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FUTURITY! Artist Against The War
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Nikola RIKANOVIĆ
Nikola RIKANOVIĆ

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Jovan Despotović
Istoričar umetnosti i likovni kritičar

Estetičke idelogije na vlastitim ruševinama
Gotovo da su do danas sve problemsko-stilske ili poetičke linije u umetnosti ovog veka dovedene do svog zaključnog stadijuma. U tom opštem rezimirajućem procesu umetnici novih generacija u recentnoj radnoj praksi ili kreativnoj produkciji kao da istovremeno ‘gledaju’ u dva pravca: jedan pogled im je okrenut prošlosti u kojoj pronalaze i prepoznaju one uzore koji su najbliži njihovom vlastitom stvaralačkom temperamentu, mentalitetu ili senzibilitetu, drugi je usmeren ka budućnosti kroz čiju neprozirnost nastoje da proniknu dakako uvereni da stvaraju vremenski (i estetički) trajnija dela. Ipak, nesumljiva je ćinjenica da je, realno uzimajući, njihov rad samo jedan od mnogobrojnih podataka aktuelnog umetničkog trenutka, ali onaj koji će možda i u budućnosti postojati ako sadrži neophodno pretapanje iskustvene komponentne prethodne umetnosti sa intuicijom i imaginacijom novog oblika i njegovog značenja.
Ambijentalna instalacija Nikole Rikanovića izložena ovom prilikom čvrsto je postavljena upravo na takvoj troznačnoj tački. Njegova bazična kreativna ideja ovde je očigledno proistekla iz avangardnih idioma konstruktivizma ‘ruskog umetničkog eksperimenta’, posebno iz kruga Tatljinovih likovnih reljefa, kontrareljefa i ugaonih reljefa nastalih 1913-14. godine. Za njih je bilo najkarakterističnije da je stvarni prostor korišćen kao ravnopravni likovni element, ili, kako je on sam isticao, rad sa ‘realnim materijalima u realnom prostoru’. Ti principi građenja i konstruisanja odveli su ga do toga da 1919-20. načini (doduše samo kao maketu) svoje kapitalno delo – ‘Spomenik III internacionali’ koji je trebao da bude podignut u Moskvi kao centralno propagandno i umetničko mesto svetskog komunizma na čije je avangardno ideološko i političko liderstvo pretendovalo tadašnje mlado sovjetsko društvo.
No, izgled Rikanovićeve izložbe upućuje gledaoca prema jednoj ideji zamrznutih, memorisanih ostataka nekog spaljenog, raspadnutog, ‘dekontruisanog’ Spomenika (Tatljinovog ili nekog drugog potpuno je svejedno). Ovi memorijalni apokaliptični prizori ostataka nečega ranije postojećeg mogli bi biti predlog za neki novi Spomenik IV (ili kojoj već?) internacionali (levih, ali i sasvim suprotnih – što kako vidimo izađe na isto, totalitarnih ideologija) na rubu (ili čak izvan) ikakvog (novosvetskog) poretka baš ovde i baš na kraju veka (i milenijuma). Po tim osobinama prostorna postavka, upravo totalno shvaćeni ambijent Nikole Rikanovića zaokružuje tu celinu ‘angažovanosti’ u plastičkom stvaralaštvu i projektuje sebe kao mogući znak ove epohe prenet u dalju budućnost, odn. protegnutog kroz trajnije umetničko vreme.
Kada se, napokon, usredsredimo na sadašnji trenutak, iskrsava i pitanje da li su umetnici danas kadri da svoja uzbuđenja prenesu na društvo (poput onih iz istorijskih avangardi ratnog i revolucionarnog perioda) koje stoji na rubu jedne opšte (nacionalne i državne) katastrofe? Očigledno je, pri tome, da su nekadašnje umetničke utopije (ali i sve druge poput političkih, ideoloških ili socijalnih) preobražene u današnjoj praksi u brutalne prizore opšteg nestanka, propasti, destrukcije… Metafora o savremenom razaranju pojma umetničkog dela koliko i zgleda galerijskog (i uopšte izlagačkog) prostora nove umetnosti lako se prenosi na karakteristične značajke spoljašnje realnosti, a u ovoj vrsti umetnosti metod plastičke dekonstrukcije zapravo simbolički označava evidentno stanje bukvalne destrukcije kao dominantne ideološke kategorije tekućeg fine de siecla – reflektovanog u krivom ogledalu: ranija potreba za građenjem preobražena je u nagone razaranja, optimizam ulaženja u novi, XX vek zamenjen je strahom pred krajnje opasnom budućnošću nagoveštenom na pragu XXI stoleća: sledećih hiljadu godina trećeg milenijuma izgledaju, iz ovdašnje kataklizmične perspektive, kao period čiji se kraj nikako neće dočekati.
To bi konačno i bio cilj upozorenja Nikole Rikanovića.
Jovan Despotović
U Beogradu, 15- 22. marta 1999.
Nikola Rikanović: “Ambijentalna instalacija”, pred. kat. samostalne izložbe, Centar za kulturnu dekontaminaciju “Paviljon Veljković”, 6. 1999, “Estetičke idelogije na vlastitim ruševinama”, Danas, 21. 6. 1999, s. 9, III program Radio-Beograda, 21. 6. 1999.
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Criticism/ KRITIKE
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#ARTTAKESMIAMI2017
SUBMIT YOUR WORK
OUR STORY
We believe creators deserve to be seen.
#ArtTakesMiami2017 is a global promotional project to get your story and your work in front of a worldwide audience

Art Week Miami is a cultural phenomenon with with global reach.
Tastemakers from around the world converge on the Magic City in search of aesthetic inspiration. Art is everywhere, and parties are endless.

There is no better time or place to celebrate creators of all kinds from all over the world.

You’re invited to join this celebration

Through December, beginning with Miami Art Week, we will be featuring creators from the SeeMe community on our website, our social channels seen by hundreds of thousands of people and on our email newsletter delivered to nearly a million subscribers.

Ten works by SeeMe creators will be featured at the 17th edition of SCOPE Miami Beach on Ocean Drive December 5-10th

Select SeeMe artists will receive an invitation to participate in a new SeeMe shop for art print reproductions.

To join us, simply tag your photos on Instagram or Twitter using #ArtTakesMiami2017 or upload by clicking the “submit your work” button above.

We look forward to celebrating you during Art Week Miami and beyond!

Yours Always,
The SeeMe Team

Dear Artists,

I'm writing to share with you some huge news from SeeMe and a new invitation to show your work at Art Basel Miami!

This has always been about you, the artists.

Since its inception, SeeMe has been an artist-run project built around the goal of exhibiting the artists and photographers of the world both online and in real-world exhibitions. Over the past five years, we've had incredible success growing to over a million members and producing shows from Art Basel to Times Square to the Louvre and the White House.

Our pursuit of new and better opportunities for artists and photographers is about to take its next step. I’m thrilled to introduce Brendan Burns as the new CEO of SeeMe, along with a new team with years of experience working professionally in the arts, print-on-demand and the online education space.

Brendan is a true businessperson in the art & culture space and has been involved in several important online companies that benefited artists and cultural institutions.

A rebirth is coming to the SeeMe community.

For the past few months, SeeMe’s founding team and I, have been working with this new team to build a plan to take SeeMe to new heights, with shows, online exhibitions, and new and even better ways for artists to earn money through both direct sales of work and on-demand prints and reproductions.

You are invited to celebrate SeeMe’s new era by getting your work seen during #ArtTakesMiami2017 with a celebration and an opportunity to show your work.

We’d like to invite you to help celebrate the new SeeMe with us at Art Basel Miami. We will be selecting members of our community to be featured in a print publication distributed at SCOPE Miami Beach, along with social outreach and corresponding PR.

To be a part of it, click here to submit your work and use the #ArtTakesMiami2017 in all your social posts, especially Instagram. We’d love to see you and promote you. If you will be Miami and want to connect with Brendan and the SeeMe team email Brendan@see.me.
Much more will be announced soon from Brendan Burns and the new SeeMe team!


Thanks as always for being a part of our community,
-William Etundi Jr.

http://arttakesmiami.com/?utm_source=SeeMe--%20SS%2FWix%20Competition&utm_campaign=5afc1ef66b-EMAIL_CAMPAIGN_2017_11_30&utm_medium=email&utm_term=0_dbf8c7eadf-5afc1ef66b-27122757
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ART HABENS - Criticism/ KRITIKE
https://plus.google.com/u/0/b/104292837066891190118/collection/0cT7ME?hl=en

Gospodin Jovan Despotović
Istoričar umetnosti i likovni kritičar

Estetičke idelogije na vlastitim ruševinama
Gotovo da su do danas sve problemsko-stilske ili poetičke linije u umetnosti ovog veka dovedene do svog zaključnog stadijuma. U tom opštem rezimirajućem procesu umetnici novih generacija u recentnoj radnoj praksi ili kreativnoj produkciji kao da istovremeno ‘gledaju’ u dva pravca: jedan pogled im je okrenut prošlosti u kojoj pronalaze i prepoznaju one uzore koji su najbliži njihovom vlastitom stvaralačkom temperamentu, mentalitetu ili senzibilitetu, drugi je usmeren ka budućnosti kroz čiju neprozirnost nastoje da proniknu dakako uvereni da stvaraju vremenski (i estetički) trajnija dela. Ipak, nesumljiva je ćinjenica da je, realno uzimajući, njihov rad samo jedan od mnogobrojnih podataka aktuelnog umetničkog trenutka, ali onaj koji će možda i u budućnosti postojati ako sadrži neophodno pretapanje iskustvene komponentne prethodne umetnosti sa intuicijom i imaginacijom novog oblika i njegovog značenja.
Ambijentalna instalacija Nikole Rikanovića izložena ovom prilikom čvrsto je postavljena upravo na takvoj troznačnoj tački. Njegova bazična kreativna ideja ovde je očigledno proistekla iz avangardnih idioma konstruktivizma ‘ruskog umetničkog eksperimenta’, posebno iz kruga Tatljinovih likovnih reljefa, kontrareljefa i ugaonih reljefa nastalih 1913-14. godine. Za njih je bilo najkarakterističnije da je stvarni prostor korišćen kao ravnopravni likovni element, ili, kako je on sam isticao, rad sa ‘realnim materijalima u realnom prostoru’. Ti principi građenja i konstruisanja odveli su ga do toga da 1919-20. načini (doduše samo kao maketu) svoje kapitalno delo – ‘Spomenik III internacionali’ koji je trebao da bude podignut u Moskvi kao centralno propagandno i umetničko mesto svetskog komunizma na čije je avangardno ideološko i političko liderstvo pretendovalo tadašnje mlado sovjetsko društvo.
No, izgled Rikanovićeve izložbe upućuje gledaoca prema jednoj ideji zamrznutih, memorisanih ostataka nekog spaljenog, raspadnutog, ‘dekontruisanog’ Spomenika (Tatljinovog ili nekog drugog potpuno je svejedno). Ovi memorijalni apokaliptični prizori ostataka nečega ranije postojećeg mogli bi biti predlog za neki novi Spomenik IV (ili kojoj već?) internacionali (levih, ali i sasvim suprotnih – što kako vidimo izađe na isto, totalitarnih ideologija) na rubu (ili čak izvan) ikakvog (novosvetskog) poretka baš ovde i baš na kraju veka (i milenijuma). Po tim osobinama prostorna postavka, upravo totalno shvaćeni ambijent Nikole Rikanovića zaokružuje tu celinu ‘angažovanosti’ u plastičkom stvaralaštvu i projektuje sebe kao mogući znak ove epohe prenet u dalju budućnost, odn. protegnutog kroz trajnije umetničko vreme.
Kada se, napokon, usredsredimo na sadašnji trenutak, iskrsava i pitanje da li su umetnici danas kadri da svoja uzbuđenja prenesu na društvo (poput onih iz istorijskih avangardi ratnog i revolucionarnog perioda) koje stoji na rubu jedne opšte (nacionalne i državne) katastrofe? Očigledno je, pri tome, da su nekadašnje umetničke utopije (ali i sve druge poput političkih, ideoloških ili socijalnih) preobražene u današnjoj praksi u brutalne prizore opšteg nestanka, propasti, destrukcije… Metafora o savremenom razaranju pojma umetničkog dela koliko i zgleda galerijskog (i uopšte izlagačkog) prostora nove umetnosti lako se prenosi na karakteristične značajke spoljašnje realnosti, a u ovoj vrsti umetnosti metod plastičke dekonstrukcije zapravo simbolički označava evidentno stanje bukvalne destrukcije kao dominantne ideološke kategorije tekućeg fine de siecla – reflektovanog u krivom ogledalu: ranija potreba za građenjem preobražena je u nagone razaranja, optimizam ulaženja u novi, XX vek zamenjen je strahom pred krajnje opasnom budućnošću nagoveštenom na pragu XXI stoleća: sledećih hiljadu godina trećeg milenijuma izgledaju, iz ovdašnje kataklizmične perspektive, kao period čiji se kraj nikako neće dočekati.
To bi konačno i bio cilj upozorenja Nikole Rikanovića.
Jovan Despotović
U Beogradu, 15- 22. marta 1999.
Nikola Rikanović: “Ambijentalna instalacija”, pred. kat. samostalne izložbe, Centar za kulturnu dekontaminaciju “Paviljon Veljković”, 6. 1999, “Estetičke idelogije na vlastitim ruševinama”, Danas, 21. 6. 1999, s. 9, III program Radio-Beograda, 21. 6. 1999.
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© 2015 Jovan Despotović / jdespot@eunet.rs. design by: BluePrint design studio. Theme: Ari by Elmastudio. Powered by WordPress.

http://www.jovandespotovic.com/?page_id=3684

TV Nikola RIKANOVIĆ Serbian Broadcasting Corporation- RTS 1999
https://plus.google.com/u/0/b/106689484725815554537/106689484725815554537/posts?hl=en&service=PLUS 

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Dear Nikola,

Thanks for your interest in the 8th Edition of ART Habens. We have been very impressed with your artistic production and we are glad to inform you that your works have been selected for publication in the next Special edition of ART Habens Art Review.
In particular, we have highly appreciated the way your unconventionally insightful exploration of the notion of deconstruction, as well as your multifaceted inquiry into the consciousness of the invisible confines of the medium challenges the viewers' perceptual parameters establishing deep involvement on both the emotional aspect and on the intellectual one. So we'll be pleased to submit you a personal interview that will be published in the next special issue of our art review. You can read the recent issues of ART Habens Art Review at:

Special Issue 2016 https://joom.ag/8d4W
Special Issue 2015 https://joom.ag/L34W
Special Issue 2014 https://joom.ag/Bz4W

Please send us an updated artist's statement and 14 high resolution images to be published close to the text of the interview, as usual.

For any further clarification, do not hesitate to contact us.

Sincerely,

ART Habens Team
http://arthabens.yolasite.com


FUTURITY!
https://plus.google.com/u/0/b/107038102090979168365/107038102090979168365/posts?hl=en&service=PLUS

Submission 2477 Nikola RIKANOVIC:
Status: SELECTED

> Artist Against The War
> Nikola RIKANOVIC - Serbia

ART HABENS - Criticism/ KRITIKE
https://plus.google.com/b/110910567198025829845/110910567198025829845/posts

Submission 2477 Nikola RIKANOVIC:
Status: SELECTED

> Artist Against The War
> Nikola RIKANOVIC - Serbia
>
> Ambiental-Installation:
>
> CRIME AND PUNISHMENT
> https://plus.google.com/u/0/b/107038102090979168365/107038102090979168365/posts?hl=en&service=PLUS
>
> TV Video, Beta SP; C;
>
> TV Nikola RIKANOVIĆ Serbian Broadcasting Corporation- RTS 1999
> https://plus.google.com/u/0/b/106689484725815554537/106689484725815554537/posts?hl=en&service=PLUS
>
> Jovan Despotović
> Art historian and art critic
>
> Aesthetic ideology on its own ruins
> Almost until today, all problem-stylistic or poetic lines in the art of this century brought to its final stages. In this general process of summing up the new generation of artists in the recent work practices or creative production at the same time as the 'view' in two directions: one look at them facing the past in which they find and recognize role models who are closest to their own creative temperament, mentality or sensibility, the other is aimed at the future through the opacity of which seek to penetrate course convinced that creating a time (and aesthetic) permanent work. However, undoubtedly the fact that, in real terms, taking, their work is just one of many details of the current artistic moment, but one that might exist in the future if it contains the necessary experiential blending component prior art with intuition and imagination of a new form and its meaning.
> Ambient installation Nicholas Rikanovic exhibited on this occasion is firmly positioned precisely on such troznačnoj point. His basic creative idea here is obviously derived from the avant-garde idiom of constructivism 'Russian artistic experiment', especially from the circle Tatljinovih Fine reliefs and corner reliefs kontrareljefa incurred 1913-14. year. For them it was the most characteristic that the actual space used as an equal visual element, or, as he himself pointed out, work with 'real materials in real space. These principles of construction and construction led him to being 1919-20. ways (albeit only as a model), his major work - 'Monument III internationalization' that was supposed to be erected in Moscow as the central propaganda and artistic city of world communism in whose avant-garde ideological and political leadership of the then claimed the young Soviet society.
> But the appearance Rikanovic the exhibition refers to the viewer an idea of ​​frozen, stored the remains of a charred, decaying, 'dekontruisanog' Monument (Tatljinovog or some other completely irrelevant). These apocalyptic scenes memorial remains something pre-existing could be a proposal for a new monument IV (or where more?) Internationalization (left, but quite the opposite - that what we see out on the same totalitarian ideology) on the edge (or even outside) any (novosvetskog) order right here and just at the end of the century (and millennium). According to these features spacious setting, just totally understood ambiance Nicholas Rikanovic rounded the whole 'engagement' in the plastic creation and project himself as a possible sign of this epoch transferred further into the future, ie. the extended through a permanent art weather.
> When, finally, focus on the present moment, the question arises whether the artists are now able to share their excitement transferred to the company (such as those from the historical avant-garde and revolutionary war period), which stands on the brink of a general (national and state) disaster? It is obvious, in fact, that the former artistic utopia (or any other such political, ideological or social) transformed into practice today in the brutal scenes of general disappearance, destruction, destruction ... The metaphor of the modern notion of the destruction of a work of art as much as it seems gallery (i general exhibition) space of the new art is easily transferred to the characteristic features of external reality, and in this type of plastic art methods of deconstruction actually symbolically indicates clearly state the literal destruction as the dominant ideological category liquid fine de siecle - reflected in the wrong mirror: the need for earlier construction transformed into a destructive instincts, optimism going into the new, twentieth century has been replaced by the fear of extremely dangerous future hinted at the threshold of XXI century: the next thousand years of the third millennium look, from the nearby cataclysmic perspective, as a period whose end is not going to wait.
> This would be the final and was the target of warnings Nicholas Rikanovic.
>
> Jovan Despotović
> In Belgrade, 15- 22 March in 1999.
> Nikola Rikanović "Ambient installation" before. Cat. solo exhibition, the Center for Cultural Decontamination "Veljkovic Pavilion", 6th 1999 "aesthetic ideology on its own ruins," Danas, 21. 6. 1999 s. 9, III program of Radio Belgrade, 21. 6 in 1999.
>
> http://www.jovandespotovic.com/?page_id=3684
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