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Vladimir Veličković “гавран”

Exhibition details

Opening / Event Date:
25 May, 2019
Time:
6:00 pm - 8:00 pm
Closing / End Date:
23 June, 2019
Event Category:
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Website:
http://www.a2z-art.com/exhibition/exhibition/description/exhibitionid/0000001023

The exhibition “гавран” meaning “raven’ in Serbian language, thus unveils a selection of works by the artist, illustrating the importance of the memory.

Memory is yet a story to be told. It is vital for the human experience and future existence. Memory; the act of retaining, encoding and processing information is the influence to action!

In front of the scenes punctuated by the omnipresence of the ravens in flight or on the lookout, Vladimir Veličković invites us to question human nature in its history. The artist takes on the impossibilities of violence and reality. Humanity has created atrocities and yet we are faced with a grief that we shy away from.

Questioning the direction of Western painting, in the wake of cubism, for approximately half a century, Veličković began to pursue retribution to the absence of the human figure. As a kind of propitiation to ancient tradition his artistry seems to pay homage and yet never fully submits itself to academia.

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A2Z Art Gallery is pleased to present their first exhibition with Vladimir Veličković, an artist of notable seniority, who has played a leading role since the 1950s, in the Narrative Figuration art movement and is currently a member of the Institut de France and the Serbian Academy of Sciences and Arts.

Inspired in his genesis by drawing and painting Flemish primitive artists, then by Italian Renaissance through Byzantine icons, Vladimir Veličković shows us the path of uncompromising artistic research-based practice. On one hand; the trauma of war – on the other hand; through studying more than 5 decades of his work we can understand the importance of our own actions as individuals. Behind the presence in the foreground of birds with black silhouettes and characters with torn, bare bodies, the viewer is compelled to immerse oneself into the smooth landscape, a distant calm, as to avoid confrontation with the impending violence.

In the mind of the artist and the collective consciousness, the raven symbolises a scavenger who, without any distinction, feeds on everything for its own survival. In its turmoil, this relationship with the sharp-billed bird and the scenes of destruction, aims in a way to maintain an active state of emotion, ending the need for survival. His universe highlights the eternal tragedy of human behaviour in relation to humanity, the incessant dialogue enhanced by violence and aggression.

Although in the Serbian Epic Poems, of which several traditional stories speak of ravens as messengers in the bloody aftermath of a battle. The raven is not only to be felt here in it’s primitive vision as the harbinger of death. On the contrary endowed with the greatest intelligence, the raven is like the witness and the actor to erase all the horrors and appease the damned souls.

In summary, balancing in the vision of light and darkness, the raven symbolises the voluntary isolation of the one who decided to live on a higher plane, trying to escape from torment, facing the reality and thus welcoming the much-deserved calm.

Antiquity hands us down ancient symbolism depicting the Raven as an embodiment of optimistic vision; that of the messenger and guardian. From as far ranging as Northern Europe, the Americas to North Asia and the Far East, the raven represents that of filial gratitude and family love.

 

是次展覽名為「 гавран 」,塞爾維亞語意指渡鴉。展覽通過展示一系列藝術家的作品來帶出記憶的重要性。 記憶在體驗的過程中是至關重要的。它是一項保留、理解和處理信息的行為。更重要的是,隨著時間的推移,記憶甚至會影響我們日後的行動。 

面對畫面中到處飛行和搜索的渡鴉,Vladimir Veličković 邀請我們在歷史上質疑人性。藝術家展示出暴力和現實的不可能性,人類使暴行發生,而結果我們要面對的是令人想要逃避的悲痛。

Vladimir Veličković 在立體主義之後,提出了對西方繪畫發展方向的質疑持續約半個世紀。他在往後時間開始追索人類形象在西洋藝術中消失的因果報應。作為對古代傳統藝術的一種補償。他的藝術似乎是在向學術界致敬,卻從未完全屈服於學術界。

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香港 – A2Z畫廊將首次呈獻知名塞爾維亞藝術家Vladimir Veličković 個展。Vladimir Veličković 是一位擁有傑出資歷的藝術家。自20世紀50年代以來一直在敘述性具象藝術運動中發揮著主導作用。而Vladimir Veličković 目前為法蘭西學術院和塞爾維亞科學與藝術學院的成員。

Vladimir Veličković 的創作靈感來源於他對佛蘭德原生藝術家的素描、繪畫和意大利文藝復興時期的拜占庭帝國圖標。他向我們展示了對藝術研究實踐永不妥協的態度,通過理解藝術家50多年的創作歷程和戰爭創傷,我們可以理解到個人行動的重要性。當觀眾看到作品中鳥兒的黑色剪影和裸露的撕裂身體,將被迫沈浸在平滑的風景中,並享受著一份有距離的平靜,以協助他們避免即將來臨的暴力沖突。

在藝術家和集體意識的心目中,渡鴉是一種食腐動物,牠們為求生存不擇手段。通過描繪混亂中的渡鴉與短嘴鳥的關係和被毀壞的場景,旨在令觀者處於一種活躍的情緒狀態。在這個世界中關於暴力和挑釁的強烈對話,突顯出人性與人類行為所引申的永恒悲劇。

儘管在塞爾維亞史詩中,有幾個傳統的故事提及到渡鴉是血腥戰爭以後出現的使者。渡鴉的出現不僅在原始的概念中象徵著死亡的預兆;與此相反,渡鴉被賦予了極大的智慧,它就像見證者和演員一樣,消除所有的驚慌,安撫那些被詛咒的靈魂。

總括來說,根據渡鴉的正反面形象來作分析,牠象徵著一個決定生活在更高層面上而自願被孤立的人。他們試圖擺脫痛苦以面對現實,從而迎來應得的平靜。

縱觀歷史,在許多文化中,如北歐、中國和日本,渡鴉體現了一種樂觀的願景,牠分別飾演著信使和守護者。從北歐到亞洲北部和遠東,渡鴉代表著孝順和親情。

 

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