Miljenko Domijan MARE MORLACCO. Štorija o galiji A history of galley CRISTO RESSUSSITATO GALERIJA DECUMANUS DECUMANUS GALLERY

Transcription

1 Miljenko Domijan GALERIJA DECUMANUS DECUMANUS GALLERY Grad Krk The City of Krk Štorija o galiji A history of galley CRISTO RESSUSSITATO

2 2 Miljenko Domijan GALERIJA DECUMANUS Grad Krk The City of Krk DECUMANUS GALLERY

3 _ 3 MORE POD VELEBITOM Kad slika upije u sebe višak stvarnosti, tad se taj višak prelijeva iz nje poput bujice, a iz njena središta poteknu priče, simboli i značenja, metafore, poetika prostora, vrijeme, pa čak i prizori. Medij je međutim po sebi nulta točka percepcije, jer bez oka i duše, on je samo stvar, odnosno tehnologija koja je produžetak našeg bića, to jest osobne duhovnosti i osjećajnosti. Pa čak i stvarnost koja nije na slici, već izvan nje, podjednako je neutralna i toliko stvarna, da se tek pretvorbom u sliku mogu prepoznati njene oku skrivene dimenzije sadržane u trenutku njene sublimacije. Miljenko Domijan kao povjesničar umjetnosti vrlo dobro znade da tajna svih slika nije u onome što je na slici, već u onom finom fluidu kojim slika zrači. Naravno da morsku pučinu, nebo i ponešto kopna vidi svatko, ali malo tko zapazi onu mjeru odnosa unutar univerzuma prirode, kojom se gotovo obična pejsažna slika pretvara u jedinstveni sklad vremena, prostora i osobne memorije. U prvoj polovini 20. st. ta se vještina unutar medija fotografije nazvala usklađenošću (equivalence) koju je majstorski tada dosegnuo fotograf Alfred Stieglitz, a poslije razvili evropski filozof Vilem Flusser u Brazilu i Andreas Muller-Pohle u Njemačkoj. Zapaziti u pejsažu vrijednosti koje nadilaze običnu deskriptivnost i koja tako često znade prevagnuti, znači s krajolikom biti povezan na mnogo višoj razini i upravo s te razine sagledati ono što oko, a time dakako i kamera, ne zamijećuje. Unutar širokog polja fotografske umjetnosti, pejsaž je inače zahvalna tema, usađena u same temelje ovog medija vizualne ekspresije. Za razliku od optički nesvjesnog, sintagme koja tako često prevladava u teoriji medija, pejsažni motiv dopušta da ga se promišlja, ostavlja mogućnost pažljiva odabira i fotografskog bilježenja njegovih osobina i mijenja. Drugim riječima, pejsaž dopušta da ga se bude svjestan. Ono što je nesvjesno, dimenzija je vremena, jer pejsaž osim u svojoj trodimeznionaloj topografskoj statici, neosporno posjeduje i neuhvatlju temporalnost koja sliku pejsaža i određuje. Može se reći da upravo ta dimenzija, taj uhvaćeni trenutak, estetski oblikuje objektivnu, ali i autorsku jedinstvenost, izvornost i fascinantnu ljepotu fotografskih slika. Upravo je pažljivo promišljanje motiva i odabira trenutka kada se i motiv i trenutak pretvaraju u sliku, ono što ciklus mare morlacco čini mnogo višim od specifičine pejsažne činjenice. Strategija Miljenka Domijana u pristupu pejsažu, ali i fotografiji kao mediju uopće, je gotovo konceptualna, krajnje reduktivna. Ona tom morlačkom krajoliku u kojem se u jedinstvenu cjelinu stapaju morska pučina, varljivo nebo i stjenovito kopno, oduzima svaku mogućnost trivijalne deskriptivnosti. Kad se govori o estetici medija općenito se najčešće smatra da fotografi ja otkriva svijet. Ovdje se međutim radi o promišljanju svijeta, pa premda se taj promišljaj odnosi na mali fragment vidljiva univerzuma, na mare morlacco, u njemu su sadržane dubinske nezapažene ljepote i slojevi memorije. Stvarnost tih slika samo je njen površinski sloj, vizualni privid, unutar kojeg se nalazi čvrsta struktura sačinjena od karika duhovnog iskustva i duboke osjećajnosti, kojima je autor postupno gradio poetiku slika tog specifičnog morlačkog krajolika. Zapaženo je već ranije - potpuno ispravno - da Domijan svoje fotografske cikluse (Anima et Corpus, TerraToscana) pažljivo koncipira: mogli bismo čak reći da je trenutak okidanja obrnuto proporcionalan dugotrajnom vremenu promišljanja i akumulacije razumijevanja spomeničke građe, kako to posebno napominje Tonko Maroević. I uistinu, iako ciklus Anima et Corpus nosi podnaslov foto skitnje sve te slike što ih je Domijan sakupio na svojim skitnjama nisu uopće slučajno skitalačke, već traženi, pažljivo odabrani i ciljani motivi s kojima autor uspostavlja intelektualni i emotivni dijalog. Stvarnost zemlje u Toskani ili mora ispod Velebita, pretače se svojim gustim estetskim viškom u energetski fluid, kojim zrače njegove slike. Svojstvo je stvarnosti da izmiče oku; u pomoć je tada svojedobno pritekao medij koji je sa svojim optičkim, fizičkim i kemijskim (ali i digitalnim) potencijalom stvarnost trenutka pretvorio u trajnu sliku. I vidi tada čuda: stvarnost se izgubila, a nestvarni privid trajne slike postao je u tolikoj mjeri ispunjen znakovima i značenjem koji daleko nadilaze trenutak njena stvaranja. Svijetlo što je sažeto u prostoru slika mare morlacco, ne označava samo stvarnu dimenziju krajolika i dinamiku njegovih mijena. Ono, sublimirano istodobno u dubini tih slika, daje tim slikama onu magičnu auru kojom - makar i jednokratno - zrači i ostaje u svijesti kao poruka jedinstvene povezanosti svijeta izvana i onog koji pritajeno i nevidljivo živi u nama samima. Želimir Košcevic ˇ 4

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5 _ 7 SEA UNDER VELEBIT When picture soaks the excess of reality in itself, then that excess overfl ows out of the picture like a stream, and out of its center stories, symbols and meanings, metaphors, poetics of space, time, and even scenes are pouring. The media, however, by itself is the zero point of perception, because without the eye and soul, it s just a thing, a technology that is an extension of our being, that is, our personal spirituality and sensuality. Even the reality that is not in the picture, but outside of it, is equally neutral and so real that only when turning into a picture we can detect its dimensions, invisible to our eyes, contained in the moment of its sublimation. Miljenko Domijan as an art historian knows very well that the secret of all pictures is not in what is in the picture, but in that fine fluid which emanates from images. Of course, that everyone can see offing, sky and a bit of land, but only a few can notice that degree of relationship within the universe of nature which turns almost an ordinary landscape picture into a unifi ed harmony of time, space and personal memory. In the first half of the 20 th century that skill inside the medium of photography was called equivalence which was at that time masterfully reached by a photographer Alfred Stieglitz, and later developed by European philosophers Vilem Flusser in Brazil and Andreas Muller-Pohl in Germany. Noticing values in the landscape that transcend mere descriptiveness that so often prevails, means to be connected with the landscape at a much higher level and exactly from that level perceive what the eye, and thus the camera, fails to perceive. Within the broad field of photographic art, the landscape is usually an effective theme, rooted in the very foundation of this medium of visual expression. Unlike the optical unawareness, the syntagma that so often prevails in the theory of the media, landscape motif allows to be pondered; it leaves the possibility of careful selection and photographic recording of its features and changes. In other words, the landscape allows for it to be aware. What is the unaware is the dimension of time, because the landscape, other than in its three-dimensional topographic statics, undoubtedly possesses elusive temporality of landscape picture that defi nes the picture itself. One can say that it is this dimension, this captured moment that actually aesthetically shapes an objective, but also authorial uniqueness, originality and fascinating beauty of the photographic images. It is exactly this careful consideration of the motifs and the timing of when the motif and the moment are converted into the picture which makes mare morlacco much more than the specific landscape fact. The strategy of Miljenko Domijan in his approach to the landscape, but also to photography as a medium in general, is almost conceptual, highly reductive. With its Morlachs landscape, in which open sea, unpredictable sky and rocky shore are blending into a unified entirety, it takes away every opportunity of trivial description. When talking about the aesthetics of the media, it is generally considered that the photography discovers the world. Here, however, it is about pondering the world, and even if that reflection refers to a small fragment of the visible universe - mare morlacco, it contains deep unnoticed beauty and layers of memory. The reality of these pictures is only their superficial layer, a visual illusion, in which there is a strong structure consisting of rings of spiritual experience and profound sensibility used by the author to gradually build poetics of images of that specific Morlachs landscape. It has been noted already - rightly - that Domijan carefully envisions his photographic cycles (Corpus et Anima, TerraToscana): one might even say that the moment of snapping a photo is inversely proportional to a long-term pondering and accumulation of understanding of the cultural heritage, as it specifically mentions Tonko Maroević. Indeed, although the cycle of Anima et Corpus bears the subtitle photo wandering all those images which Domijan collected on his wanderings are not at all accidental, nomadic, but sought, very carefully selected and targeted motifs with which the author establishes the intellectual and emotional dialogue. The reality of the land in Tuscany or the sea under Velebit is transforming from its dense aesthetic excess into the energetic fluid, which radiates from his pictures. Characteristic of reality is that escapes the eye, then once came to aid the medium which with its optical, physical and chemical (but also digital) potential turned the reality of a moment into a lasting image. What a miracle: the reality is lost, and the unreal appearance of the lasting image became filled with so many symbols and meanings which go far beyond the moment of its creation. Light which is summarized in the space of mare morlacco pictures, it doesn t only mark the actual dimension of the landscape and dynamics of its changes. That light, sublimated at the same time in the depths of these pictures, gives them a magical aura that-even only once-radiates and remains in our conscience as a message of the unitary connection between the outside world and one which secretly and invisibly lives within us. Želimir Košcevic ˇ 8

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7 MILJENKO DOMIJAN ima 66 godina i još se uvijek nije izliječio od bolesti iznalaženja ljepote u prostoru. Najveći dio života čuvao je, zaštićivao i obnavljao kulturnu baštinu. Za to je dobio dobio brojne nagrade i priznanja, ali i mnoge objede, prigovore i pokude. Rođeni je Rabljanin i bolesni zavičajac. Zavičaju se pokušava odužiti već navedenom skrbi o njegovim kulturnim dobrima. Rječju i djelom. Ovo mu je četvrta izložba fotografi ja, a ova je nastala kao fascinacija morem koje njegov otok odvaja od kopna. IMPRESSUM MILJENKO DOMIJAN is 66 years old and still has not healed from the disease of finding beauty in the environment. Most of his life he has spent preserving, restoring and protecting the cultural heritage. For this work he has received numerous awards and honors, but also many meals, objections and complaints. He was born on the island of Rab and is a passionate admirer of his homeland. To his homeland he is trying to repay with his already mentioned care about its cultural treasures. With his words and deeds. This is his fourth exhibition of photographs, and this one was created as a fascination with the sea that separates the island from its shore. Grad Krk, Galerija Decumanus, rujan/listopad The City of Krk, Decumanus Gallery, September/October 2012 Organizator i izdavač / Organisation and publisher: Za izdavača / For the publisher: Postav izložbe / Exhibition design: Fotografija / Photography: Tekst / Text: Prijevod na engleski i lektura / English translation and proofreading: Dizajn / Design: Uređivanje i ispis fotografija / Editing and printing of photos: Tisak / Printed by: Naklada / Edition: Centar za kulturu Grada Krka / Centre for Culture of Krk, Trg Sv. Kvirina 1, Krk, tel./fax.: , kultura@gradkrk.net, web: Maja Parentić Miljenko Domijan i Saša Lončarić Miljenko Domijan Želimir Koščević Ira Žunjević Igor Gržetić DFA, Dragutin Škreblin Kerschoffset Zagreb d.o.o. 150 primjeraka / copies