Vestibul – Split

Na pragu dvadeset i prvog stoljeća naši su umovi prepuni informacija, osjetila su nam bombardirana, tako da nam uskoro neće biti dovoljno ovih pet kojima raspolažemo. I sve je to u redu. Živimo i stvaramo u skladu s vremenom koje smo sami stvorili. Ipak, pravo je osvježenje kada nas netko ili nešto, u ovom slučaju umjetničko djelo, vrati u brzinu kojoj pripadamo. Jednostavnost i čistoća oblika Koširovih skulptura evociraju neke davne, u ovo multimedijalno i hiperprodukcijsko vrijeme skoro zaboravljene, kvalitete. U ranijim djelima pomalo prikrivena mistična nota, koja nas usmjerava nečemu iza, unutra, nečemu prije, u ovom Koširovu radu postala je eksplicitna. Postavljajući sedam monolitnih željeznih skulptura u krug, umjetnik spaja elemente nabijene simboličnim značenjem, te stvara dojam potpune dovršenosti, ali i trajanja. Zanimljivo je promotriti način na koji Košir kroz svoj rad istodobno promišlja skulpture kao samodostatne predmete, njihov međuodnos i konačno odnos s izložbenim prostorom (galerijskim okvirom). U “Glagoljskoj misi” posvaja galerijski prostor, modificira ga evocirajući interijer crkvene arhitekture, te pritom stvara prepoznatljivu ambijentalnu cjelinu. Koširova sposobnost da skulpturu postavi u idejno i vizualno smislenu cjelinu očita je i u recentnijim radovima. U izložbenom prostoru ponovno stvara, iako ne s tako eksplicitnim asocijacijama, gotovo posvećeni prostor koji oplemenjuje golu, pomalo i sterilnu, galerijsku situaciju.
U Splitu Košir ide korak dalje. Postavljajući skulpture u Vestibul, nastavlja dijalog skulpture s arhitekturom. Ovaj put, to je razgovor materijala (patiniranog željeza s ogoljenom strukturom kamena i zidnih opeka), oblika (lučnih završetaka skulptura i niša), vremena (suvremene skulpture i reprezentativne arhitekture carske palače), te kružne osnove dvorane i postava samih skulptura. Dakle, proces je obrnut – skulpturama i postavom ulazi u izrazito artikuliranu i simbolički zasićenu antičku arhitekturu, u samo središte gradskog tkiva, gdje i bez znatnog prilagođavanja stvara jedinstvenu, gotovo organsku cjelinu. Monumentalnost arhitekture potencira monumentalnost same skulpture i postava pružajući im primjeren okvir. Skulpture u ovom prostoru jednostavno (po)sfo/e. Njihov povrat u galeriju otvara pitanje prirodnog ambijenta za skulpture. Košir prevladava taj problem zahvaljujući činjenici da njegovi radovi egzistiraju kao zasebni oblici u prostoru i elementi artikulirane cjeline. Upravo ta svijest o arhitektoničnosti skulpture omogućuje im da funkcioniraju i u arhitektonski definiranom i u galerijski neutralnom prostoru.
Današnji izgled zidova Vestibula (bez izvorne mramorne oplate) korespondira s primarnim govorom medija, u Koširovu slučaju željeza. Još od izložbe pod nazivom “Tete”, a potom “Glagoljske mise”, u kojima se poigrava metalnim, većinom željeznim, otpadom, te knjiga – skulptura konstruiranih od rezanih željeznih ploča (izložba “Ex libris”), očita je zadivljujuća lakoća kojom tretira dani materijal. U izloženim je skulpturama vidljivo da Koširova igra ne jenjava – željezne ploče lagano savija, daje im zaobljeni, gotovo blagi, završetak, površinu zalijeva kemikalijama stvarajući dojam vremešnosti, a plohe razigrava urezanim i varenim, prepoznatljivo njegovim, grafizmima – simbolima. Vitold Košir je umjetnik koji, po važećim standardima, generacijski pripada grupi mlađih autora. Pridjev mlađi uz sebe nosi naznake početaka i traganja, no Košir, koji ustrajno pokazuje svježinu novih ideja, neumornost istraživanja i uživanja u stvaralačkom radu, posjeduje već i zrelost i punoću izraza. Njegovo stvaralaštvo ima uzlaznu putanju, a sudeći po recentnim izložbama, ona se nastavlja kretati u istom smjeru.
Jasminka Babić

At the beginning of the 21st century our minds are filled with information, our senses are bombarded, so that soon these five that are at our disposal won’t be enough. All of this is all right. We live and create in accordance with the times we created ourselves. Nevertheless, it is a great relief when someone or something, in this case a piece of art, puts us back in the gear we belong to. Simplicity and purity of the form of Košir’s sculptures evoke some ancient, in these multimedia and hyperproductive era nearly forgotten qualities. In former works slightly hidden mystical touch, that directs us towards something behind, inside, something before, has become explicit in this Košir’s work. By placing seven monolithic iron sculptures in the circle, the artist connects the elements filled with symbolic meaning, and creates the impression of absolute completeness as well as continuity.
It is interesting to observe the way Košir through his work simultaneously reflects upon sculptures as self-sufficient objects, their mutual relationship and finally their relationship with the exhibition area (frame of a gallery). In “Glagoljska misa” he adopts the gallery, modifies it by evoking the interior of the sacral architecture, and in the process he creates the recognisable ambience. Košir’s ability to set sculpture in conceptually and visually meaningful entity is evident also in his recent works. In the exhibition area he creates, although not using as explicit associations, almost consecrated space that lends nobility to a bare, somewhat sterile situation in a gallery. In Split, Košir takes one step further. By setting his sculptures in Vestibule he continues the dialogue between sculpture and architecture. This time, it is a conversation between materials (patinated iron and bare structure of stone and brick walls), shapes (arched endings of the sculptures and the arched niche openings), eras (contemporary sculpture and the representative architecture of the imperial palace), and between the circle base of the hall and setting of the sculptures. Consequently, the process is reversed – with sculptures and their setting the artist enters markedly articulated and symbolically saturated antic architecture, the very core of the urban area, where, even without substantial adjustment, he creates the integral, almost organic, entity. Monumentality of the architecture intensifies monumentality of the sculpture and its setting, giving it the appropriate frame. The sculptures simply exist in that architecture. Their return to the gallery opens up the question of the natural settings for the sculpture. Košir resolves this problem due to the fact that his works exist as separate forms and as elements of the articulated whole. This awareness of the architectonic quality of the sculpture enables its functioning in architectonically definite space, as well as in neutral space of the gallery.
Vestibule, as it is today (without the original marble panelling) corresponds to the primary expression of the medium, in Košir’s case to the iron. Since the exhibition called “Tete” and later “Glagoljska misa”, where he plays with the metal, mainly iron, waste, as well as books-sculptures constructed of cut iron plates (“Ex libris” exhibition), the astonishing easiness of material treatment is present. The exhibited sculptures show that Košir’s game does not subside – he gently bends the iron plates, gives them rounded, almost mild ending, he pours chemicals over the surface to gain the impression of age, and livens up the surface by cutting and welding, recognisably his, graphics – symbols.
Vitold Košir is an artist that, according to valid standards in terms of generation, belongs to the group of younger artists. Adjective younger carries the meaning of beginning and searching, but Košir, who persistently exhibits the freshness of new ideas, stamina of research and enjoyment of creative work, already possesses maturity as well as the fullness of expression. His creative work is on an upturn, and judging from recent exhibitions, it continues its development in the same (ascending) direction.
Jasminka Babić