KRUNISLAV STOJANOVSKI
PORTRETI
Svi radovi Krunislava Stojanovskog predstavljaju izrazito dinamične kompozicije, redovito napučene ontološkim značenjima. Njegova je umjetnost umjetnost ”stilskog nomada” kako se sretno izrazio na žalost pokojni kolega Darko Glavan. Uvijek se nekako razvija i odvija u dihotomijama jedinstva različitosti: svjetlost – tama, tišina – klicanje do vapaja, apstraktno – figurativno, tradicionalno – avangardno, moderno – postmoderno, zapitano – odgovoreno, trajno – prolazno. Za Stojanovskog su samo čežnja i strast trajni. U njega se harmonično spojio spontani rafinman, dosljedno njegujući brzopoteznu neoekspresionističku gestu grupe ”COBRA”, prije svih onu Karela Apela, ili ”Novih divljih”, spojivši je s lirsko – apstraktnim nadrealizmom miróovske provenijencije i artbrutovskom težnjom za grotesknim i ironičnim. Umjetnički rad Krune Stojanovskog još je jedan dokaz da je povijest duha povijest znatiželjne žudnje. Ima u njegovoj umjetnosti i rableovskog ruganja, i ironično – cinične karikaturalnosti, i inkvizicijski okrutne strogosti Poea i Kafke, katarzične dramaturgije ljudskih lica Shakespearea, ali i andersenovske bajkovite očaranosti pomiješane s donkihotovskom luckasto simpatičnom polutragičnom lucidnošću. Koliko god se trudilo biti grohohohoteskim, Krunino je slikarstvo, crteži, fotografije i koncepti kojih se uhvati, uvijek u biti lijepo, sofisticirano i dragocjeno estetizirajuće iskustvo. Privlači jer pobuđuje čudan osjećaj dekadencije, tipične za određena umjetnička djela nastala u kriznim epohama. Privlači, jer istodobno pobuđuje i jak osjećaj uznemiranosti umjetnikove prenesene na promatrača, uznemirenosti određene nemogućnosti da se nanovo uskladi ono bezgranično bogatstvo kulturoloških referencija, naprasno prekinutih u novije doba, koje i Stojanovski osjeća, i protiv kojih se buni nepokolebljivim umjetničkim nervom i rafinmanom. Njegovo je slikarstvo povijest jedne primarne energije, dinamične i strastvene, mračne i svijetle, energije boje i poteza. Energija Krunina uvijek je koncentrirana u poteze svih usmjerenja, s uplivom jake nervature i jakog unutarnjeg impulsa, rezolutno definirajući konstruirane površine sada bliske figurativnome (u ranijim radovima ovaj je stilski nomad slikao i apstraktno), e da bi sve pretvarao u kromatske kondenzacije. Te su površine slike ili crteža redovito pokrenutih vibrantnih tekstura, na kojima se kristalizira lice, portret. Ljudskih lica se, kao ni zvijezda, čovjek ne može nikada zasititi gledati. Svako lice, svaki portret mali je kozmos za sebe. Odmak u ironiju, ludizam i humoresku, lijek je protiv zala svijeta. Radovi su portreti u različitim medijima: crtani tušem na papiru, slikani na minijaturnim formatima (25X25 cm), digitalno na mobitelu iPhone 4S i Samsung Galaxy Note 2, a tu su i crno-bijeli foto-portreti prijatelja i kolega. Portreti su opći (javni) i intimni. Žudnja je Krunina usmjerena na htijenje za umanjenjem toliko prisutnoga zla, licemjerja i nemorala u svijetu i u Hrvatskoj, koja je prošla svoju patnju, svoju Kalvariju, pa stvara da bi objasnio svoj svijet u odnosu na onaj koji nas okružuje, a svojevrsno utočište nalazi u prostorima s dragim, poznatim ljudima. Crteži tušem ili oni digitalni, pokazuju iste karakteristike koje mu caruju u slikama: eleganciju, suptilnost i otmjenost moćne ekspresivne geste, a u konačnici odišu jednostavnom lakoćom i prozračni su. Materičnost gotovo da je potpuno ustuknula, rukopis je mek i sugestivan. U vrijeme hrvatske egzistencijalne muke nastali su portreti ljudi koji osjećaju bol i patnju stradalništva (portrete počinje raditi 1993. godine, slušajući Radio 101, pa jedna stravična ratna epizoda o kojoj sluša na radiju rezultira jednom slikom). Radi se o apokaliptičnim licima anonimnih ljudi zbog apokaliptične teme koja se događala, ljudi koje slikar ne poznaje, ali koji su nas okruživali. Opus lica radi već 18 godina, no u međuvremenu to nisu više portreti patnika. Njegova vlastita intimna i egzistencijalna kriza promijenila je diskurs portreta. Portret kao slikarev placebo? Zasigurno.
Vratimo se na trenutak slikama. One se mogu shvaćati i kao simulakrum mnogobrojnih sjećanja i kao rezultat jednoga traumatičnog iskustva. Kruno u svoje radove neprestano ulaže golemu psihičku energiju, a njegova pokretačka energija jest ideja, pročišćena od svih nebitnosti. U središtu ideje je čovjek, ljudsko biće, njegovo lice, njegov portret. Oni se u slikama, kao i u svim ostalim radovima, manifestiraju kao mnogobrojne, umnožene minijature, u kojima vlada određeni ekspresionistički apokaliptični odmak, no nikako lišen, dapače obilato nabijen, izrazito humanističkim pogledom. Drama egzistencije ublažava se umjetnikovim uplivom kao homo fabera (vrlo plodan, mnogobrojan i raznorodan opus), iza kojega čuči homo ludens (gotovo dječja razigranost i jasna slika svijeta i svjetonazor). U njegovome iskustvu vidimo kako se ono sedimentira u sukcesivne stratifikacije, u kojima pušta na površinu kolorističke eskapade i kromatske senzacije, vezane uz lice, koje se time vazda reprezentira u permanentnoj pokretljivosti, dinamici. Kada slika, Stojanovski nikada ne polazi od neke unaprijed određene sheme. Slika nastaje namah, u trenutku promatranja i doživljavanja, u procesu istraživanja za vrijeme svih svojih druženja, razmišljanja i stečenih utisaka. Slikarstvo i crtanje tušem ili digitalno, svejedno, najednom postaje poligonom vehementne geste kao odraza vehementnoga uviranja u svoje osjećaje, te unutarnje biološke potrebe egzistencijalnih duševnih previranja, koja rezultira elektrokardiogramskim impulsima na površini papira, platna ili zaslona iphonea. Gesta nije kontrolirana mozgom, već je izraz krajnje spontanosti, iz koje izvire autentičnost. Vrijeme u procesu rada nebitno je. Važno je upravo ritualno oslobađanje energije, nužno za oslobađanje emocija da bi se, kao u budizmu, došlo do smiraja. Čin slikanja i lica/portreta i ostalih tema, kao i lica/portreti izrađeni u drugim medijima, postao je neprestano življenje i ponovo proživljavanje kreativnog iskustva. Iz magme Kruninih gesti pojavljuju se oblici krupnookih, čeznutljivih zagledanih, zamišljenih, prestrašenih i emotivnih ljudskih jedinki. Oni su s jedne strane pokriće za otkrivanja eksplozivnih postulata boje i geste u širokom spektru, a s druge strane, odraz su ključne umjetnikove preokupacije – samoće i komunikacije. Komunikacija, koja mu je najvažnija u životu, problem je energije, života, ljubavi, problem kozmosa. Umjetnik je sam jednom rekao: ”Slikam i govorim o čovjeku rastrganom grijehom i etičkim dvojbama. U svom slikarstvu želim naći poetsko u grubom; naći poetsko u čovjeku današnjice; izvući emotivno, skriveno iz duše ljudi. Postaviti se otvoreno, javno, vidljivo, poticajno, blisko…”. Umjetnički rad počinje poetsko – filozofijskim zanosom, koji povede igru i razbukta se u tisuću smjerova. U poetskoj premisi leži bit ovoga slikarstva, crtanja i fotografiranja. On se vodi devizom da sve što se ne mijenja umire. Tako uvijek iznova bitno individualizira jezgru svojih poetika, koje su odista ars generandi dio svemira gdje se vibrantna energija boja, kao i kaleidoskop stotina, tisuća i milijuna lica uvijek nanovo rađa u jedinstvenim sekvencama.
Kao što su se studenti, umjetnici i intelektualci u osamdesetim godinama 20. stoljeća okupljali pred ”Zvečkom”, ”Kavkazom”, u ”Kulušiću”, pred ”Tomatom” u Tkalčićevoj ulici i na ”Opatovini”, što je na žalost danas sve propalo i ostalo našom lijepom prošlošću, danas se okupljaju u kafiću ”Sedmica” u Kačićevoj ulici, na Britanskom trgu i u galeriji ”Greta”. Ta mjesta danas po umjetnikovom mišljenju imaju veliku ulogu u kulturnoj, intelektualnoj i umjetničkoj stvarnosti u Hrvatskoj, a time i u ovome dijelu Europe. Ti su toponimi ostali jedine oaze u kojemu se nalaze neki novi studenti, umjetnici i intelektualci s kojom sjedinom viška. To su mjesta dolazaka i Krunislava Stojanovskog. Na tim se mjestima druži s kolegama umjetnicima, s prijateljima i znancima. Napravio je mnogo njihovih crno – bijelih portreta. Ima ih snimljenih i na izložbama, u atelijerima ”Žitnjak”, u njegovom zagrebačkom domu, i u njegovom rodnom Skopju. No, svi odreda su njemu bliskih i važnih ljudi, s kojima umjetnik dijeli ideje, misli i raspoloženja. Ljudi su to koje voli i poštuje, i koji vole i poštuju njega. Oni su njegova stvarnost. S njima je živio ili živi intenzivno, oni mu nešto ili puno znače. Zato su crno – bijeli da bi se razlikovali od onih nacrtanih i obojanih. Naslikani portreti u boji predstavljaju ljude iz rata, njihove strahove, teške sudbine, stradanje i bol. To su opći (javni) portreti, s kojima umjetnik suosjeća. Oni nacrtani digitalno tijekom 2012. i 2013. godine i tušem 1999. I 2010., predstavljaju portrete istih onih kolega i prijatelja iz ”Sedmice”, sa ”Žitnjaka” ili Britanca, autorove trenutne utiske iz komunikacije s njima. Ti su portreti ujedno amortizeri njegove intimne, privatne egzistencijalne i psihičke krize, njegove tjeskobe nastale neželjenim i emotivno teškim stanjem. To su dakle, intimni portreti. Tih se nacrtanih osoba naslušao, a u kojima prepoznaje određeno stanje obeshrabrenosti i beznađa. Ostaje barem u istom socijalnom krugu: on je oni, oni su on.
Medij je nebitan. Bitna je priča. U ovom slučaju priča o ljudima, osobama, njihovim licima i svime onim što ta lica u sebi nose.
Enes Quien
Krunislav Stojanovski rođen je 14.05.1969. u Skopju, Makedonija.
Završio je slikarstvo 1998. na ALU Zagreb u klasi prof. Đure Sedera.
1997. studira i diplomira Public Art u klasi Dr. Agnes Denes (SAD), na SOMMERAKADEMIE Salzburg, Austria.
1998. profesionalno radi i usavršava se u Cable Factory, Helsinki, Finska.
Član je HDLU od 1997., a HZSU-a od 2004.
U periodu 1990/99 radi kao novinar na području kulture, a 2000. i 2001. radi kao restaurator zidnih slika.
Od 2003. do danas vodi razne slikarske radionice za koje je izradio posebne programe.
Od 1995. do danas inicira i organizira različite umjetničke projekte međunarodnog karaktera.
Bavi se slikanjem, crtanjem, ambijentalnim instalacijama, fotografijom, videom, pisanjem i edukacijom.
Česte teme u umjetničkim djelima su one koje imaju socijalnu, humanističku, ekološku i političku konotaciju s posebnim naglaskom na pojedinca i njegove uloge, mogućnosti i značaja u globalnome.
Dobotnik je više nagrada i stipendija. Izlagao je na oko 30 samostalnih i 50 skupnih izložbi u preko dvadeset zemalja.
Živi i radi u Zagrebu.
KRUNISLAV STOJANOVSKI
PORTRAITS
All works of Krunislav Stojanovski represent compositions that are very expressive, mainly full with onthological meanings. His art is an art of ‘style nomads’, as once defined by the late colleague Darko Glavan. The world appears and develops in dual meanings combined in unity of differences: light – dark, silence – cheering, up to yelling, abstract – figurative, tradition – avantgarde, modern – postmodern, asked – answered, forever – vanishing. For Stojanovski, there is only longing and the passion for secrets. He is a person having harmonically combined all these things, having at the same time preserved the neo-expressionistic gestures of the COBRA Group led by Karel Appel, or the ‘New Wilds’, leaning at the same time on lyric and abstract surrealism of Miro, as well searching for the grotesque and ironical. The artwork of Krunislav Stojanovski is a further proof, that history of the soul is a history of curiosity, of longing. His art provides parts of Rable’s mockery, but also Poe’s and Kafkas’s ironical and cynical caricatures and inquisitively horrible severity, as well a drama of Shakespears’ characters and those of Andersen’s fairy-tales, mixed with a Don Quihote’s sympathetic, semi-tragic lucidity. As much as he tries to be grotesque, Krunislav’s paintings, fotographs and concepts always remain a beautiful, sophisticated and highly esthetic experience. This art makes you driven to it, because it emerges a feeling of decadency that is typical for certain artwork produced in times of crisis. It makes you feel driven to it exactly because it leads to a strong feeling of uneasiness of the painter, thus being transferred to the viewer. An uneasiness due to given impossibilities to bring one into harmony with the never ending treasures of cultural references that are being suddenly unlinked from today’s period. This is felt even by Stojanovski, and he is fighting against it with an artistic nerve and rafinesse. His paintings are a history of primal energy, they are dynamic and passionate, dark and light, a combination of vibrant colors and color strokes. Krunislav’s energy is always focused on strokes in all directions, with a strong impulse, defining at the same time working surfaces towards the figurative one (this stylistic nomad has also painted in abstract in previous periods), turning at the end everything to chromatic condensations. The working surfaces for the paintings and pics are regularly with vibrant textures, on which faces, portraits are being crystalized. One can never take his eye from these works showing faces, just like one can never take his eye off from the stars. Every face, every portrait is a cosmos of its own. One step further in the direction of irony, lunatic expression and humoresque, one remedy more against the evils of this world. The works are portraits in various media: watercolor on paper, drawn in small formats (25 x 25 cm), digitally on an iPhone, but there are also black-and-white photographic portraits of friends and colleagues. These portraits are public and intimate. Krunislav focuses on the need to diminish present evil, hypocrisy and immorality of the world, but also only in Croatia, and so he manages to explain his world in a surrounding context, thus managing to find a certain refuge in the surrounding with people that are known and close to him. Watercolor paintings and the digital ones have the same characteristics that are present in his paintings: elegance, fineness and grandeur, together with expressive gesticulations, thus having a touch of lightness and visibility. The motherhood is almost completely absent, the drawing is soft and suggestive. In times of the Croatian existence crisis portraits were produced, where people could see pain and suffering (he began drawing portraits in 1993, listening at the same time at Radio 101, where every horrible war episode he listened to on the radio, ended up with a single portrait). These were apocalyptical faces of unknown people, as a result of the apocalyptical events happening around us, persons not known to the painter, but nevertheless, persons that keep living with us. This Series of Faces is done by him for 18 years now, but in the meantime they are no portraits of martyrs any longer. His own intimate an existential crisis has changed the course of his portraits. Is this the portrait of a painter’s placebo? Surely.
Let’s take a look back to the paintings. They can also be simulations of many experiences, but also a result of a single traumatic experience. Kruno brings a lot of psychological energy into his works. The energy that drives him is the idea itself, purified form all triviality. In the main focus is the idea of the Man, of the human creature itself, his face, his portrait. These faces are given in pictures, but also in paintings, as multiple reproductions where a certain expressionistic and apocalyptic progress rules, which is not separated from, but even enriched very generously with humane aspects. The existential drama is lightened up with the artistic urge, as a form of homeo fabera (a very fruitful, big opus consisting of several aspects). Here we can see, how it all falls down to successive stratifications, where colorful escapades on the surface and chromatic sensations of the faces are allowed, which is shown through constant non-rigidness and dynamism. When drawing, Kruno never invests in only one certain scheme defined right in the beginning. The paintings are produced in one process, while watching and living it through, in the course of a single process of research during the meetings with known people, as a result of his thoughts and the impressions taken in that moment. The paintings, watercolor drawings or digital photos – whatever – are produced in the field of gestures, as a picture of a constant insight into the own feelings, as well the inner biological needs that arise due to existential transformations of the soul, thus leading to electronic impulses on the painting surface or the iPhone. These expressions are not controlled by the brain, but they are a product of total spontaneity, thus resulting into authenticity. Time is irrelevant in this working process. What is more important is the ritual of release of energy, which is on the other hand important for the release of emotions in order to come to a rest, just like in Buddhism. The process of painting faces/drawing portraits and of faces/portraits on other media has become a continuing living and reviving of creative experiences. Out of the magma of Krunos face expressions, big-eyed creatures emerge, looking longingly, thoughtful, scared and emotional. On one hand, they are an excuse for the presentation of explosive colors and expressions in a wide spectrum, and on the other hand, they are an expression of the artist’s deal with issues like loneliness and communication. A communication that seems most vital to him: the problem of energy, of life, of love, of the cosmos. The painter said once: ‘I am painting and talking about people that seem to be torn apart by the sinner, torn apart by ethical questions. I’d like to find in my paintings poetry within roughness, poetry within everyday people, to bring out the emotional aspect, everything that lies hidden in the souls of the people. I’d like to present all that clear, visible, motivational and close to the viewer…’ The artistic process begins with a poetical and philosophical enthusiasm, thus starting the process and developing it into thousands of directions. In this poetic premise lies the essence of this painting and photography. It is being led by the motto that everything does, if it does not alter. In that sense, the fundaments of his poetry are being over and over individualized, as a true ars generandi of the universe, where vibrant colors are born, just like in a kaleidoscope, as well thousands and millions of faces over and over again in unique sequences.
It is just like, when students, artists and intellectuals have gathered in the 80’s of the 20th century in front of works like ”Zvečko”, ”Kavkaz”, and ”Kulušić” of ‘Tomato’ in Tkalčić in ‘Opatovina’ in Zagreb (which is, unfortunately not the case anymore), but today they gather in Cafe ‘7’, at the British Square, or at Greta Gallery. These places have, according to the painter, a great role in the cultural, intellectual and artistic reality of Croatia. These places are today an oasis where certain new students, artist and intellectuals find together. They are places, where krunislav Stojanovski comes and goes to. Here, he finds artists, friends and acquaintances. He’s produced many black-and-white portraits of them. They are made at exhibitions, in the Žitnjak Gallery, in his home in Zagreb, or in his birthplace Skopje. However, all of them are people close and important to him, people with whom he shares his ideas, thoughts and emotions. These are people he loves and respects, that love and respects him also. He has lived or is living intensively with them, they mean something, or a lot to him. That is why they are black-and-white, in order to differ from the painted or drawn persons. The painted persons in color represent people from the War, their fears, their destinies, sufferings and pains. They are public portraits, persons that are felt pity by the painter. They became digital during 2012 and 2013, and were drawn in watercolor from 1999 until 2007. These are portraits of his colleagues and friends that come by at the ‘7’ or at ‘Žitnjak, or at the British Square. They are instant impressions of the painter, as a result of his communication with them. At the same time, these portraits are a safety net for his intimate, private, existential and mental crisis, for his fears and the unwilling, emotionally hard state of mind. They are also intimate portraits. He has heard enough from these painted and drawn persons and he sees in them a certain state of lost courage or hope. In this way, he stays in the same social surrounding: he is them, and they are him.
The media is irelevant. What is important, is the story itself. In this case, we are dealing with people, persons, their faces and all that, what they bring along with them.
Enes Quien
Krunislav Stojanovski was born in Skopje, Macedonia on 14.05.1969.
Gaduated painting in the Academy of fine arts in Zagreb, 1998, in Đuro Seder’s class.
In 1997 studied Public Art in Agnes Denes (USA) class, on SOMMERAKADEMIE, Salzburg, Austria.
In 1998. professionally worked and improved himself in Cable factory, Helsinki, Finland.
Became a member of Croatian association of artist’s in 1997, and of Croatian freelance artist’s association in 2004.
From 1990 to 2001 he worked as a reporter in the field of culture and as mural restorer. He initiates and organizes art projects of international character since 1995 to this day.
His main concerns are painting, drawing, ambient installations, photography, video, writing and education with a common subjects of social, anthropological, ecological and political connotations with an accent on a individual person and his roles, possibilities and significance in global. Lives and works in Zagreb.