Mária Čorejová. Stajaće vode

STANDING WATERS / STAJAĆE VODE

Mária Čorejová

English text below

U saradnji sa / In cooperation with: Miriam Šebianová

Kustoskinja / Curator: Miroslava Urbanová

remont nezavisna umetnička asocijacija, Beograd, Serbia

Otvaranje izložbe u ponedeljak, 11. juna u 19h

 

Od 11. do 29. juna 2018. u galeriji Remont biće predstavljen rad slovačke umetnice Marije Čorejove(Mária Čorejová). Ona će svoje crteže izložiti  uz objekte arhitektice Mirjam Šebjanove (Miriam Šebianová) objedinjene  kustoskim konceptom kustoskinje Miroslave Urbanove (Miroslava Urbanová).

 

Izložbu podržao Savet za kulturu Slovačke

 

Na samostalnoj izložbi Marije Čorejove STOJEĆE VODE biće predstavljena selekcija iz njenih poslednjih serija crteža Dani gneva / Days of Anger (2015-2016), Hrabri svet / Brave World (2016-2017) i Oh tvoj Bože / Oh Your God (2017-2018), zajedno sa objektima Mirjam Šebjanove Slatki dom / Sweet Home (2017). Svojim umetničkim radom Marija kontinuirano ukazuje na tragove kako preostalih tako i novonastalih dogmi unutar neoliberalnog i neokonzervativnog okruženja bivšeg Istočnog bloka.

 

Uglavnom radi u tehnici mastilo na papiru. Na beloj površini oblici su raspoređeni u konstelacijama koje nije moguće čitati samo na jedan način. Bilo koji pokušaj da se rad razume samo na jedan način bio bi površan. Ipak, umetnica nam daje nedvosmislene nagoveštaje – smernice svog kritičkog stava.

 

 

Serija Dani gneva referiše svojim nazivom na klasika slovačke literature (Dies ierae, Martin Kukučin) i sastoji se od predstava svakodnevnih objekata ali i univerzalnih simbola naše kulturne sfere kao što su npr. hleb ili brod. Ti objekti su izgoreli, oni gore, plutaju, ili tonu i stvaraju instant osećaj brige svojim promenjenim stanjima. Umetnica primenjuje i veoma mek crtež olovkom i crnim voskom da bi postigla dramatičniji kontrast, osećaj nesigurnosti proizveden imaginarnim udarom gneva.

 

Metalne konstrukcije Mirijam Šebjanove pod nazivom Slatki dom oblikovane su kao arhetipske kuće. U njihovoj trećoj dimenziji otvara se određen fizički i ideološki prostor, na sličan način na koji se to dešava i u čvrstim ali fluidnim linijama Marijinih crteža. Granice ovog prostora su prekinute motivima iz Marijinog uobičajenog repertoara, kao npr. balonom ili figurom životinje, koji traže svoje mesto u okviru nejasnih granica između privatnog i javnog prostora. Umetnice nam sugerišu da obratimo pažnju na vezu između njihovog rada, na slatke uspone i padove, na fragilnost sličnu zidovima od šećera jedne od ovih malih konstrukcija kuća.

 

Hrišćanska simbolika i crkvena arhitektura pojavljuju se redovno u Marijinom radu, zadnji put u serijalu Hristove stanice. U novijoj seriji Hrabri svet, umetnica nam usmerava pogled na enterijer sakralne arhitekture: u brodove, transept i kapele srednjevekovnih manastira i katedrala. Oni su nesumnjivo najmonumentalnija umetnička manifestacija hrišćanske tradicije u Evropi. U ove prostore ona uvodi različite začudne objekte i fenomene i time remeti očekivani utisak žanra. Naravno, ove predstave crkvenih enterijera pre označavaju metafizički nego fizički prostor, ali bez svoje božanske aure obično predstavljane zracima svetla koji ulaze kroz bojene vitraže. U ovim nemim skeletima fragmenti sekularnog sveta zarobljeni su u ikoničku crnu materiju. Umetnica time prebacuje značenjski okvir na sagledavanje različitih sistema – religioznih, socijalnih, kulturnih, na njihove granične oblasti, konfrontacije i preklapanja. Po legendi, na početku sveta bilo je svetlo. I na početku umetnosti / slike je linija izvučena duž senke.

 

Dalje, u najnovijoj seriji crteža Oh tvoj Bože javljaju se različiti motivi iz prethodnih serija – kao što su trofejne preparirane životinje, srednjevekovne crkve i antički hramovi. Oni su pažljivo aranžirani u nerealnom ali simboličkom okruženju. Tvore lavirint referenci koje pokazuju unazad, ka korenima kulture. Ova mesta i objekti čine se pogođeni i zarasli u drveće koje se širi – kao da se takozvana priroda suprotstavlja takozvanoj kulturi.

 

U Marijinom radu naglašena je nadrealna atmosfera. Ovo je vidljivo ne samo po tretiranju plana i perspektive slike već pre svega po začudnim spojevima prostora i objekata. Ipak, ove pretežno nefigurativne kompozicije su eho tekućih socijalnih dešavanja. Marijini crteži u tom smislu podražavaju nadrealan osećaj savremenog sveta lažnih vesti, uspona ekstremne desnice i bigotizma u centralno-evropskom region. Do izvesne granice oni deluju kao doslovne ilustracije iskrivljene istorije ovog područja.

 

Miroslava Urbanová, kustos

 

Mária Čorejová (1975) završila je Akademiju za umetnost i dizajn u Bratislavi, Slovačka (professor Daniel Fischer, 1994-2000.). Dobitnica stipendije Fulbright na Umetničkom institutu Bostona (Boston, SAD, 2002.)

 

Standing Waters

The solo show of Mária Čorejová Standing Waters at Remont Gallery in Belgrade presents a selection from her latest drawing series Days of Anger (2015-2016), Brave World (2016-2017) and Oh Your God (2017-2018), together with the objects by architect Miriam Šebianová Sweet Home (2017). In her works, the artists continuously questions the traces of the persisting and the new dogmas within the neoliberal and neoconservative environment of the former Eastern Bloc.

Mária continues to develop her authorial programme prevalently in the technique ink on paper. On the white surface of the paper sheet the objects are assembled in such constellations of which one exclusive interpretation would put us in danger of getting stuck in the shallows. However, she provides us with some anchors to spot an undistorted reflection of her critical input.

Days of Anger, referring with its title to the classic of Slovak literature, consist of representations of both everyday objects and universal symbols of our cultural circle, for example bread or boat. Things which are burnt, burning, flowing, or are drowning in themselves, produce the instant feeling of worry about the change of their state and/or state of matter. Mária adapts her technique – this time very soft pencil drawing and scratched black wax – so that she reaches more dramatic contrast, feeling of loss of security after being hit by imaginary lightning of anger.

Metal construction of Miriam’s objects called Sweet Home, shaped as an archetypal house, delineates in the third dimension a certain physical and ideological space, in the similar way like Mária’s solid, but still fluid drawing line. Borders of this space are interrupted with motifs from Mária’s usual repertoire, for example balloon or animals, which are searching for their place in the framework of unclear borders between private and public space. Artists are inviting us to take a look at their relationship, its sweet ups and downs, its fragility similar to the sugar walls of one of these little mansions.

Christian symbolism and the church architecture emerge in Mária’s œuvre regularly, last time in the series Stations of Crisis. In the newer Brave World the artist directs our gaze into the interior of sacral architecture : to the naves, transepts and chapels of the cloisters and cathedrals from Middle Ages. These are without doubt the most monumental material and artistic manifestations of the Christian tradition in Europe. She brings various strange objects and phenomena to these spaces and therefore disturbs the genre impression of the drawings. Indeed, these depictions of church interiors denote more metaphysical than physical space, but deprived of its divine aura represented by the light coming through the colourful glass windows. In these mute skeletons are the fragments of the secular world trapped in the iconic black matter/fluid. The artist shifts the discussion to the framework of thinking about systems (religious, social, cultural), about their borders, confrontations and overlaps. According to legends, at the beginning of the world there was light. And at the beginning of the art/painting there was a line drawn alongside the shadow.

Further, in the latest series Oh Your God appear various motifs from the older series on one sheet of paper – such as stuffed animal trophy, medieval church or ancient temple. They are carefully arranged in an unreal setting, though quoting well-known spaces. They create a labyrinth of references pointing back to the roots of our culture. These places and objects are seemingly struck and overgrown by expanding trees, when so-called nature confronts so-called culture. Their physical and thematic overlappings vary from the bloody deer decoration on the walls of Bratislava’s castle through the associations such as that of the mythical wooden origin of the first architecture to the thematization of the unscrupulous wood harvesting fueled by greed in today’s Slovakia.

What is often being highlighted, is a certain surreal impression of Mária’s. This can be observed not only in the treating of the picture plane and perspective, but first of all in the strange ensambles of places and objects. However, these predominantly non-figurative groups are an echo to current societal events. Mária’s drawings are in this sense mimicking the surreal feeling of today’s world of fake news, the rise of far-right and bigotry in Central European region and are to certain extent acting as the exact illustrations to the distorted history of the region.

Miroslava Urbanová, curator

 

 

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