PRAVO OTVORENO DELO

Iz kolekcije Galerije Pale Dragana Milivojevia

Na prolazak, fiziki ili danas uestalije ekransko - virtuelni, pokraj umetnikih dela znaajnog
evropskog muzeja u pamenje utiskuje obiman inventar telesnosti. Oigledno je da u njemu
preovladavaju prizori enskog tela.
Drukije od potrebe za dominacijom muke anatomije koja je neretko odavala ideoloku, odranije
mitsku dramu nekog presudnog zbivanja kroz herojsko upraviteljske odluke, predstava enskih
kontura i povrina koe istrajno je nastavljala formu idealizacije. Zahvatani su svi doslovni, kao i
aluzivni razlozi koje su umetniki pokreti i odvani pojedinci uspostavljali prema njemu kao sreditu
fascinacije. I sada, predstavljanje enskog tela u svojim najizazovnijiim odstupanjima i
protivurenostima savremene kulture uvek, ma koliko razliito, prenosi razliite posledice. Za odlike
lepote i erotizovane atmosfere koje su promicale i u mnogim postavkama modernizma, osnova
njihovih preobraaja istrajno je poticala iz neizmenjenih potreba u istoriji. Pred shvatanjem dejstva
obnaenosti nalazili su se i likovni stvaraoci junoslovenskih zemalja, pronosei vlastite afinitete, pa
se isto dogodilo i s primerima enskog akta u srpskom slikarstvu i tolikim oprenim tipovima
osvojene slobode predstavljanja i za poslednjih nekoliko decenija.
Postavljeni akt u svojim raznolikim pozama nije se zadrao tek kao puka veba opaanja na
likovnim kolama i akademijama, ve se, zahvaljujui opsesijama i trinim potrebama naao u
neretko radikalnim definisanjima svojih telesnih pruanja. Akt u istorijskom asu, akt u stilizovanju,
u savladavanju nevolje, pribeitu fantazma, mnogi registri saobraanja i vrste poniranja zauzimale
su ulne oslonce i svoja daleka pozivanja. Gde god se pojavljivala grupa enskih aktova pri ulasku u
uglavnom mirnu vodu, poznata tema kupaica naglaavala je stapanje enske energije s pra-
elementom pod otvorenim nebom, koji je uivalaka putanja mukog pogleda trasirala kao likovnu
proslavu intimnosti protagonista.
Neretko se u slikanju akta isticao jetki odnos prema pravim odlikama realnosti, gde su se susticala
troenja davnih ideala kakvi su mnoge vrste Venera, nagih Maja i Odaliska proizvele u sudaru s
izmenama i borbama za liberalni pristup u drutvu u Srbiji. Beogradska zbirka predstava akta
Galerije Pale koju istrajno prikuplja njen osniva Dragan Milivojevi pokazuje probran pristup
prenosiv po svojim kvalitetima i u muzejsku postavku. Za dela najpriznatijih imena srpske
umetnosti s temama akta bilo na podlozi papira ili ulju na platnu mogao bi se sprovesti svojevrstan
hronoloki redosled, kako po pitanjima njihovih svrstavanja i , to je za svako umetniko delo
presudno, zasebne usredsredjenosti.
Prodornost predstave opravdava tvrdnju slavnog slikara De Kuninga da je 'Povrina enske puti i
razlog zbog koga je slikanje u ulju tokom vekova i usavravano'.
Otvorena izloenost, smirenost ili tajanstvo poloaja i atmosfere, ednost, bojaljivost ili drska i
opora telesnost unutar neoekivanih prostora slike susreu se kao u encikopedijskom pregledu
likovnih predstava enskog akta, odajui izraajnost svojih i enskih i mukih stvaralaca,
angaovanih vlastitim posmatranjem, izmenama i stilizacijom za uoblienje istine o izloenosti,
ogoljenosti i svim izazovima postojanja tokom decenija isteklog XX veka. Prilazak takvoj drevnoj
temi, moda bi neki autentini istorijski avangardista odredio reima da je enski akt zapravo
bezakonje podsvesti, i da se dok ga posmatramo u umetnikom delu, odvija neuhvatljiva energija
oaravanja, gde istovremeno ne treba zaboraviti ispoljavanje straha i drhtaj pred prizorom izvorne,
nagonske siline. Akt, na delima iz zbirke Galerije Pale bio bi otvoreno delo koje u svom moguem
ikonografskom razjanjenju ili ponititeljskom odrazu naglaava senzualnu egzistenciju koja je
izmakla definiciji, i iji se integritet i silina putem likovnih dela ne moe ni poricati niti zaobii.

Nikola uica

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THE REAL 'L'OEUVRE OUVRIER'

While taking a stroll , whether physically or through virtual screen along artworks of some significant
European museum, what hooks into mind is the archive of human bodies. What is obvious is the prevalence
of the depiction of the female form.
This does make a differrence, compared to the dominance of male's anatomies strucked with their mythical
drama of usual heroic and governing causes, as the images of female contours and skin surfaces make a
prolonging act of idealisation. We are facing the direct, as well as the allusive reasons of such a choice
toward a centering of fascination inside the works produced by art movements and bold individuals. Even
now, the presentation of female body, no matter the contradictions and dissents of contemporaray culture
holds, detains the diversity of it's effects. This explains that the notions of beauty and eroticised atmosphere
where evident in many modernistic presentations, while having it's basis inside the provoking examples
from the history. That's why the spectre of nudes emission where evident among artists of south slavic
countries that have retained their affinities. The same notion of the female nude runs through Serbian
Painting in diverse approaches and liberties during recent several decades.

The Nude in it's diversity of poses has surpassed the mere exercises of perception from art schools and
academies, while having - due to the mixture of obsession and market demands - a radical defining of it's
body spacings. Nude in it's historical moment, nude in stylisation, in overcoming of the troubles as well as
a phantasmic example has took all of the types of senses as their faraway references.
Whenever the group of female nudes depicted on entering the still waters as the famous subject of Bathers,
we are faced with the emphasis of a union of female energy with this basic element in the exterier, while
having it's course through male's gazing and the enjoyment of the artistic celebration of intimacies.
It was quite often while painting the nude to underline the real character of the reality while the use of
ancient ideals such as Venera's, Naked Maya's or Odalisque bodies have produced in the clash with changes
and struggle for liberal approach in Serbian society. Collection of Belgrade's Gallery Pale and
it's founder Dragan Milivojevi does show the selected approach in qualities that can be borrowed even to
some museum's display. For the works of renowned painters of Serbian Art whether on paper or on
canvass, the possibility of chronological course can be brought together, both in their selections,and as for
the each artwork precise intensity. This reflects the quote of the famous painter De Kooning that the '
Surface of female complexion makes the very reason for inventing of oil painting'.

The exposure of nude's own pose, the tranquility or the secrecy of posture and surrounding space,
inoccence, timidity, or the contrary bold and raw physicality inside the work join the encyclopaedic survey
of artistic depictions of the female form, while showing both their female and male artists
powers of observation and stylisation in expressing the truths of challenges of existence inside closing
decades of the 20th Century. While approaching this everlasting subject, perhaps some authentic historic
Avant-guard Artist would explain that the female nude is the lawlessness of subconsciouss, and while we
are experiencing it inside the artwork, their comes an unattainable energy of enchantment holding at once
the depicton of fear and shiver in front of the ethereal primeaval force.

Female nude through selected paintings from Gallery Pale would make an open artwork that could through
it's iconographical explanation or revoking of the very image, emphasize the sensual existence that flees
from certainties, but whose integrity and power cannot be denied or avoided.

Nikola uica