lena nikČeviĆ - montenegrina.net

LENA NIKČEVIĆ EX – SITU preseljeno iz izvornog mjestamoved from its original place

Tendency to exist - to fly | 2013 | transformisani pleksiglas | prirodna veličina

Instalacijom “Ex – situ” Lena Nikčević aktivira različite nivoe značenja „preseljenja iz izvornog mjesta“: preseljenje umjetničkog djela iz galerijskog prostora u tržni centar, preseljenje čovjeka

iz jedne zajednice u drugu, preseljenje iz intimne sfere u javnu, preseljenje iz materijalnog u spiritualno… Odlučivši se da instalaciju postavi u tržnom centru, heterotopiji našeg doba, umjetnica problematizuje pitanje funkcionisanja umjetničkog djela u komercijalno-zabavnom prostoru. Da li je tržni centar kao mjesto koje s jedne strane, spektakularnim sadržajima nagovara kupce na konzumiranje i apsorbuje njihovo slobodno vrijeme, a sa druge strane kao savršeno organizovano mjesto potpunog nadzora i kontrole (alarmi, kamere, obezbjeđenje), adekvatan prostor za umjetničko djelo? Da li takvo okruženje apsorbuje umjetničko djelo, svodeći ga na atrakciju, kratkotrajno registrovanu vizuelnu senzaciju, ili, naprotiv, umjetničko djelo istinski komunicira sa posmatračem i preobražava prostor, aktivirajući njegove neotkrivene potencijale? Šest skulptura u prirodnoj veličini, rađenih namjenski za instalaciju “Ex – situ” pripadaju ciklusu “Tendencija da se postoji”. Skulpture predstavljaju figure koje trče, uranjaju u crvenu šumu (rad “Naopak Rouge”) i potom, prolazeći “kroz” šumu lete. Figure su rađene tako što je umjetnica prvo napravila matrice od žice prema tijelima bliskih ljudi, a potom je iz matrica izvlačila otiske u topljenom pleksiglasu. Otisci fiksiraju morfologiju tijela i mekotu prevoja odjeće usled pokreta, čineći da se jedan položaj tijela memoriše i upamti duže od trenutka u kom je izgledalo na jedan, jedinstveni način, u svojoj beskrajnoj promjenljivosti. Neizvjesnost postojanja i istovremeno opsjednutost davanjem dokaza o sopstvenom postojanju čine otiske tijela poput fotografija u Bodrijarovom smislu idealnim sredstvima za bespolno, a samim tim i besmrtno množenje slika, dakle, dokaza o postojanju kako stvarnosti, tako i samog autora. Sprovodeći neodvojivo spiritualna i supstancijalna istraživanja, finim stabilizovanjem razlika i koegzistencije fizičkog i duhovnog, konkretnog i opšteg, saznajnog i nedokučivog, Lena stvara eterične skulpture koje su istovremeno usrećujuće prisutne i nedokučivo daleke. Iako vrlo koncentrisana na sam materijal, njegovu fizičku supstancijalnost i plastička svojstva, umjetnica izvlači na površinu simbolično i imaginarno, stvarajući „fikcionalni višak“ koji njene skulpture čini auratičnim. Upravo taj „višak“ nastao rafiniranim međusobnim spajanjem i potčinjavanjem (nikad sukobljavanjem) materijalnih i nematerijalnih faktura ukazuje na Lenin osjećaj za materijale, koji je izoštren do najvišeg stepena senzitivnosti.Centralni dio instalacije je monumentalni rad „Naopak Rouge“. Crvena šuma je urađena duborezom sa unutrašnje strane pleksiglasa, a potom zaštićena leđnom pločom. Ploče, osim što štite unutarnje, delikatno tkivo šume, čuvajući od raspršivanja njenu energetsku snagu, impliciraju i veo koji simbolizuje okretanje od spoljašnjeg svijeta. Umjetnica pravi svoje imaginarno mjesto, enigmatičnu šumu skoro mantričkim ubodima alatki, stvarajući raskošne teksture koje svojom bojom i ritmom podsjećaju na ritmove života i kretanje krvi. U zavisnosti od vibracija duha, raspoloženja, psiho-somatskog stanja, urezima nekada dubokim, a nekada ovlaš i nježno položenim u staklenu pastu, stvara čudesnu šumu u kojoj bi se gledalac

samozaboravno izgubio. Gledalac bi „zaronio“ u šumu jer mu pruža tako priželjkivani spokoj i poetičnu vedrinu. Prema rječniku simbola, šuma je posrednik između zemlje u koju uranja korijenjem i nebeskog svoda koji doseže vrhovima krošnji, a u psihoanalizi šuma simbolizuje područje nesvjesnog. U instalaciji „Ex-situ“ šuma predstavlja prolaz, dveri između dva stanja duha, između dva svijeta, između poznatog i nepoznatog. Ona je mjesto inicijacije, staza koja vodi prosvjetljenju. Ipak, prema Leninom iskazu, paradoksalno je što je idilična predstava prirode koja pruža tako meditativne osjećaje rađena u pleksiglasu koji je naftni derivat, pa se tako otvara i ekološko pitanje. Sa nepotrošenim entuzijazmom i nerutiniranom umjetničkom strategijom Lena nudi imaginerijum koji se nježno i meko polaže i pohranjuje u naše duše, pozivajući nas u nevjerovatno privlačan i poetičan svijet bez zadatosti i stabilnosti konvencija, svijet u kom značenja nijesu fiksirana u nepromjenljivoj tačnosti, učmalosti i nepokretnosti kao u našoj nepoetičnoj stvarnosti.

Ljiljana Karadžić

With her installation “Ex-situ” Lena Nikčević activates different levels of the meaning of “removed from its original place”: the moving of artwork from gallery space into a

shopping mall, the moving of a man from one community into another, moving from the intimate into the public sphere, moving from the material into the spiritual… Determined to place her installation into a shopping mall – the heterotopia of our age – the artist raises the issue of how artwork functions within a commercial and entertainment space. Is the shopping mall, as a place which, on one plane with its spectacular contents persuades customers to consume and absorb their own free time and on another plane is it, as a perfectly organized place of complete surveillance and control (alarms, cameras, security), a suitable space for artwork? Does that kind of surrounding absorb the artwork, reducing it to an attraction, an evanescently registered visual sensation or, on the contrary, does the artwork truly communicate with the spectator and transform the space, thus activating its unrevealed potential? Six full-size sculptures made for the purpose of the installation “Ex-situ” are part of the series “Tendency to Exist” (“Tendencija da se postoji”). The sculptures depict running figures plunging into a red forest (the work “Naopak Rouge”), which after passing “through” the woods, fly away. To produce the figures, this female artist first made meshes of wire modelled on the bodies of her nearest and dearest. After that, she cast imprints from the meshes in melted Plexiglas. The imprints fixate the body’s morphology and the softness of bends in clothes caused by movements, thus causing one body position to be memorised and remembered longer than the moment at which, in its unique way, it once looked, in its own endless impermanence. Uncertainty of the existence and simultaneous obsession with proving one’s own existence, make the body imprints reminiscent of photographs in Baudrillard’s sense as an ideal means for

the genderless, and accordingly the infinite multiplication of images, i.e. proofs of the existence of not only reality, but of the author, too. Inseparably undertaking spiritual and substantial research, by refined stabilising of the difference and co-existence of body and soul, the concrete and the general, the cognitive and the unfathomable, Lena comes up with ethereal sculptures which are at the same time contentedly present and intricately remote. Though greatly focused on the material itself, its physical substantiality and plastic properties, the artist puts on the surface the symbolic and imaginary, thus creating a “fictional surplus” which is what makes her sculptures auratic. It is precisely this “surplus” born of refined interconnection and subordination (but never confrontation) of material and non-material factures that points out Lena’s feeling for the materials which is sharpened to the highest level of sensitivity. The central part of the installation is the monumental work “Naopak Rouge”. The red forest is done in woodcut on the interior side of acrylic glass, and then protected by a backplate. The plates, besides protecting the interior, the delicate tissue of the forest, saving its energetic strength from dispersion, also imply a veil which symbolises a moving away from the outer world. The artist is creating her own imaginary place, her enigmatic forest using the almost mantric stings of tools, thus producing luxurious textures, which in their own colour and rhythm resemble the rhythms of life and movements of blood. Depending on the vibration of spirit, temper, the psychosomatic condition, on notches at times deep, at times slightly and tenderly put into Plexiglas, she produces a magical forest in which the spectator would get lost in self-forgetfulness. The beholder would “dive” into the woods since it gives him so much desired calm and poetical clarity. According to the Dictionary of Symbols, the forest is a mediator between the earth, into which it plunges its roots, and the firmament, which it reaches via the treetops. In psychoanalysis the forest symbolises the area of the unconscious. In the installation “Ex-situ“ the forest stands for a passage, the doors between two states of spirit, between two worlds, between the known and the unknown. It is a place of initiation, the path heading to enlightenment. Yet, judging by Lena’s articulation, it is paradoxical that the idyllic representation of nature which gives rather meditative feelings is born refined in Plexiglas, which is an oil derivative, so in this way ecological concerns are raised.With unwasted enthusiasm and routineless art strategy, Lena offers an imaginary world which, in a fragile and soft way, enters into and nurtures our souls, diverting us towards one unbelievably attractive and poetical world suffering no givens or fixations of conventions, a world in which meanings are not rooted in unchangeable exactness, apathy and immobility as in our unpoetic reality.

Ljiljana Karadžić

EX – SITU preseljeno iz izvornog mjesta

Moja prva samostalna izložba u Crnoj Gori od kako sam je napustila 1999. godine. Prihvatila sam poziv Centra Savremene Umjetnosti Crne Gore da izlažem u tržnom centru Delta.Tržni centar u našoj zemlji nema isto značenje, iako zadržava istu funkciju, kao u zapadnim državama, jer postoji tek nekoliko godina.Sjećam se momenta otvaranja velikog VOLI-ja u Baru, gdje žive moji roditelji, bila sam zgrožena i zbunjena inauguracijom, moj komentar je bio «kao da je u pitanju otvaranje muzeja savremene umjetnosti». Svi su bili tu: političari, defile lijepih Crnogorki u mini suknjama i na visokim štiklama... čak sam i fotografisala, da se poslije uvjerim da sam to stvarno vidjela.A šta se dešava sa kulturom, sa muzejima u Crnoj Gori, može li Centar savremene umjetnosti da omogući takvo velelepno otvaranje izložbe? Da li ijedan predstavnik Vlade Crne Gore sma-tra potrebnim da dođe na otvaranje izložbe jednog umjetnika u Centru savremene umjet-nosti? Možda će doći na moje u tržnom centru Delta? Koji značaj ima umjetnost tamo i ovdje? Želim da razumijem smisao i tako veliko značenja jednog tržnog centra u Crnoj Gori. Da uporedim sa smislom i značenjem koje ima ovdje, da odgovorim, izlažući u Tržnom centru Delta na challenge našeg vremena.Suočiti moju umjetnost nastalu daleko od tog tipa velikog potrošačkog društva, koji je postao simbol moje zemlje (u Francuskoj idem u tržni centar samo ako nemam nikakvog drugog izbora, i to tako brzo odradim, najjednostavnije, kad se mora) pravi je izazov za mene.Interesuje me da suočim svoj rad sa tim mjestom, da vidim kakvu poruku jedno umjetničko djelo može da ima u zavisnosti od društva u kome je nastalo i u kome je izloženo ?Od čega zavisi autentičnost jednog rada, jedne osobe?Do koje mjere jedno umjetničko djelo može da izgleda sublimno ili, naprotiv, smiješno i glupo, u zavisnosti od sredine u kojoj je prikazano?Da li će rad dati jedan drugi smisao tom mjestu ili će to mjesto da oduzme ili da smisao radu ?Zato sam se odlučila da ovu instalaciju, EX-SITU, koja govori o unutrašnjosti i nudi jednu atmosferu i jednu poruku u intimnom prostoru, izložim u prostoru koji je potpuno suprotan od njoj potrebnog. Želim posebno da se zahvalim na pozivu i saradnji Umjetničkoj direktorici Centra Savremene Umjetnosti Crne Gore Ljiljani Karadžić, višem kustosu Aniti Ćulafić, kao i marketing menadžeru Delta City-ja Draganu Perišiću. Lena Nikčević

Tendency to exist - to fly | 2013 | transformisani pleksiglas, prirodna veličina

EX – SITU Moved from its original place This is my first solo exhibition in Montenegro since I left in 1999. I accepted the invitation of the Centre of Contemporary Art of Montenegro to exhibit in the shopping mall “Delta”. The shopping mall in our country exists for a few years now and despite retaining the same function as in western countries, it does not have the same meaning. I remember the opening ceremony of the huge “VOLI“ supermarket in Bar, the town where my parents live: I was shuddered and confused with the ceremony, commenting it “as opening of a Museum of Contemporary Art.” Everyone was invited: the politicians, the parade of beautiful Montenegrin women in miniskirts and high heels ... I even took photos to convince myself later on that I had really witnessed this.What happens to the culture, to museums in Montenegro, could Centre for Contemporary Arts provide such a magnificent exhibition opening? Does any representative of the Government of Montenegro find necessary coming to art exhibition in the Center of Contemporary Art? Maybe they will come to my exhibition in the “Delta” shopping mall?What is the importance of art here, and there? I wish to understand the meaning and such immense importance of a shopping center in Montenegro. To compare it with sense and meaning that it has and by exhibiting in the “Delta” shopping mall to respond to a challenge of our times. Confronting my art, which was created in a far distance from such consumerist society that appeared to be the symbol of my country (when in France I go to the mall only when there’s no other choice, and I do it quickly, the easiest way, when it has to be done) is a true challenge to me.I am interested to confront my work with this venue in order to see what kind of message a piece of art can convey depending on society of its creation and exposition?What makes a piece of art, or an individual authentic? To what extent a work of art may be sublime, or, on the contrary, funny and silly, depending on environment in which it is presented?Does this piece of art is going to give another meaning to this venue or this venue will assign or deduct meaning to the work of art?For mentioned reasons I decided to place the installation EX – SITU into the setting completely opposite to the one it requires, which is the one reflecting on inside, offering atmosphere and message of intimacy.I would like to thank specially the Director of the Center of contemporary art, Ljiljana Karadzic, the curator Anita Culafic, and the marketing manager of Delta City Dragan Perisic for their invitation and collaboration

Lena Nikčević

Tendency to exist - to immersion | 2013 | transformisani pleksiglas, prirodna veličina

Tendency to exist - to run | 2013 | transformisani pleksiglas, prirodna veličina

Tendency to exist - to immersion | 2013 | transformisani pleksiglas, prirodna veličina

Tendency to exist - to fly | 2013 | transformisani pleksiglas, prirodna veličina

Tendency to exist - to run | 2013 | transformisani pleksiglas, prirodna veličina

Tendency to exist - to immersion 2013 | transformisani pleksiglas

prirodna veličina

Tendency to exist - to fly | 2013 | transformisani pleksiglas | prirodna veličina

Naopak Rouge | 2011 | ulje i duborez na pleksiglasudimenija ploče 250 x 140 x 2cm | dimenzija metalnog postolja: 10 x 40 x 146 cm

Lena Nikčević

Rođena u Podgorici 1977. Studirala slikarstvo na Fakultetu likovnih umjetnosti na Cetinju. Završila Visoku školu lijepih umjetnosti u Turu (Francuska).Zivi I radi u Saint-Pierre-des-Corps.

Born in Podgorica 1977. She studied painting at the Academy of Fine Arts in Cetinje. Graduated from the Faculty of Fine Arts Tours (France).Lives and works in Saint-Pierre-des-Corps.

Selected exhibitions:2013. XXart, Noyuboshi, Saint Antoine du Rocher, France2012. UKRŠTANJA, Crossings - Montenegrin Contemporary Art in the XXI Century, “Erarta” Museum of Contemporary Art, Saint-Petersburg / NCCA, National Centre for Contemporary Art, Ekaterinburg, Russia.- NOUVEL ACCENT, Cosmopolis, Nantes, France- NOV’ART, Villeveque, France- INTERAKCIJE, Hercegnovski Zimski Salon, Herceg Novi, Montenegro- GRID 2012, International Photography Biennial, Amsterdam, Netherlands 2011. SOUCIETE, Gallery MGC, Joue-les-Tours, France- NAOPAK ROUGE, UrbanPro, Brussels, Belgium2010. HALO, Contemporary Gallery of City Hall, Chinon, France2009. LENA NIKCEVIC, Gallery & Studio Célanie, Tours, France- L’EQUI-LIBRE, Arts Capella 8, Chapelle St. Nicolas, Tredion, France- LAPSUS IMAGO, Salle Adélaide, Muzillac, France- CEPENDANT, Gallery Passage Emmanuel-Chabrier, Saint-Pierre-des-Corps, France2008. LES CHEMINS DE L’INTIME, ARTe. FACT Gallery, Poitiers, France- ILLUSIONS, SIGNES & SYMBOLES Arts Capella 7, Chapelle St-Roch, Gorvello, France- CORPS ET ARBRES, Gallery Carla Milivinti, Blois, France2006. PEINTUREIMAGEPEINTURE, Château de Tours, France- VARIATIONS, Francois Rabelais University, Tours, France2005. PANORAMA, Gallery Etienne de Causans, Paris, France2004. MULHOUSE 004, Contemporary Salon, Young French Creation, France2002. AU RETOUR, Gallery of Faculty of Fine Arts Tours, (following the 3-month internship at the Institute of Fine Arts in Beijing, China)2001. QUAND LE HASARD NE SUFFIT, Gallery of Faculty of Fine Arts Tours, France2000. TOURS A MARSEILLE, Gallery of Faculty of Fine Arts Marseille, France1999. AUTOPORTRET U CRNOGORSKOJ UMJETNOSTI, Self-Portrait in the Montenegrin art, Centar savremene umjetnosti Crne Gore, Podgorica, Center of Contemporary Art of Montenegro

Public Commissions :2012. ANTIDOTE, triptych (engraving on plexiglass) for the City Hall of Tours, France2010. CORDES, engraving on plexiglass, Banque Populaire Val de France, Tours, France

www.lenanikcevic.com | [email protected]

Tendency to exist - to immersion | 2013 | transformisani pleksiglas | prirodna veličina

lena nikČeviĆ - montenegrina.net

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