Suscitans conscientia (Buđenje svijesti)
Suscitans conscientia (Buđenje svijesti) je rad koji je nastajao u protekla dva mjeseca kao plod mog bunta i revolta koji je u posljednje vrijeme doživio svoj vrhunac.
Svakodnevno smo svi svjedoci situacije u kojoj živimo – sistem kreiran tako da iz njega izlaza nema, krojen tako da se čovjekov duh i tijelo osjećaju stalno testiranim. Uprkos lošoj situaciji, pogrešno bi bilo odustati. Stoga, na nama je svima da u domenu svojih mogućnosti djelujemo po tom pitanju.
Rad „Suscitans conscientia“ (Buđenje svijesti) predstavlja sistem u kojem živimo – zamršen, zapetljan, komplikovan , težak za shvatiti i za iz njega izaći. Raznim simbolima pokušao sam opisati ne samo sam sistem, već i čovjekovo stanje uma i svijesti dok unutar istog živi. Unutar njega prikazani su međuljudski odnosi, naša svakodnevnica, naša prošlost ali i naša budućnost, barem onakva kakvom je ja zamišljam. Ona nije svijetla, ali pogrešno bi bilo predati se i ne raditi ništa. Prvi korak, po mom mišljenju, jeste da se mi počnemo mijenjati – da budemo bolji ljudi, bolji sugrađani, braća, sestre, prijatelji…
U svima nama postoji dobro i loše. Odluke koje donosimo u životu nas čine dobrim ili lošim ljudima. U našem okruženju je jako puno loše energije, ljubomore, zavisti, mržnje. Takve emocije upravo nastaju kao plod ličnog nezadovoljstva, one hrane najsitije dijelove ljudskog bića. Kolektivna svijest našeg društva je na niskom nivou – empatije i osnovnog poštovanja prema drugome kao da nema. Postali smo malodušni. Zadovoljavamo se sitnim stvarima i površnim emocijama. Zato kažem, prvi i osnovni korak za promjenu stanja, za početak buđenja svijesti, je pogled unutar sebe i traženja dobra u sebi. Tek onda, kada podignemo ličnu svijest na jedan viši nivo moći ćemo kolektivnu da mijenjamo, što je prvi preduslov za velike promjene.
Sada ću vas upoznati sa tehničkim generalijama ovog djela.
Ovo je moj najveći rad, rad na kojem sam najduže radio. Dug je 6 metara a visok skoro 2, bila su mi potrebna 44 dana da ga završim.
Rađen je tehnikom ink on canvas, na njemu je preko 1000 različitih likova.
Ilustracija za tekst pjesme Lejla Alimanović
N SEARCH FOR FREEDOM
You need a habit to be happy,
even thou your habit is inhibited
In search for freedom
Of your being
I could write a thousand poems,
even more songs
and I can give you infinite number
of my tryings
To maintain you,
in my emptiness, in habits,
even thou the time is growing,
mountains between us,
oblivion, dust.
You need a movement to be steady,
Even thou your movement is a deadbeat,
off beat
In search for freedom
Of your being
I could write a thousand sonnets,
even more poems
and I can give you infinite number
of my tryings
FUU 2018
Ovo su fotografije murala koje sam naslikao danas u sklopu FUU-a. Prvobitno isti sam trebao slikati na Papagajci ali nekim od stanara se nije svidjela ideja da se “sara` po zgradi pa su zvali policiju koja je radove obustavila. Necu nista reci na tu temu iako bih mogao. Hvala Ales Kurt i hvala Hana Karadža sto su pomogli da nas to ipak ne zaustavi, a ubrzo cemo raditi i jedan veliki zid, o cemu cete biti blagovremeno obavijesteni.
The Dark Side of the City
Rikardo Druškić is one of Sarajevo’s most promising artists – and a child of the post-war generation who tries to make sense of a past he has no memories of.
Rikardo Druškić rearranges the two mobile phones and his wallet like cards on a casino table. One next to the other, no spaces in between, edge to edge. He does that a few times while drinking a beer in the bar at the Academy of Performing Arts, one of his favourite places in Sarajevo. Moving and rearranging – it is Rikardo’s way to release his nervous energy and to bring order into the chaos at the table in front of him. It is also his way to make sense of the world around him as a visual artist. „Without art I would go crazy,“ says the 27-year-old.
The light in the bar is dim; a few students from the Academy are sitting around, smoking, drinking, coming and leaving every 30 minutes. It is early afternoon and everybody is in between things to do. People greet each other briefly, have a chat and then mind their own business. The bar is a small place where you cannot hide in a corner. But with the sparse light and cigarette smoke you do not have to come too close to anyone if you do not want to.
Rikardo is a tall young man with hands that look like they are used to physical work. But as soon as they are holding a pencil or a spray can, his hands mix rawness with elegance. In an Adidas sports jacket his long fingers look like a natural extension of the stripes on the sleeves of the jacket. There is a flow in his appearance. At the same time he conveys a disruption on the inside. Both parts put together make up the source and the style of his work as an artist.
In 2014 his piece „Madness Continues“ was a finalist at the „Art Revolution Competition“ in Taipei, Taiwan. This award put him on the art map outside of Bosnia and launched his career. Since then he was part of exhibitions in New York, Miami and Berlin. But Rikardo is also a child of the post-war generation.
He was two years old when the war in Bosnia broke out and spent the years during the siege of Sarajevo (1992-1996) in the city with his parents. During this period Sarajevo was under constant attack from the Serbian paramilitary forces. Few people were able to leave the city and close to 14,000 were killed.
Rikardo has no memories of that time. But he says it had a huge impact on him. „I am nervous a lot and I am sure that is because of the war.“ Sarajevo is a city with tension and low energy, he says. People are struggling with poverty, high unemployment and a political system that did not move the country forward since the Dayton agreement ended the war more than 20 years ago. „It is hard here for people to be themselves because they are always stressed out about how to take care of their family.“ Therefore, says Rikardo, the city is cocooned with a sense of restlessness with people being always on their toes.
„I don’t really want to talk about it. Something has ended at that time and something new was about to begin.“
Rikardo’s view on Sarajevo also holds true for his work and himself. His nervous energy that shows in him rearranging phones and wallets also shows in his drawings and paintings. Both are a coping mechanism. And a form of self-protection from unpleasant experiences – personal and as a society. One of his paintings, „The Beginning“, hangs on the wall at the bar in the Academy of Performing Arts. „The Beginning“ is a piece with warm colours, inviting at first but also scary displaying fishes whose heads have been cut off and awkward looking figures. The painting deals with a transition period in his life. „I don’t really want to talk about it. Something has ended at that time and something new was about to begin.“ Rikardo wants the painting to speak for itself. To open up and explain his emotions linked to the painting would make him too vulnerable. It is easier and saver for him to put his inner feelings out there without explanation and move on to his next work. The viewers shall find out for themselves. The human being behind the painting prefers to remain in the shadow.
With his short hair, rolling gait, hooded sweater, sneakers, ample trousers and nervous glance in his eyes Rikardo comes across like a football fan on his way to a game – ready for a fight. But when he smiles his face reveals an innocence that is both welcoming and withdrawn. Instead of fighting, Rikardo channels his energy and dark side into his art. „Madness Continues“, „Fear and Loathing“ or „Dark Side of my Room“ are titles of his paintings. The later being about a darkness inside that you cannot show to people in public but only in your room when no one is watching.
His work attempts to connect the dark side of his room with the outside world. The restlessness of human beings with a place quieter and at ease. The past wounds of a society with a more compassionate future. Sarajevo might be the environment in which Rikardo’s art originates, but it conveys something universal about contemporary life. His approach is playful and his figures appear childish at first. But the many movements, characters and twists in his paintings calm down the viewer in a strange way. It is almost like someone has visualized and colored our own fears, restlessness and short moments of joy in order to give us some time to relax.
The 27-year-old is not interested in art history, but the recent past of his country clearly shows in his art. „I am simply expressing my inner feelings and share them with the audience. When you see my work you feel some emotions.“ He started to draw when he was still in high school, but did not seriously produce works of art until he was in his early twenties. In his hometown Sarajevo Rikardo has done commissioned work for theatres, shopping centres and car companies. Besides his around 400 paintings – most of them are drawn by hand, colored and then printed digitally – he has also created several murials.
Opportunities in Sarajevo are rare and it is hard for artists to make a living. Public support is low and the complicated political structure with two separate entities in the country (The Federation of Bosnia-Herzegowina and The Republika Srpska) prevents a proper funding system to emerge. „There is a lot of jealousy and artists don’t support each other. If you get a chance it might be your only one. So people are getting weird about it. It is like in all poor places: People who make it do so somewhere else – in Europe or the United States. But not here.“
Since the end oft he war in 1995 approximately 150,000 young Bosnians have left the country, in 2016 youth unemployment according to the World Bank was 68 per cent. Unlike many others of his generation Rikardo has no plans of leaving Sarajevo. „I am lucky. I can do what I love, earn a living, be with my friends and family and travel around.“ His paintings sell and his commissioned work for companies brings additional money and attention. But the 27-year-old is still enjoying the luxury of living with his parents and has no plans of moving out until he has his own family. These circumstances are helpful for fully focusing on his art and career.
Despite his own success, his outlook on the future of Bosnia is not very optimistic. „I try to contribute with my art. I am glad if people enjoy my work and feel connected. But one gallery or one exhibition is not enough. Sarajevo deserves more art but people don’t dare to demand more. We still have this attitude in Bosnia: it is all good, at least we are alive. Just please don’t shoot us.“
About 45 minutes after sitting down at the bar Rikardo has finished his beer and picks up his mobile phone and wallet from the table. It is time to move on and to rearrange them anew in some other place – and to continue to make sense of the world around him.
Rikardo Druškić izložio “Omaž prošlosti” u Kutchi
Samostalna izložba radova Rikarda Druškića pod nazivom “Omaž prošlosti” otvorena je večeras u concept storeu Kutcha.
Pored ovog djela, posjetioci su mogli uživati u zanimljivoj postavci Druškićeve reinterpretacije djela poput “Riba u zraku” Ivana Generalića, “Suncokreti” Van Gogha ili Botticellijeve “Rođenje Venere”.
Izložba ostaje u Kutchi do 31. decembra.
Berlin mi je pored Sarajeva najveća inspiracija
Njegovi radovi se mogu vidjeti na ekranima čuvenog njujorškog Times Square-u ili u Centru za digitalnu umjetnost u Los Angelesu.U Sarajevu, Mostaru, Konjicu, Cazinu mnogi poznaju umjetnost Rikarda Druškića, prije svega njegove murale, zidne slike, koje su nastajale u okviru različitih uličnih festivala. Ovaj 27-godišnji umjetnik koji je rođen u Zagrebu, cijeli svoj život je proveo u Sarajevu. Ono mu je, kaže najveća inspiracija, a nakon njega slijedi Berlin. Njemački glavni grad ga je, dodaje, uvijek posebno fascinirao, zbog svoje istorije, prije svega zbog Berlinskog zida koji je djelimično bio jedan dugački mural. Stoga mu je životna želja bila da svoju prvu samostalnu izložbu van granica Bosne i Hercegovine organizuje u njemačkom glavnom gradu. I ta mu se želja napokon ispunila. U galeriji Mainoeuvre u berlinskoj četvrti Schoeneberg berlinska publika može do 11. januara iduće godine vidjeti njegovih 35 djela.
Galeriju Mainoeuvre i njenog vlasnika Zorana upoznao savim slučajno
Da postoje neke sudbinske, kosmičke veze, u to je Rikardo Druškić, sasvim siguran. Kada je u maju mjesecu boravio u Berlinu, tražio je izložbeni prostor koji bi bio „pravi okvir” njegovim radovima. Kada je prolazio pored prostorija galerije Mainoeuvre bio je oduševljen. Zapisao je E-mail adresu galeriste i poslao mu poruku u kojoj se predstavio i izrazio želju da upravo tu postavi svoju prvu međunarodnu samostalnu izložbu. Odgovor je došao brzo, u potpisu Zoran Stevanović. Umjetnik, rođen 1979. godine u Zürichu, kao dijete gastarbajtera porijeklom iz Hrvatske i Bosne i Hercegovine, je prije sedam godina doselio u Berlin i nedavno i sam ostvario svoj životni san, otvaranjem galerije koja je ujedno i centar za različite druge performanse. Stevanović je otišao u Sarajevo, vidio radove Rikarda Druškića i odlučio da ih postavi u Berlinu.
Berlinska publika fascinirana „intrigantnom jednostavnošću” izloženih slika
Druškovićevi radovi odišu farbama, neobičnim razigranim motivima i na prvi pogled izgledaju skoro naivno. To je njegov cilj, objašnjava harizmatični Sarajlija, njegovo bavljenje umjetnošću je također počelo naivno, na školskim časovima, na kojima je iz dosade počeo crtati neke izmišljene likove, plodove njegove djetinjske mašte. Tvrdi da se rodio umjetnikom i da je bilo samo pitanje vremena kada će to i postati. Međunarodni uspjeh ovog autodidaktika, Rikardo Druškić naime nikada nije pohađao akademiju, pokazuju da je imao pravo. Druškić je dosada, u sklopu grupnih izložbi, izlagao u New Yorku, Miamiu, Los Angelesu te u Taiwanu. Nosilac je međunarodnih priznanja, između ostalog i prvog mjesta u kategoriji apstraktnih umjetnika na internacionalnom takmičenju vizualne umjetnosti Art.Competition.net.
Globalna platforma za promociju savremene umjetnosti see.me je odlučila da njegova dva rada prikazuje na uličnim ekranima čuvenog njujorškog trga Time Square-a, a britanski Guardian ga u tekstu o Sarajevu, ocjenjuje „najboljim domaćim modernim mladim umjetnikom “.
Pohvale mu laskaju ali zna da mora još mnogo da uči
Neki kritičari u radovima Rikarda Druškića prepoznaju uticaje Paula Kleea ili kubiste Pabla Picassa, no Rikardo kaže da on sam najviše voli Hyernomusa Boscha, čuvenog holandskog slikara renesanse. Reinterpretacija njegovog najpoznatijeg djela „Vrt ovozemaljske naslade” ga je inspirisala da naslika i neke svoje verzije drugih slika od istorijskog značaja . No, najviše vole te nekakve dječje motive, njihovu naivnost i iskrenost. Mladi sarajevski ilustrator i slikar stoga rado citira i njemačkog filozofa i psihoanalitičara Ericha Fromma te kaže da je „on sam svoje dijete u sebi i zadržao”. Stoga voli i da radi sa djecom i za djecu, između ostalog je ilustrirao za prvi Mali MESS, program za djecu uglednog međunarodnog pozorišnog festivala . Svoju intrigantnu jednostavnost će, ističe, i dalje njegovati. Nakon izložbe u Berlinu, planira još dvije međunarodne izložbe, u Italiji i Portugalu.