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Peruško Bogdanić: Postmodernism in the Sculpture and Painting
Vinko Srhoj
; Odjel za povijest umjetnosti Sveučilišta u Zadru
Sažetak
Statues by Peruško Bogdanić tend toward a certain archetype, a pre-form of all forms, the initial form which is the basis of sculptural evolution (or, of the evolution of any particular form). Therefore they shun detail and non-functional decor, and as some archaic totems they touch upon the very sources, the initial moments of the form creation and symbolic meaning. Bogdanić's "totemism" should be understood conditionally, as a search for some architectonic principles, rather than magic sculpture. Hence the severity, and finish with the minimum distortions which makes the statues appear as potential parts of a complex architectural whole. Hence their immanent architectonic spirit, even when those simple forms do not completely follow the logic of "parts within a whole" of some potential building, not being applicable to any building process, disregarding the laws of static and functional layering. If we could say for Hans Arp, and it seems that Bogdanić shares with Arp the initial idea of the primordial, that Arp conceives of the art as something growing from natural laws, one could say that Bogdanić's sculptures grow from a primordial culture, from the time when history emerged from prehistory, and when all its forms (sculptural and architectonic included) for the first time saw the light of day.
As critics debate the source of Bogdanć's statues within the rational or the intuitive, one may conclude that they are not a result of a ratio preceding intuition, but of a methodical and well-controlled creation which stops when sculpture would have to become descriptive by shaping a torso, a head, or a tool. As we encounter them, i.e., torsos without extremities, heads without physiognomic detail, swords without embellishments, they have reached the moment of cessation, of an interruption in the process of completion, of a conscious decision merging with a "subconscious persuasion" to stop exactly there, so that the statue may speak much louder then one following the steps of mimesis. Thus, one head is the birthplace of all heads, one sword a prototype of all swords, one self-portrait a representative of all artist's faces. Bogdanić's oeuvre is a specific variant of our post-modernist sculpture bringing together the modernist sparseness of forms, an almost minimalist reduction, and tales from mythology or history, without burdening sculpture with narration or picturesque detail.
Ključne riječi
Peruško Bogdanić; sculpture; modernism; postmodernism
Hrčak ID:
148742
URI
Datum izdavanja:
15.12.2005.
Posjeta: 927 *