Glagoljska Misa

Glagoljska misa

Glagolska-misaZa Vitolda Košira može se reći da je i kulturološki i metierski potkovan.
Otrcana fraza i kovačka metafora za kipara koji poseže za željezom može imati i ironičnu ili pak humornu notu no čak i bez alibija doskočice Koširu, čini se, bezgrešno prijanja. Uostalom, njegove su skulpture još za lanjskoga suočenja s publikom na izložbi “TETE” u Galeriji “Miroslav Kraljević”, pokazale s(p)retno ravnovjesje gotovo drskog užitka u egzaltaciji kiparskog zanatstva i širih kulturoloških pa čak i eruditskih nota.
Aktualna izložba ide i korak dalje. Jer, ako su ženski likovi sročeni od starežnih naplavina mehaničke civilizacije svjedočili o doličnoj metierskoj razini, zanimljivom srazu tradicionalističke i modernističke (ili, kako se trendovskim jezikom kaže, postmodernističke) optike i poetike, s druge su strane, upirali prstom i na “klasičnu” naobrazbu ali i ovovremene, masovnom kulturom inficirane, reference. Primjerice duhovit i nadahnuto sročen hommage Madonni i J.P. Gaultieru.
“Glagoljskom misom” Košir čini logičan korak naprijed. Podjednako u širenju formalnog repertoara i osmišljavanju prostorno-ambijentalnih vrijednosti koje nastoje posvojiti ili osvojiti već prepoznatljive vretenaste željezne skulpturalne forme sada poredane u “špalir”, kao i u daleko ambicioznijoj (čitaj: zahtjevnijoj) izložbenoj zadaći. Koja glasi: istim metijerskim postupcima materijaliziranim u serijalu duhovitih metalnih assemblagea do kraja posvojiti galerijski prostor i promijeniti mu nazivnik.
Skulpture – pa radilo se o vretenastim dijelovima skulpturalnog “špalira”, ležećem brevijaru (betonskoj ploči sa grubo lomljenim željeznim “spolijima” koji sugeriraju glagoljicu), misalima (kiselinom nagrizenim željeznim pločama nepatvoreno naslonjenim na glagoljašku “ortografiju”) ili pak samoj rozeti doista se spremno odriču dijela svojeg “suvereniteta” i “autonomije” u korist glavne zadaće – osvajanju čitavog galerijskog prostora. Dodatni čimbenik svakako je glazba i to ne samo zbog profesionalnih nagnuća samog autora (inače i akademski obrazovanog glazbenika) već kao simbolična točka na “i” i čitavom projektu. Uostalom, “Glagoljska misa” češkog skladatelja Leoša Janačeka izvornik je i poticatelj nakane pretvorbe galerijskog u prostor “nasaftan” mističnom atmosferom glagoljske mise.
Jednako kao što se Koširove skulpture ne mogu olako i bez zadrške utrpati u pretinac ready madea niti radovi na aktualnoj izložbi, mada utrpani pod jedinstven “kišobran” posvajanja pa i izravnog preimenovanja prostora, nisu gradivno tkivo klasične instalacije. I kao što su skulpture doista osebujan metalni assemblage nastale od potrošenih, polomljenih i odbačenih industrijski proizvedenih “otpadaka” mehaničke civilizacije koji zavareni u skulpturu cimaju žice postupaka što sežu do Duchampa a stilski se naslanjaju na postulate neonadrealizma – i “slika cjeline”, mada bliska instalaciji, odbija čvrstu karakterizaciju. Stoga i jesam skloniji manje pretencioznom terminu scenografskoga.
“Glagoljska misa” i njena mističnost naglašena dakako i Janačekovom glazbenom nadgradnjom svjesno ili slučajno (ako slučaj uopće postoji!) razotkriva, možda duhovitošću i ludičkim prikrivenu, “karakternu crtu” Koširovih radova: mističnost. Jer, pretvorba nekamufliranih dijelova industrijskog otpada U apstraktno-figurativne asocijativne složence i nije ništa drugo doli čin imenovanja pri kojem, dopuštam si paralelu, kruh i vino zadržavaju dvojnost i kruha-tijela i vina-krvi. Jer, htjeli to ih ne, nakon Koširove “Glagoljske mise” slijedi euharistija. Pretvorba u kojoj se materijal (ready made objekti, željezne ploče nagrizene kiselinom, grubo lomljeni željezni spoliji ili divovski kružni assemblage od polomljenog zupčanika, lanca, vijaka…) topi i nestaje prepuštajući mjesto mentalnom procesu preimenovanja s uporištem u kolektivnoj kulturološkoj memoriji.
A nije li to i jedna od definicija stvaralačkog čina pa i umjetnosti same?
ZLATKO GALL

BrevijarVitold Košir is an irreproachable artist, both culturologically and professionally.
The worn-out phrase and blacksmith metaphor for a sculptor who reaches out for iron can have both an ironic and a humouristic note, but even without the alibi of succoring Košir it seems to fit seamlessly. Besides, his sculptures displayed a happy equilibrium of mocking delight in the exaltation of sculptural craftmanship an broader culturological as well as erudite notes already during last years public confrontation at the exhibition “Tete” in the gallery “Miroslav Kraljević”.
The actual exhibition goes even one step further. Inasmuch as the feminine characters assembled from alluvium of mechanical civilization witnessed about an adequate professional level, an interesting collision of traditional and modernistic (or, in trendy words: postmodernistic) optics and poetics, they pointed, on the other hand, both to a “classical” education and contemporary, mass-culturally infected, references. For instance a witty and inspired hommage to Madonna and J. P. Gaultier.
With the “Glagollic mass” Košir advances one logical step further. Both in expanding the formal repertoire as well as giving meaning to spatially-ambiental values which tend to adopt orcapture already recognizable spindle-shaped iron sculptural forms which are now aligned, like in the far more ambitious (here: demanding) exhibitional task. Which reads: use the same procedure of trade which are materialized in a series of mental metal assemblages in order to completely adopt the gallery space and change its purpose.
The sculptures – whether they are spindle-shaped parts of a sculptural row, a lying breviar (concrete slab with coarsely broken iron fragments which suggest glagollic scripture), missals (iron panes etched with acid, genuinely resembling the glagollic “ortography”), or the rosette itself – deny part of its “sovereignity” and “autonomy” with a remarkable readiness in favour of the main task – adopting the gallery space. An additional factor is certainly the music not only for the autor’s professional inclination (an academically educated musician) but also as a symbolic finale to the project as a whole. Besides, the “Glagollic mass” by the Czech composer Leos Janacek serves as an original and an initiator of the intention to transform the art gallery space into a space permeated with mystic atmosphere of a glagollic mass.
To the same extent as Košir’s sculptures may not readily and without a certain amount of reluctance be branded as ready-mades, his work presented at the current exhibition, although crammed under an unique “umbrella” of adoption and even direct renaming of space, does not conform to the constitutive tissue of a classical installation. In like manner as the sculptures are indeed a singular metal assemblage -commencing from worn-out, broken and rejected industrially fabricated “wastes” of mechanical civilization, which lead to Duchamp yet stylistically lean against the postulates of neosurrealism – so does the “gross image”, albeit akin to the installation, defy firm “characterization”. In view of this, I am more inclined towards a less pretentious term: scenography.
The “Glagollic mass” and its mysticism, consciously or randomly (if randomness exist at all!) accentuated as a matter of course by Janacek’s work, perhaps hidden by his humour and ludicrousness, which is: mysticality. Since, transformation of unconcealed parts of industrial waste into abstractly-nominating whereby, 1 take the liberty of making this parallel, bread and wine keep the duality of both bread-flesh and wine-blood. For, whether we fancy it or not, the aftermath of Košir’s “Glagollic mass” is eucharisty. The transmutation in which the materia (ready-made objects: iron slabs etched with acid, coarsely broken iron fragments or gigantic round assemblage made of broken cogwheels, screws, chains…) melts and vanishes giving away space to a mental process of renaming with an fulcrum in the collective culturological recollection.
Yet is this not one of the definitions of the act of creation and even art itself?

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