POPUP 7

Hrvoje Mitrov, S.O.S.

5. – 6.4.2013.

Esseker centar

 O autoru:

Hrvoje Mitrov je rođen 1972. u Karlovcu. Diplomirao je slikarstvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi prof. Đure Sedera.

Predavao je crtanje i crtanje akta 2000./ 01. godine na Akademiji likovnih umjetnosti u Širokom Brijegu Sveučilišta u Mostaru, u zvanju višeg asistenta.

Studijski je boravio u Londonu i Parizu. Do sada je izlagao na 22 samostalne i tridesetak skupnih izložbi. Član je Hrvatskog društva likovnih umjetnika i Hrvatske zajednice samostalnih umjetnika. Upisao je doktorski studij slikarstva 2007. na Akademiji likovnih umjetnosti u Zagrebu. Živi i radi u Zagrebu kao samostalni umjetnik.

Kontakt e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

 

 

Veliko hvala volonterima:

Dajana Ososlija

Ljerka Bubalo

Andrea Panjaković

Marija Đidara

Kristina Marić

Marija Matić

Matea Krklec

 

Razgovor vodio Boris Greiner (Žitnjak, 18. 1. 2017.)

Boris Greiner: Krenimo od serije izložbi u kojima si koristio karakterističan izvedbeni alat, odnosno, već pomalo zaboravljenu tehniku kojom su ličioci pomoću valjaka raznim dezenima nekad ukrašavali zidove.

Hrvoje Mitrov: Prve sam valjke igrom slučaja kupio pred dvadesetak godina na sajmu. Zatim sam ih krenuo sakupljati, nisam uopće imao ideju kako bi ih mogao koristiti, ali mi je odmah bilo jasno da imaju nekakvog potencija, da bi mi prije ili kasnije mogli poslužiti.

Sredinom devedesetih sam imao izložbu koja se zvala "Mljetska bolest" u netom uređenoj Galeriji Otok u Dubrovniku. I tu sam fizički napao galerijski prostor. Naime, ta "mljetska bolest" je nekakva podvrsta lepre, zapravo endemska bolest, do koje je, po legendi, došlo tako što su iz Lazareta ove zaražene slali na Mljet, da tamo krepaju. I onda su ti neki leprozni preživjeli, iako izgledaju kao krokodili... I sad, s jedne strane tu je taj veliki grad, grad sa velikim G, kako oni sami sebe nazivaju, uspio proizvesti novu bolest iz bahatosti da ne žele te ljude... I onda izlažem u tom velikom Gradu, i to još u galeriji koja se zove Otok, i koja je unutar zidina... Napao sam onaj frontalni zid, otukao ga do cigle, zapravo sam ga ogolio, išao sam skinuti tu njihovu blaziranost.

A pet godina kasnije sam u istom prostoru radio "Mljetsku bolest - volumen 2" i tu sam nastojao pokazati drugu njihovu stranu, a to je ta, opet jedna blaziranost tih G građana... Pa sam radio make up, tada sam prvi put iskoristio valjke. Uzeo sam četiri različita i četiri osnovne tiskarske boje - CMYK, radio sam po cijelom prostoru, sve zidove, a budući su svi valjci različiti, dobio si dojam one tiskarske greške, kad se dogode pomaci, pa ti sve titra pred očima.  

BG: Nešto gušće strukture, ali i dalje vrlo usporediva, bila je i prostorna instalacija "Doma" u Galeriji AŽ...

HM: Prije toga treba reći da mi je ova prva Mljetska bolest kao izložba prošla jako dobro, ali na ovoj drugoj, iako je bilo nešto publike, nije se ništa dogodilo, možda nisam imao dovoljan feed back, pa sam te valjke opet odložio na dno ormara. Tu i tamo bi ih koristio kao podlogu ne nekim slikama, sve dok ih nisam ponovo aktivirao tu, na Žitnjaku. U galeriji koja je de facto ulazak u zgradu u kojoj imam atelijer, galerija vodi izravno do mog atelijera.

BG: Znači, u tom slučaju, ako smo već 'doma', onda galerija zapravo preuzima ulogu svojevrsnog predsoblja, izloga koji najavljuje što se događa unutra... Ali struktura, bez obzira što nije u CMYK-u, i dalje se doima kao greška, jedno ide preko drugog, dezeni, boje...

HM: Greška je nešto što je imanentno čovjeku, životinja ne može pogriješiti... Greška postoji u zanatima, kod majstora, ali u umjetnosti greške nema, ne postoji... (osim ako ja sam nisam greška)...

BG: Znači, moglo bi se reći da je to ispad...

HM: Da, jer tek iz greške nešto može nastati, iz slučajnosti, iz nekontroliranog, pa čak i iz dosade, neće se ništa dogoditi iz nekog napornog htijenja da se dogodi, da napravimo umjetnost... Kao nešto što zovemo greškom, mada ja tvrdim da je nema... Pa ako je prepoznamo, i afirmiramo, dakle, obučemo u lijepu haljinu i stavimo na dobar stolac...

BG: Matoš veli 'kad ludost naloži razumu da složi'... ideja ti nije nadohvat ruke, ne možeš doći u atelijer i imati ideju...

HM: Ideja ti je da ideš u atelijer... I koliko puta sam proveo vrijeme u prazno...

BG: No, ipak postoji odnos između tog ispada i neke vještine, koliko se god prepuštaš trenutku nadahnuća, ne možeš isključiti aparat, vještinu, dosadašnje baratanje tim alatom.

HM: Tu treba neke stvari razlikovati, kad kažem da prezirem virtuoznost - to je nešto što, po meni, ne spada u područje suvremene umjetnosti, imalo je nekad svoju funkciju, danas, kad je netko vrlo vješt crtač, slikar, kada vješto modelira ili piše, mislim da ga to zapravo opterećuje i da jako teško može pobjeći od toga... Kao što je Isadora Duncan rekla da je počela plesati tek kad je zaboravila sve što je naučila... Naravno da se netko umjetnički nepismen ne može baviti umjetnošću, ali sve što kao svoj ključni argument uzima virtuoznu vještinu, mislim da je mrtvorođeno. Jer, onda tu nema prostora za pomak... Koliko god sam nekad frustriran kad mi dijete kaže da nacrtam konja, ja to stvarno ne znam, a nije da nisam znao, završio sam klasično slikarstvo na akademiji, dakle, morao sam imati zavidnu razinu crtačkog umijeća... Mislim da sam to dobrim dijelom, svjesno, kao Isadora Duncan, zaboravio.

Ali, ima tu jedna bitna stvar... U međuvremenu, u jednom trenu kad sam pomislio da sam zvršio sve svoje škole i da na taj način više ne mogu naprijed, dogodila mi se jedna dobra stvar, upisao sam doktorat (kojeg sam kasnije i napustio, jer me uglavnom razočarao). Ali sam tu upoznao nove ljude, otkrio neki sasvim novi svijet... Naime, naše obrazovanje u teoretskom dijelu je bilo vrlo manjkavo, neke stvari što sam ih tada trebao čuti, okej, pitanje dal' bi ih razumio, ali nikada ih nisam čuo. Predavao mi je Matko Peić, završili smo na Rodinu... Jasno je da se čovjek sam obrazuje i da obilazi izložbe, ali to je nedovoljno. Srećom, tu je onda bio Damir Sokić, pa Blaženka Perica, Eugen Feller, Ladislav Galeta, Marsel Bačić, i tu su mi se neke čakre otvorile. Tako da ovo što zadnjih desetak godina radim, po meni je pet svjetlosnih godina različito od onog prije.

BG: Nakon tog ambijenta na Žitnjaku, odnosno in situ, kao i u Dubrovniku, taj si izvedbeni alat - valjke, slijedeći puta koristio s bitno drugačijom namjenom, dobili su ulogu...

HM: Da, konceptualnu potku koja mi je ranije nedostajala.

BG: Ako je "Doma" na Žitnjaku predstavljala prolaz iz vanjskog svijeta u onaj autorske intime, onda bi se ovo u Akademiji modernoj, gdje su bila tri velika kruga na sva tri zida u kojima se pojavljuje ta ista struktura, moglo doživjeti kao nekakav prozor u tvoj složeni ili apstraktno zapetljani kreativni prostor...

HM: Tu mi ponovo pada na pamet skok od deset godina, jer bih to prije povezao s ovom izložbom "Sveta Greta", tu sam radio neki pseudo sakralni prostor, digao friz gore, spustio vrata, galerija je postala posvećeno mjesto, umjetnička kapelica...

BG: S druge strane, izložba u Osijeku ipak je reakcija na vrlo konkretan izvanjski svijet.

HM: Frelih me zvao na Pop up, znao sam da se te izložbe rade u negalerijskim, često napuštenim ili propalim prostorima. Bila mi je otprilike jasna situaciju u koju ulazim, ponio sam valjke i imao generalnu ideju, ali tek kad sam vidio Osijek, tu sivu situaciju, to gospodarsko mrtvilo, a to se odmah osjeti i na ljudima... Prazni poslovni prostori na glavnom trgu, pa taj Eseker centar, na svega pedesetak metara od glavnog trga, znači na top lokaciji u gradu je to uspjelo propasti!... Krasna, moderna arhitektua, propalo. Pa sam odlučio tehnikom valjaka, odnosno tom strukturom, Morzeovim znakovima, s tim krugovima i crticama, napisati SOS. U tom ogromnom, ispražnjenom prostoru koji izgleda kao najbolja galerija u kojoj sam ikad izlagao. A i tretman, asistencije i sve, kao da sam u Momi NY. Ili kao da mi je Moma izgradila točno takav, napušteni prostor koji mi je idealan za izložbu.

BG: Sad, budući si spomenuo izložbu u Greti, koja se događa skoro deset godina nakon teme našeg razgovora, a to je POP up, moglo bi se reći da razgovaramo u budućnosti, znamo što se događalo poslije Osijeka i možemo reći da nakon Osijeka više ne koristiš valjke, kao da si tamo iskoristio sav njihov potencijal. Ali, i dalje ostaje prisutna svojevrsna kontrolirana nekontroliranost, noseći vizualni oblik napravljen je intenzivnim bojama, ali posve slobodnim potezom, koji se naknadno pedantno i minuciozno ispunja crnim crticama. Dakle, s jedne je strane vrlo slobodan potez, reklo bi se ilustracija 'ispada', a s druge, opsesivno ili meditativno, svakako dugotrajno bavljenje. Skoro kao terapija...

HM: Auto art terapija, kao što mi se čini da je i Knifer sebi našao idealnu terapiju... Ali, samo da kažem, nisam valjke napustio, samo čekam da se pojavi neki razlog zašto bi ih koristio. Ako se razlog nađe, vrlo ću ih rado ponovo izvaditi.

Inače, da, u ovih dvadeset pet godina ne može se pronaći nekakva konstanta, ja sam jedina konstanta. Ali niti ja nisam konstanta, zato što nisam bio ovakav kakav sam sada. To je neki drugi čovjek, mislim, nije neki drugi čovjek... Ali od čega se život sastoji? Od ekstrema, od kontrapunktova, od tog momenta za kojeg smo rekli da je nekontrolirani i ovog koji je hiperkontrolirani, pogotovo kod umjetnika, jer se bave tim sumanutim poslom od kojeg ne mogu živjeti, odnosno u koliziji su sa životom, jer ako krećemo od toga da bi se čovjek trebao prehraniti, mi se ne možemo prehraniti, uglavnom ne možemo. Logično da to nikome u sustavu nije jasno, zašto to radiš... A zašto radiš? Ne znam, ja sam u četvrtom osnovne odlučio da ću biti slikar. I još uvijek sam.

 

POPUP 7

April 5th 2013

Hrvoje Mitrov, S.O.S.

Esseker center (former shopping mall)

Interview by Boris Greiner (Žitnjak, January 18th 2017)

Boris Greiner: Let’s start with the series of exhibitions where you used a characteristic tool, an already slightly forgotten technique that wall painters used to create decorative designs.

Hrvoje Mitrov: I bought my first paint rollers by chance twenty years ago at a fair. Then I started to collect them; I didn’t have an idea how to use them, but it was instantly clear that they had some potential, that I could use them sooner or later.

During the mid-90s, I had an exhibition titled Mljet Disease at the newly renovated Otok Gallery in Dubrovnik. I physically attacked the gallery space there. That “Mljet disease” is a type of leprosy, an endemic disease that, according to legend, occurred because they have sent infected people from Lazaret to die in Mljet. So then some of those infected by leprosy survived, although they look like crocodiles… So there’s that big city with a capital C, as they like to call themselves, which managed to create a new disease out of arrogance because they didn’t want those people there… And then I exhibit in that big City, in a gallery called Island which is inside the walls… I attacked the frontal wall, chiseled it out to the bricks, I actually stripped it down and removed its blasé characteristics.

Five years later, in the same space, I worked on Mljet Disease – Volume 2 and there I tried to show the other side, and that’s those blasé capital C citizens. So I did a make-up and used my paint rollers for the first time. I took four different ones and four elementary printing colors CMYK; I worked on the entire space, all of the walls, and since all the paint rollers were different, there was an impression of a printing error when the shifts occur so that everything was flickering before the eyes.

BG: More structured, but still similar was the space installation Home in AŽ Gallery.

HM: Before that, I need to say that the first Mljet Disease exhibition was received very well, but on the other one, although there was some audience, nothing happened. Maybe u didn’t have the necessary feedback so I stored those paint rollers in the bottom of the cabinet. Here and there I would use them for the background of my paintings, until I reactivated them here, in Žitnjak. In a gallery which is actually the entrance in a building where my atelier is, the gallery leads directly to my atelier.

BG: So, in that case, if we’re already ‘home’ then the gallery has the role of an anteroom, a shop window that announces what is happening inside. But the structure, regardless of it not being in CMYK is still looking like an error, things are going over each other, patterns, colors…

HM: Errors are something immanent in human nature, an animal cannot make a mistake. An error exists in crafts, but there’s no errors in art, that doesn’t exist (unless I am an error).

BG: So it could be said that it’s a scene…

HM: Yes, because something can come about only from an error, out of coincidence, something uncontrollable, and even out of boredom, but nothing will happen out of strenuous attempts to make something happen, to make art… As something we call an error, although I claim it’s not there… So if we recognize and affirm it, therefore, put on a nice dress and put on a nice chair…

BG: Matoš says “when the craziness orders the intellect to create”… the idea is not in your reach, you cannot come into the atelier and have an idea…

HM: The idea is to go to the atelier…And how many times have spent time doing nothing…

BG: But there’s still a relationship between that scene and some skill, as much as you’re letting go to the moment of inspiration, you can’t turn of the machine, the skill, and the tool handling.

HM: Some things should be distinguished here, when I say I despise virtuosity, it is something that, I think, does not belong to the area of contemporary art. It had its function before, but when somebody is a skilled painter, sculptor, or writer, I think it actually burdens him/her and it’s hard to get away from it… Like Isadora Duncan said that she started dancing only when she forgot everything that she had learned…Of course that someone who is artistically illiterate cannot practice art, but everything where the key argument is virtuosity is stillborn. Because then there’s no room for advancement. As much as I’m sometimes frustrated when my child says to draw a horse and I really don’t know how to do it, it’s not that I never knew it; I graduated classical painting at the academy, so I had to have a remarkable drawing skill. I think I have consciously forgotten it for the most part, like Isadora Duncan. But there is another important thing…In the meantime, at one moment when I thought I had finished all of my schools and that I cannot move forward anymore, a good thing happened to me, I enrolled in doctorate studies (which I later abandoned because I was mostly disappointed). But I met new people there and discovered a whole new world. In a theoretic sense, our education was very lacking, ok, it is questionable would I understand some things I needed to hear then, but I never heard them. Matko Peić was my professor and we finished with Rodin. Of course that you need to self-educate and attend exhibitions, but that is not enough. Luckily, there was Damir Skoić, Blaženka Perica, Eugen Feller, Ladislav Galeta, Marsel Bačić, and there some of my chakras opened up. So what I have been doing during the last ten years is light years away from what I have been doing before.

BG: After that ambient in situ in Žitnjak, just like in Dubrovnik, you used those tools – paint rollers, with a different purpose, they had a role…

HM: Yes, a conceptual foundation I was missing before.

BG: If Home in Žitnjak represented a passageway from the outside world into the one of author’s intimacy, then this in Modern Academy, with the tri large circles on all three walls with that same structure, could be seen as some kind of window into your complex or abstract creative space…

HM: Here I’m also reminded of the ten year jump because I would associate it with this exhibition The Holy Greta. Here I made a pseudo sacral space, moved the frieze up, lowered the door, and the gallery became a holy place, an art chapel.

BG: On the other hand, the exhibition in Osijek is a reaction to a very concrete outside world.

HM: Frelih called me for POPUP, I knew those exhibitions were held at non-gallery, often abandoned and ruinous places. More or less, I knew what I was getting into, I brought by paint rollers and had a general idea, but it was only when I saw Osijek, that grey situation, that economic stagnation, and that can be sensed in people immediately…Empty business places on the main square, Eseker center, only 50 meters from the main square – it managed to fail on a top location in the city! Beautiful, modern architecture, ruined. So I decided using the paint rollers and its structure to write SOS in Morse code, with circles and dashes. In that huge empty space that looks like the best gallery I had ever exhibited in. And the treatment, assistance and everything, like I was in MoMa NY. Or as if MoMa built that abandoned space which is ideal for my exhibition.

BG: Now, since you have mentioned the exhibition in Greta which had happened almost ten years after the subject of our conversation, and that is POPUP, you could say that we’re talking about the future, we know what had happened after Osijek and we could say that you’re not using paint rollers after Osijek, that you used all of its potential. But, a certain controlled uncontrollability is still present, the visual shape is made from intense colors, but freehand, which is subsequently filled with black dashes very precisely. So on one hand it’s a very free movement, but on the other, it’s an obsessive or meditative, but certainly long lasting practice. Almost like a therapy.

HM: Auto art therapy, just like I think Knifer found himself an ideal therapy. But, just to say, I did not abandon the paint rollers, I’m simply waiting for a good reason to use them again. If there’s a good reason, I would gladly use them again.

Anyway, yes, a constant cannot be found in this twenty five years, I am the only constant. But even I am not a constant because I wasn’t what I am right now. It is some other man, I mean, it’s not some other man…But what is life made out of? Extremes, counterpoints, that moment that we said is uncontrolled and this which is hyper controlled, especially for artists because they’re practicing this crazy job they cannot live from, actually they’re colliding with life because if we say that a starting point is to feed and support ourselves, we cannot do it, mostly we can’t. It is logical that nobody can understand it, why are you doing it…But why are you doing it? I don’t know, in fourth grade of elementary school I have decided to be a painter. And I still am.

 

RADOVI / WORKS

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OTVORENJE IZLOŽBE / EXHIBITION OPENING

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Zahvaljujemo svima koji su podržali POPUP7. Također zahvaljujemo Esseker centru na ustupljenom prostoru i Ministarstvu culture RH na financijskoj potpori.

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