istovremeno gradi i razgrađuje, zamijenili su sofisticirani rasteri geometrijskih formi odmjerene dekorativnosti i posve prigušene geste.

Međutim, bez obzira na to je li slikano polje oblikovano po načelu ekspresije ili konstrukcije, ono uvijek manifestira visoku likovnu kulturu autorice. Imajući u vidu upravo to posezanje za različitim oblikovnim načelima, može se postaviti pitanje originalnosti, autentičnosti i individualnosti izraza.

Mimetička redukcija

Ninine slike iz 80-ih svojevrsni su dijalog s tim ultimativnim modernističkim kategorijama. Posvajanjem, parafraziranjem ili simuliranjem stilskih obilježja ekspresionističke ili apstraktne umjetnosti, ona ključne topose visokog modernizma svodi na 'retoričke figure', odnosno kulturalno posredovane konvencije", bilježi Majstorović, napominjući u vezi s aktualnom izložbom kako je "za prikaze konkretnih predmeta europska umjetnost razradila reprezentacijske sheme koje su predstavljačke mogućnosti dovele do savršenstva.

Nasuprot tomu, Nina preuzima, bolje rečeno simulira, način predočavanja karakterističan za tehničku reprezentaciju proizvoda.

Umjesto realističkog prikaza broda u prirodnom ambijentu, kadar ispunjava njegova tamna silueta na neutralnoj svjetlijoj podlozi. Mimetičku redukciju prati redukcija likovnog izraza, čime je nastavljen proces započet na newyorškim platnima.

Monokromatski minimalizam likovnog jezika isisao je iz značenjima bremenitog motiva svaku simboliku. Distancirani izvođački postupak također je u funkciji izbjegavanja literarizacije prizora. Korak dalje u osvještavanju činjenice da slika nije izraz osobnosti ni odraz realnosti dogodio se kada je, ispisivanjem službenog naziva prikazanog broda, ikoničkom znaku na površini platna pridružen jezični ekvivalent."

Inače, Nina Ivančić rođena je u Zagrebu 1953., a diplomirala je slikarstvo u klasi prof. Šime Perića na Akademiji likovnih umjetnosti u Zagrebu 1977. godine.

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Nina Ivančić: 'Gallipoli'

Nina Ivančić: 'Polifemo'

Nina Ivančić: 'Rascona'

Katamaran Art
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SlikarstvoKatamaran Art

‘Brodovi‘ Nine Ivančić u Jelsi

Piše Renato Kragić
17. srpnja 2020. - 11:08
Nina Ivančić: 'Gallipoli'
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Galerija
Nina Ivančić: 'Gallipoli'

U sklopu ciklusa Katamaran Art 2020., u galeriji "Kravata" – Muzeju općine Jelsa, ovoga petka u 21 sat bit će postavljena izložba Nine Ivančić.
Izložba će trajati do 9. kolovoza.

Kustos izložbe Božo Majstorović spominje kako je Nina slike s motivom brodova počela raditi neposredno nakon povratka iz New Yorka, gdje je boravila od 1986. do 1993. godine.

"Budući da su američko razdoblje obilježila platna apstraktne geometrijske morfologije, nameće se zaključak o trenutnom i radikalnom rezu. Identične posljedice isprovocirao je i dolazak u umjetničku metropolu.

Naime, priklon neekspresivnoj 'novoj geometriji' značio je nagli i dosljedni otklon od neoekspresivne 'nove slike'. Preko noći s platna su nestali irealni prizori organičke bujnosti i pikturalne raskoši....

#KATAMARAN ART#NINA IVANČIĆ
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16. svibanj 2024 05:34