Without choosing means to reach hisgoal, or even better, without even con-

sidering accidental consequences that wo-uld, out of caution, lead other artists to thepath of logical rethinking and then sendthem off to different directions, Ivan KoæariÊ- free and undisturbed by rules - is a uniquemelting pot, a fusion of principles whichcan not be interpreted with the help of anylaw of evolution applied to visual arts. Hehas long ago detached himself from thedogma of art and created his own all-en-compassing context, which comprises hisstudio, space in which he lives, the city inwhich he moves, combining artefacts bothof time and of space and giving them astrong mark of his activity. His interest forvarious phenomena, forms, spaces andpassers-by remains inspiring regardless ofthe medium in which he decides to work.Graphics, performances, sculptures, photo-graphs, all together represents a moussakaof creation - an intensive process basedupon perception and understanding of thesurrounding world. KoæariÊ steps before thisworld with truth, not hiding anything.

From his very beginnings until today,this process has been subject to creativeimpulses complemented by both the spiri-tual and the material, by honesty andunpretentious attitude towards life which isat the same time the credo of KoæariÊ’s arti-stic faith. There is no need for simulation,since in KoæariÊ’s world the territory retainsits authenticity and requires none of theprevious regulations or maps that would di-rect it in the course of creation. The fre-quent non-existence of an artistic object -such as we are used to - hints at the possi-bility of existence of an image of non-object.However, in KoæariÊ’s case the world is in astate in which anything is possible and inwhich, since the author wanted it that way,there is no need to accentuate neither theintroduction of the subject, nor its disap-pearance. All is contained in the process:the landscape condensed into a thin blueline on the walls of space, matter in unusu-al forms, symbolically divided into twoextremes - one that is technically perfectand another, represented by an object thro-wn away, which extends the field of itsmeaning.

The reflective-cognitive process is notautomatically intellectual, but primarilyemotional and intuitive, subject to an over-all impression of the loss of interest for thephysical evolution of artistic object as such.

Ne birajuÊi sredstva da bi dostigao cilj,bolje reËeno ne razmiπljajuÊi o eventu-

alnim posljedicama koje bi druge autore izpredostroænosti uputile na postupak logiË-kog promiπljanja te ih potom odvele dru-gaËijim smjerom, slobodan i neoptereÊenbilo kakvim pravilima, Ivan KoæariÊ jedin-stveni je melting pot - spoj principa kojenije moguÊe protumaËiti nekom od zakoni-tosti likovne evolucije. Odavno se odmak-nuo od likovnih dogmi stvarajuÊi vlastitisveobuhvatni kontekst koji ukljuËuje ate-lijer, prostor u kojem æivi, grad po kojem sekreÊe, kombinirajuÊi artefakte prostora ivremena i snaæno ih obiljeæivπi svojim djelo-vanjem. Njegovo zanimanje za razliËite po-jave, oblike, prostore i prolaznike inspira-tivno je bez obzira na medij u kojem odlu-Ëuje stvarati. Crteæi, akcije, skulpture, fo-tografije, sve to zajedno tvori stvaralaËkisloæenac - intenzivni proces temeljen na uo-Ëavanju i poimanju svijeta πto ga okruæje,pred koji izlazi s istinom, ne skrivajuÊi ni-πta.

Od samih poËetaka, pa tako i danas,taj je proces podloæan stvaralaËkim impul-sima dopunjenima duhom i materijom, po-πtenjem i nepretencioznim æivotnim stavomkoji je istodobno i credo KoæariÊeva umjet-niËkog vjerovanja. Nema potrebe za simu-lacijom, jer u KoæariÊevu svijetu teritorij za-dræava autentiËnost i nije mu potrebno pre-thodno postojanje uputa ili karata koje Êega usmjeravati tijekom stvaranja. »esto ne-postojanje umjetniËkih predmeta na kakvesmo navikli nasluÊuje moguÊnost postoja-nja predodæbe nepredmetnosti. No kod Ko-æariÊa se radi o stanju svijeta u kojem je svemoguÊe i u kojem, prema autorovu izboru,ne postoji potreba naglaπavanja predsta-vljanja subjekta, kao niti njegova gubitka.Sve je sadræano u postupku: i pejsaæ stisnutu tanku plavu liniju na zidovima prostora imaterija u neobiËnim oblicima, simboliËkirastavljena na dvije krajnosti - jednu tehno-loπki savrπenu i drugu predstavljenu odba-Ëenim predmetom, Ëime se rasprostire poljenjena znaËenja.

Misaono-spoznajni proces nije auto-matski intelektualan, veÊ primarno emocio-nalan i intuituivan, podloæan opÊem utiskugubljenja interesa za fiziËku evolucijuumjetniËkog predmeta kao takvog. Uzne-mirujuÊa Ëinjenica prema kojoj ne postojidovoljno razloga zbog kojih bi se odreeniproces promatrao u smislu stvaralaËkog(πto, dakako, podrazumijeva i finalni proi-zvod) uzastopan je pokuπaj autora da gle-

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t lsandrakriæiÊroban

oæivljeni laboratorija laboratorybrought to life

sl.1-3: Atelijer KoæariÊ / The KoæariÊ Studio, GalerijaZvonimir / Zvonimir Gallery, Zagreb, 1993/94.

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A disquieting state of affairs, in which thereis no sufficient reason to regard a certainprocess as a creative one (which, of course,also includes its final product), represents arepeated attempt of the author to co-involvehis audience into the process in which hedoes not shun the ludicrous and the ele-mentary, concentrating on details gatheredin bundles, wrapped up and at first sightunrecognisable. Still, there is volume, thereis matter, as well as surface and action,which involve us in the years-long processof setting a personal framework for recogni-tion of the work of art, as well as the reac-tion to it.

Nearly ten years ago, KoæariÊ expand-ed and disclosed his inner quality that hadfor years been settling within his studio:both the subject and the object of creationnow changed their environment, extendedacross a more suitable surface. They havebecome accessible in the course of a com-plex process exposed to typical doubts andquestions (even though eventually every-

datelja ukljuËi u postupak u kojem se ne libiludiËkog, elementarnog, usredotoËenja nadetalje skupljene u pinklece, zamotane i ne-prepoznatljive na prvi pogled. No volumenje tu, i materija, i povrπina i akcija πto nasukljuËuju u dugogodiπnji proces postavlja-nja osobnih okvira prepoznavanja i reagi-ranja na djelo.

Prije gotovo desetak godina KoæariÊ jerasprostro i ogolio svoju godinama taloæenuatelijersku nutrinu: i subjekt i objekti stva-ranja promijenili su okoliπ, raπirili se na pri-mjerenijoj kvadraturi. Postali su dostupni-ma tijekom sloæenog procesa izloæenog ti-piËnim dvojbama i pitanjima (iako se napo-slijetku sve Ëinilo tako jednostavnim). Alisvatko od nas ionako sve svoje sa sobomnosi, pa tako i KoæariÊ, koji veÊ odavno znaπto æeli, gdje mu je mjesto i komu se obra-Êa. Unutraπnjost vreÊica krila je neke zabo-ravljene radove, svezane u zaveæljaje koji sugodinama Ëekali pogodan trenutak da bi biliotkriveni. Autorov stvaralaËki kontejner“arhaiËnog diskontinuiteta” Ëinio se svevre-

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sl.4-5: I. KoæariÊ, Zlatni oblik prostora / GoldenForm of Space, foto / photo: (4) N. Semialjec, (5) D. Bavoljak

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menim: svaki rad mogao je podnijeti suvre-meno vrijeme jednako kao i neko proπlo.Reciklaæa je, ionako, legitiman postupakkojem su podvrgnuti osobni stavovi i radovipridruæeni neumjetniËkim gomilama. Sve tozajedno Ëini KoæariÊev laboratorij uvjerljivimdijelom umjetniËke prakse “post-estetiËkefaze” koju karakterizira samosvjesno i sa-mokritiËko propitivanje πto ne odgovara de-terministiËkim, linearno rasporeenim uvje-tima. t

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≥ Sandra KriæiÊ Roban - povjesniËarkaumjetnosti i likovna kritiËarka. Asistentica uInstitutu za povijest umjetnosti u Zagrebu.Sandra KriæiÊ Roban - art historian andcritic. Assistant at the Institute of ArtHistory, Zagreb.

thing seemed so easy). But each of us any-way carries with himself all that belongs tohim, and the same goes for KoæariÊ, whohas long ago realized what he wants, wherehis place is and whom he is talking to. Hisbags had been concealing a number of oldartefacts, wrapped into bundles and waitingfor years for the right moment to step intothe light. The artist’s creative container of“archaic discontinuity” appeared timeless:each of his artefacts could cope with pres-ent times just as well as with any of thepast ones. Recycling is anyway a legitimateprocess to which personal attitudes aresubjected, and so are artefacts linked tonon-artistic masses. All this sums up to ma-ke KoæariÊ’s laboratory a convincing part ofthe artistic practice called “post-aestheticphase,” characterised by self-confident andself-critical questioning which does not cor-respond to any deterministic, linear circum-stances. l

prijevod / translation: Marina Miladinov

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