Ana Petrović

visual artist

Non Red Carpet 
dimensions variable, scotch tape, duct tape, crepe tape, 2015/2016

Necrveni tepih 
dimenzije promjenjive, selotejp, izolir traka, krep traka, 2015./2016.

Protegnute boje, jedna pokraj druge čine nenamjernu paletu dostupnosti. Leže na ulazu u galeriju samo zbog toga jer se tu nalazi ulaz i zato što druga strana obojenog polja ima ljepilo. Trake su prikupljene u svojoj boji i dimenzijama u bauštelskim trgovinama, unutar selekcije trenutka: selotejp, krep traka, izolir traka, traka za zaštitu stakla i slično.

Prema standardima tržišta- slabo upotrebljivo. Vrijednost slike je određena materijalom a ovaj se ponaša poput prgavog školarca koji danas možda sluša učiteljicu a sutra već ne. I nije jedini. Rauschenbergov ”Krevet” iz 1955. odbija platno. No boja je još uvijek prisutna. Ako već nije na razvučenom lanenom platnu po drvenom ramu, onda na pamučnoj jastučnici, pokrivaču i plahti. Ovaj o kojemu  pričamo nije napravio niti takvu uslugu: postupak dolaska do boje je u slikarskom limbu, niti jest, niti nije. Amorfno je to stanje, pokorno i uslužno prema publici. Dobar domaćin koji dočekuje publiku na ulazu u galerijski prostor, nimalo glamurozno crven. Kao u kazni, ali dostojanstvenog držanja.

Ako za Knifera antislika nastaje uporabom minimalnih slikarskih sredstava onda ovog našeg slabo opjevanog junaka se ne može staviti u kategoriju antislike. Slika koja je prešla u drugi medij ako nije napravljena kistom i bojom ne može biti slika. Ili, pobliže objašnjeno, u engleskom jeziku lako bismo odvojili ”picture” od ”image” gdje ”picture” pripada slici na platnu ali u rečenici ”God created man in His own image”- ”image” pretpostavlja ideju slike a ne nužno njezinu materijalizaciju i sigurno ne na platnu.

Materijalizirana ideja lijepe, ali siromašne dobrodošlice.

Stretched colors, one after another, make an unintended color palette of availability. Laying down at the entrance to the gallery only because the entrance is there and because the colored field has glue on it’s other side. The tapes were collected in their color and dimensions in the hardware shops, within the selection of the moment: scotch tape, duct tape, crepe tape, insulator tape, glass protection tape and similar.

 

By market standards – hardly usable. The value of a painting is determined by the material, and this one acts like a dirty schoolboy who may be listening to a teacher today but not tomorrow. And he’s not the only one. Rauschenberg’s “Bed” from 1955 refuses the canvas. But raw color is still there. If it’s not already on a stretched linen cloth on a wooden frame, then on a cotton pillow, blanket and a sheet. The one we are talking about here has not done such favor: the process of getting the color is in the painter’s limbo, neither is it, nor is not. It is an amorphous condition, submissive and helpful to the audience. Good host who greets the audience at the entrance to the gallery space, but not in glamorous red. In punishment with dignified posture.

 

If anti-painting for Knifer is created using minimal painting means, then this poorly-sung hero of ours cannot be placed in the anti-painting category. An image that has been transferred to another medium if it is not made with a paintbrush it cannot be a picture. Or, more specifically, in English we could easily separate “picture” from “image” where “picture” belongs to the painting on canvas, but in a sentence “God created man in His own image” – “image” presumes the idea of ​​a painting and not necessarily its materialization and certainly not on canvas.

 

Materialized idea of ​​a handsome, but poor greeting ceremony.

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©copyright 2020 ana petrović