66. ULUBIH exhibition, Collegium Artisticum

In Collegium artisticum on 25th November the 66th Exhibition of ULUBiH was shown. This project was conceived as an annual presentation of the work of thair members, and should therefore serve as a one-year overview of their artistic work. In this year’s exhibition participated 130 artists, and was presented more than 200 art pieces.

Even the number of participants shows that this is a complex and demanding endeavor. The main characteristic of the exhibition is therefore variety, whether in thematic and stylistic choices, or media itself. As far as technique, paintings dominate, but beside them, there are installations, sculptures, prints, and one video work. In thematic terms, exhibition ranged from completely subjective impressions expressed through portraits and landscapes, to serious reflection on society, human existence, and even art itself. Unfortunately, the diversity was also present in the quality of works. While certain works are, so to speak, unreadable, without a clear structure, a message or a relevant benchmarks, other works are interesting and powerfull.

 „Deep thoughts“ by Alma Muzurović is using the black line, perhaps to indicate inconsistencies or discontinuities of human thoughts. But those linese exceeds Gauguin’s cloisonnism, and Rouault’s deformation and becomes the material of a new, separate world . Vedran Babić’s work “Portrait of my friend Paja” thrives through a multitude of parts to create unity, of which (in addition to interesting structures in the visual sense), we can think about the layers of meaning. Babic’s portrait is made of sexual organs, individual, paired and intertwined. By choosing a theme reminiscent of Dali, and by breaking the whole and building a new structure which is close to Magritte, Babić’s work has a lot of fun and it’s playful. Work by Sadko Hadžihasanović is a fabric with printed units, but also filled with a pair of female figures in police clothes. The composition is quite uniformed tthrough repetition of female figures, and updated through variation of clothing. Intrersting are also the imitation of graphite on canvas by Ragib Lubovac and academic studies of nude by Ismir Halilović. Halilović, with very skillful performance in the artistic sense, builds his story of the history of world;s art. Among the sculptures stands out the work of Mehdija Suljević, bird made of metal parts. The body of the metal bird is made up of a multitude of details, reminiscent of the knight armor, just for some mascot.

 In a sea of different effects that this exhibition is aiming to to leave on the audience, the most interesting were the activist and ironic works. Work with the most laughter in Arisophanes’s sense, is made by Miralem Brkić. Brkić made really good connection between the picture and the inscription to intensifie the meaning of the whole work. In the famous literary titles, he brings comedy division, dissected them, and placed them in our everyday life. First work is called „Bosanstvena komedija“ ( an allusion to Dante: instead of Božanstvena komedija, he used Bosanstvena komedija). Brkić offers another interesting “adaptation.” He presents a voracious man who slaughtered an animal. With the image, Brkić offers verbal explanation: Fatmir translating Aska into Bosnian (the word „prevesti“ could also signify „take across“ of „transfer“). Irritating and funny at the same time, to transfer something in bosnian, requests brutality, knives and slaughter, which is the language that we, unfortunately, very well know. Aska, small sheep, whose famous ballet shows that art and the will to resist wins evil, even death itself, ends under Fatmir’s knife. In the end of Andrić’s story, Aska was saved from the wolf, but in the end of Brkić’s story, no one could be saved form Fatmir. Fatmir is the embodiment of our decrepit society in which we must live and, as Andric says, in order to live we must – play .

 One special part of the exhibition is dedicated to the work of the members that are not alive enymore: Radoslav Tadić, Izudin Poroviću and Krešimir Ledić. The exhibition was open until the 4th December.

Elma Hodžić

 

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