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In 1952 by virtue of deed of gift the Meštrović’s donation fund inheritance came into possession of the Republic of Croatia. Two palaces of his donation, as well as the majority of his bestowed work are located in Split - in the city whose most impressive visual entities are undividedly linked with his name. Being established by virtue of deed of gift this institution stores and exhibites his work in the ambience he himself concieved both as the exhibit area, his atelier and family residence and which he eventually donated to us. By the re-affirmation of his name, work and importance through various thematic activities we have been trying to animate the community; to rouse interest, to inspire creativity as well as individual critical opinion, to stimulate reciprocal cooperation, tolerance and understanding. Inviting the public to come and pay us a visit, especially those who do it rarely or not at all, we wish to remind it of our existence and Meštrović’s continuous presence in Split. According to the theme of this year’s International Museum Days “Museums: Building Community” and guided by the idea of the artist’s name and the city as the link between the Gallery, Kaštelet, Luka Botić, Marko Marulić, Grgur of Nin, Mother and Child, we have intended to accentuate the organic and inseparable unity of the artist with the city. Hoping for the new original perception and deciphering (the meaning) we have mouldered the commentary through the interventions presented by the artist Anto Jerković on the public monuments and objects whose author is Meštrović. Having jumped over Kaliterna’s wall we set out to “collect the stones”. In order to enlarge the Gallery’s permanent exhibition as well as to pursue the different point of view. Maja Šeparović
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sometimes, to hide the physical obviousness of everyday occurence provides the best possible way to rehabilitate the active relationship with it. The public monument represents that kind of physical obviousness which we regard as a part of personal advancement within the city ambience. The same monument is usually experienced only by casting a glance at it, other times it is completelly ignored. Through the negative symbol of his intervention Anto Jerković tries to create the affirmative relationship of the passers-by towards these aesthetic, cultural and historic monumental daily experiences. I deliberatelly emphasise the use of the term “experience” when refering to the monuments, because for the most people they, gradually though definitelly, simply ease to be it. By temporarily neutralising physical obviousness, still not the complete visibility of the certain monuments (Luka Botić, Marko Marulić, Grgur of Nin, Mother and Child), and by marking the palaces’s entrances (the Gallery, the Kaštelet), the artist aims first of all to wipe out the inertia of the citizens, then to invite them to approach and experience the monuments as activly as possible. The realisation of this artistic idea, which also implies the “restoration” aspect, goes along with the use of very common (everyday!) technical equipment, among which the strong emphises is put on the constructive hangings. Here the artistic act, in the strict sense of the expression, is being defined as “the choice”. Anto Jerković has chosen blue- and white-coloured canvas, thus accentuating the continuity of his earlier artistic practise. Let us be reminded of the Yves Klein’s blue pictures, balloons, tennis balls and other everyday items the visitors used to bring that recontextualised the content itself by the very act of bringing things into premises esclusivelly intended for exhibitions and on the condition of being white; or the whiteness of the wall which served as the text pad of the newly-made “textual ambience”. A certain kind of destabilised effect of blue and unpolluted white used by the artist suggest a specific sphere, a sublime one - sublime as the art itself, according to Jerković. Using the colours as the medium of creation and contemplation of art, with his interventions in Split the author veils the art itself! The layers of approach are truly numerous. Furthermore, blue and white hangings represent the common daily routine of the artisticly ignorant passer-by, it is an element used in the construction to cover the sites or the objects in reconstruction in order to protect the very same passer-by from possible injuries or other inconveniences. This time, however, hangings serve different purpose. By being temporarily veiled the monument gets rehabilitated in the mental consciousness of the passer-by. He in his unique way realises the importance and causes of their existence within the city context and its atmosphere. The intervention does not aim to abolish radically the very significant monumental inheritance, on the contrary, it accentuates it. The author does not mime the sculpture’s form, he does not clothe it in canvas, however, he streches the supple material over the scaffoldings thus creating screens which keep concealed the view on the big part of the monument. By doing this the artist most certainly exites the attention of the passer-by. He also stresses the interesting aspects of the denoted monuments - the grand broadness of Grgur’s shoulders or the utmost aesthetic manifestation of Marulić’s stature. Although hidden behind the calm blue and white screens, the sculptures gesticulate vividly, almost rearing they peep out to assert their existence. The same affirmation is valid for the Gallery and the Kaštelet. Uniting six different locations whose starting point is the name of Ivan Meštrović, Anto Jerković incites attention of the passer-by to whom the frequent presence of the undoubtly great sculptor may not be completelly intelligible. We presume that not a few people will take offence at this appeal to increase the awereness of Meštrović’s presence in our city, still we hope to make them happy congratulating them on the information and knowledge of what has been bequeathed to them. Dalibor Prančević E-mail: ljerkovic2001@yahoo.com | |||||||||||||
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