{"id":5401,"date":"2006-11-04T00:00:00","date_gmt":"2006-11-03T23:00:00","guid":{"rendered":"http:\/\/gmk.esbe.com.hr\/news\/zoran-pavelic-posljednja-izlozba\/"},"modified":"2006-11-04T00:00:00","modified_gmt":"2006-11-03T23:00:00","slug":"zoran-pavelic-posljednja-izlozba","status":"publish","type":"post","link":"https:\/\/g-mk.hr\/en\/news\/zoran-pavelic-posljednja-izlozba\/","title":{"rendered":"Zoran Pavelić: Last Exhibition"},"content":{"rendered":"

May, 3rd – 12th, 1999<\/strong>
The two opposite corners of the gallery are connected with the “diagonal”. The diagonal is wooden lath in its midsection coated with the canvas in the tough, conical accumulation, painted black.
(800 cm long wooden lath, painting canvas, acrylic, lacquer, wire)<\/p>\n

<\/p>\n

May, 13th – 16th, 1999
<\/strong>In the center of the gallery the square shaped canvas painted yellow (300 x 300 cm) is installed. During 4 days the author dressed in black is laying at a standstill in the center of the canvas.
The following text accompanies the scene: “If I am to disappear from this world, I would like it to happen in Nature with plenty of sunshine.”<\/p>\n

<\/p>\n

– – – – – – – – – – – – – – – – – – <\/p>\n

The first part of the Last Exhibition by Zoran Pavelić is eight meters long wooden diagonal – a still and non-operating body stuck in a space, connecting the two opposite angles of the gallery. As it happens nowadays when we so often witness texts with the most private cores and messages, even dreams; the exhibition setting was surely tutored by some intimate enticement. Whereas it also seeks to talk about the phenomenon of the last exhibition is indicated by hanging the cone of what we stereotypely call the painter’s gadgets or the tools of the author of plastic arts (canvas, jute, linen, prepared and raw, soaked with black paint and pure) that seriously burdens and enfolds the diagonal. <\/p>\n

With the diagonal completed in such a way, Pavelić attempts to materialise the creative ‘wall’, ‘obstacle’, ‘scramble’ as this appearance – temporary or permanent, but tragic for the artist – is called by the famous Croatian sculptor Ivan Kožarić. Every artist from the very beginning of his conscious actions can count on the manifestation of such a creative crisis. Additional danger and terror arise from the fact that its exact timing can’t be predicted – it can struck quickly, in the very beginning of artistic creation or later on, in author’s late years…… <\/p>\n

The second part of the Last Exhibition submits a contrary spiritual setting, the turn – during the gallery working hours Pavelić dressed in a black suit lies on a yellow square coverlet. The opposition of the diagonal’s black cone and yellow coverlet becomes significant. The symbolic interpretation of the black is well known, but its yellow counterpart transcribes life, activity and optimism. The historical references are leading us also to Max Heindel and his documents The Rosicrucian Cosmo-conception and Cosmogonia, the starting-points for understanding Yves Klein’s oeuvre, according to which golden (and other similar colours including yellow), with other alchemy connotations, presents the ultimate grade of spirituality – the blending of spirit and space. <\/p>\n

Since Pavelić is aware and appalled by the fact that the Last Exhibition is in general certain, but not inexorable, he clashed it with his phisis, praxis and the energy reserves that are impulsively sensed inside himself. Therefore Pavelić is testing the existence itself. In order to encounter this crisis that in perspective hangs above his artistic destiny, he tries to impregnate the space of the gallery by the personal immaterial sensibility, by the affirmation of his, Yves Klein would say ‘vital body’ and ‘immaterial energy’, with the mysterious and unreachable parts of one’s being that originate from the manipulation of the physical force, with the effort of will, impulse, transition of bodily energy as well as, Kožarić would say with the principle of ‘blood circulation’ and the ‘principle of open wound, when blood can be felt’. At last, he encounters it trough transcending and transforming all these entwined energies into creativity. <\/p>\n

The duality of this exhibition contains certain paradoxes similar to the charismatic Klein’s Flying into the Empty, the work that imposes itself as an unavoidable association within the question Pavelić has here raised. In Klein’s case where an artist on the legendary photomontage is actually seen as a suicide jumper, the possibility of a fall seems to be annulled by the ascending course of the body. Klein is convinced – mesmerised by the wild hope, self-awareness, believing the possibilities of one’s own body and the manipulation of personal energy – that he can annul the gravitation and fly away. Pavelić seems to share this optimism enthusiastically. <\/p>\n

The notion that the Last exhibition is about the problem of artistic death and resurrection, as well as self-realisation, endurance, efficiency or pseudo-efficiency of preventing the creative crisis, is confirmed by the recent Pavelić’s performances: standing for hours in the Mediterranean heat in all four angles of the Otok Gallery in Dubrovnik, the endless sitting and drinking glasses of water in Gradska Gallery in Zagreb… As the time shall surely confirm, this exhibition announces Pavelić’s further occupation with his own body, just as he already does and will continue doing in order to avoid the last exhibition. <\/p>\n

Ivica Župan <\/em>
<\/span><\/p>\n

<\/p>\n

– – – – – – – – – – – – – – – – – –<\/p>\n

<\/span>
Zoran Pavelić
<\/strong>1961. Born in Osijek, Croatia.
1988\/91. Founder of the informal art-group “The Swamp”.
1998. Graduated from the Academy of the Fine Arts in Zagreb. Lives and works in Zagreb.<\/p>\n","protected":false},"excerpt":{"rendered":"

May, 3rd – 12th, 1999 The two opposite corners of the gallery are connected with the “diagonal”. The diagonal is wooden lath in its midsection coated with the canvas in the tough, conical accumulation, painted black. (800 cm long wooden lath, painting canvas, acrylic, lacquer, wire) May, 13th – 16th, 1999 In the center […]<\/p>\n","protected":false},"author":1,"featured_media":4308,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-5401","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"_links":{"self":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/posts\/5401"}],"collection":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/comments?post=5401"}],"version-history":[{"count":0,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/posts\/5401\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/media\/4308"}],"wp:attachment":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/media?parent=5401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/categories?post=5401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/tags?post=5401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}