FABRIZIO DENTILI (about Radovanic´s work)

"His work moves itself, above all, in a social and political criticism inside a contemporary reality. He unfolds this reality, which is common to us, in a suggestive, implied way. He privileges patterns of information collecting photographs from the mass media, such as newspapers, magazines or images taken from the television. In an intelligent way, he uses these “models” of his for the accomplishment of pictorial compositions, which are the substratum of the representations of figures and bodies of his painting, faced as an inevitability of the daily life."

International Contemporary Masters IV

Introduction by Thomas Tunberg With each succeeding volume of International Contemporary Masters, the series becomes a richer and more authoritative cross-section of art in the early 21st century over the entire planet. We try to keep the number of artists in each volume at about 200, a fairly large spectrum, but still manageable. Specifically in this volume, we have some 230 artists, with over 1000 art works. However, with all the volumes taken together, the scope is becoming encyclopedic, which is our intention in a few years, the total number of participating artists will be in the thousands and the works depicted in the tens of thousands, which no exhibition or curated collection will be able to equal or even approach. At the same time, we try to give to each artist sufficient room to tell, or rather, display his or her own narrative. While of course the most vital element of the presentation is the images themselves, the biographies and statements give a sense of each artist s personal history and perspective. This is an integral part of the whole structure of the Masters series and another element that sets this presentation apart the who as well as the what. Obviously the presentation of biographies and artist s statements is almost obligatory in individual or small group presentations, but we believe the amplitude of their inclusion in such a vast work is at the very least unusual.

VOLUME 4 number 1 jan. 2011.

Picture Edited by: Dr. Santosh Kumar - Binding: Paperback 138 pages - ISSN: 0974 - 0023 - Availability: In Stock - Publisher: Cyberwit.net - Pub. Date: 2011

This issue of Harvests of New Millennium 2011 is a multicultural journal, a truly independent journal devoted to traditional and nontraditional art and poetry. Harvests of New Millennium will continue to have enormous impact because it includes some of the best art, poems and haiku by contemporary artists; and partly because of the range of its contents. One of the world's most significant journals devoted to Art, Harvests of New Millennium promotes and focuses on the best creative writing and art. No doubt, it is a source of powerful, new voices. I hope the emerging authors and visual artists published in this issue will have a powerful impact on the contemporary world of creative artists both nationally and internationally.

ARTWORKS
Albert Russo Andrew Cain Andrey Vishnevskiy Aris Stathakis Derek McCreaDiane Ketelsen Emanuela Hrris-Sintamarian Fotis Galanopoulos Francie Aguilera Gustavo Marrero Jasmine Jennings Jason Fairchild John Antoine Labadie Joseph Aprile Lisa Jennings Margie Babon Nicolau Campos Olga Dmytrenko Painter Coded  Rachel Weissberger Robert Blackett Robin M. Buehler Trisha Allard Venczák Marianna Yuko Tange Zdenko Radovanic Zhang Fan    

ESSAYS
Karunesh Kumar Agrawal Moshé Liba Vadim Filatov  

POEMS
Alan Catlin Albert Russo Ami Blackwelder Blair Ewing D Everett Newell erika m. nelson Floriana Hall Fran Shaw Gustavo Adolfo Aybar Ilia Xypolia Isabelle LahaieJan Oskar Hansen Jerry Tunde Olasakinju John Ryan Joseph Aprile Katya Ganeshi        
Maria Bennett Michael D. Sollars Miguel Herrera Nola Terrassin P K Padhy Raina  Santiagodel Dardano Turann Scot Lahaie Stephen Lloyd Smith Suzie Palmer  Tegan Zimmerman 

HAIKU
Ban'ya Natsuishi Bill Cooper Bill Wolak Dietmar Tauchner John McDonald Moshé Liba Nola Terrassin Santosh Kumar Sayumi Kamakura Shirley Bolstok Suzie PalmerYuko Tange 

Gillo Dorfles

Picture   
 
„Fare del supporto un medium: ossia innalzare a potenza di materiale creativo quello che in origine e solo la base strutturale del´opera. E questo forse il vero fondamento di una operazione come quella di Radovanic, che si dipana lungo un arco di tempo ormai ampio...Dare ai singoli significanti (i supporti: tangibili nella loro concretezza anche materiale e materica) un significato univoco, che e quello d´una valenza in volta usato“.
 

Galerija “Forum”, Zagreb             kritika: Ivana Gabrić

“Zdenkovo snažno gestualno slikarstvo s naglašenom materijalnošću ima uporište u tradiciji enformela, iako ne koristi karakteristične destruktivne metode kao paljenje, razbijanje i slično. Njegove slike izgledaju naoko spontane, no one su strogo kontrolirane i pomno promišljene. Zdenkovi radovi se mogu shvatiti kao osebujni prikaz strukture ljudskog tkiva u procesu dezintegracije, metastaziranja. Stoga je više nego jasna autorova metafora društva u propadanju i svih njegovih anomalija. Plavobijele goruće žile boje pulsiraju na tamnoj enformelističkoj pozadini, te poput žitke mase rastvaraju platno odajući nam autorov mučan i kritički doživljaj svijeta.”

 
Galerija “Stančić”, Zagreb           kritika: Sanda Stanaćev Bajzek

Zdenko Radovanić priklonjen je poetici enformela, naoko spontanog mehanizma nanošenja boje, no u njega ipak kontrolirana, ali ne odustajuća od užitka nanošenja boje na platno. Naglašava značenje taktilnosti, fizičkog dodira s materijalom. Slikarskom platnu pristupa kao konkretnoj plohi, a boji kao živoj materiji. Sliku stvara sam materijal jer Radovanić ostavlja da kolorirana materija učini svoje, dozvoljavajući si razvoj energije geste ispitujući fizičko djelovanje u polju slike. Pušta materiju, ali kontrolira gestu, promišljeno intervenirajući u samu slikarsku tvar po principima prirodnih slikarskih zakonitosti, postižući „enformelne efekte“ samom materičnošću boje i prirodnim komponentama kojima ju „veže“ zadržavajući se u poljima dvodimenzionalnog platna. Njegov rad ostaje slikom – formalna svojstva enformela prispodobljuje klasičnoj formi slike ne koristeći se uvriježenim enformelističkim sredstvima i postupcima poput pijeska, katrana, smole ili paljenja. Sliku čine homogenizirani pigmenti, najčešće crveni, plavi ili žuti, slojevite magmatične snage izrastajućeg volumena unutar kojeg uočavamo strukturu površine, karakter i ponašanje materijala nakon umjetnikova utiskivanja snažnog materičkog traga u slojeve impasta poput „lupanja“ segmenata boje u gornjem sloju kada donji dijelovi izbijaju prosijavajući drugim kolorom, poništavajući tragove komponiranja stvarajući nove kompozicijsko – pikturalne odnose. Izrazitom gustoćom namaza ispunjava površinu ekspresivnim potezima gradeći u centralnom dijelu slike specifične strukturalne površine, mrežaste rastere, rasprskotine, krastave tvorevine, metastazirane tumore kolorističke tvari, dinamičnosti postignute mutacijama boje. Radovanićevi fragmenti izazivaju oko, ali i duh koji prepoznaje potrebu umjetnika da istinski progovori iz sebe čineći da vidimo ono što je unutar slike, zapravo ono što je unutar nas. Radovanić tako niže strukturalne slojeve i intervenira u kolorističku magmu linijama nepravilna oblika skrivajući, tj. otkrivajući bit života, pulsirajući nerv skriven pod slojevima epiderme. Njegov enformel tako nije čista slučajnost, on u sebi nosi određen likovni zadatak koji se kristalizira iz intuitivnog otvaranja boji i materiji, u likovnom prostoru uzavrele, snažnom gestom napadnute plazme, uznemirene strukture razdrta tkiva.
 
 
SAATCHI online TOP 10 chosen by ANA FINEL HONIGMAN
 
“With Nu-rave and neon creating eye-popping sights on Europe's streets and catwalks, it is not surprising that beaming bright colors are also beaming off artists' palettes. These ten artists prove that punchy colors can make an powerful, yet also subtle and complex, impact.”

 

Kontakt

akad.sl. Zdenko Radovanić, mag.sl.
Duga 130, Ivanovac
31215

   

 
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