Katalog_Luka-2017

Dražen
Turković
Letimično
U Puli od 07. 04. - 28. 04. 2017

Dražen
Turković
Letimično
In passing

Akril na platnu, 160x90 cm, 2016.
L E T I M I Č N O
Samostalna izložba slika Dražena
Turkovića pod naslovom Letimično,
izbor je autorovih recentnih radova
nastalih u rasponu protekle dvije do
tri godine. Cjelokupni je opus potpuni
odmak od njegovog dosadašnjeg
stvaranja. Sam odmak u smislu
motivike, kao i onaj u smislu tehničke
izvedbe ideje na slikarskom platnu
ne bi trebao začuditi jer je Dražen
Turković autor koji se ne boji istraživanja
medija u kojem stvara već
dugi niz godina, sa svakim novim
ciklusom upuštajući se u nove sfere
klasičnog slikarskog izričaja uglavnom
akrila na platnu. Koliko god to,
obzirom na medij klasičnog slikarstva,
zvučalo neuvjerljivo, kod ovog
je autora klasična slikarska tehnika
uvijek u svrsi otkrivanja njenih novih
izražajnih i izvedbenih mogućnosti,
a njegova vještina i majstorstvo
baratanja slikarskim tehnikama pri
tom su neupitni. No ono što odmak
čini potpunim, nije skriveno u tehnici
i njenoj izvedbi, niti u motivima (i
jedno i drugo je svojevrsna nadgradnja
dosadašnjeg stvaralaštva), već je
skriveno u cjelokupnom vizualnom
identitetu i opsegu slike, koji prelazi
granice dvodimenzionalnog, ujedno
prelazeći granice fizičke pojavnosti

Akril na platnu, 160x90 cm, 2014.
slike u realnom prostoru i vremenu
prenoseći je u virtualan. Taj poseban
vizualni doživljaj omogućuju nam
nove tehnologije, a jednom od njih
poslužio se i Dražen Turković, utkavši
skrivenu tehnologiju prepoznavanja
tzv. AR 1 u svoja akrilna platna pa
ona tako od statičnog dvodimenzionalnog
prizora prerastaju u dinamične
audio-vizualne igre, oživljavajući
pritom cjelokupni sadržaj slike.
Ono što je fascinantno pri gledanju
takvih prizora jest naš doživljaj galerijskog
ili drugog prostora u kojem
se nalazimo, jer i prostor proaktivno
biva uključen u scenu pa galerija od
1
AR augmented reality – proširena stvarnost je tehnologija koja nam omogućuje
gledanje dodatnih sadržaja (informacija) u digitalnom obliku postavljenih / apliciranih
na elemente stvarnog objekta. Pojavu je najpreciznije nazvati konceptom.
Dotični se zasniva na ideji da se stvarnom svijetu digitalno dodaju informacije koje
nam daju uređaji opremljeni ekranom, GPS-om, kamerom, kompasom, žiroskopom
i drugim senzorima, a na način da na zaslonu takvog uređaja vidimo stvarnost u
proširenom obliku. http://www.bug.hr/bug/tekst/augmented-reality/96297.aspx

Akril na platnu, 160x90 cm, 2014.
pasivnog i bezvremenskog sudionika
manifestacije, postaje aktivan sudionik
slikarskog motiva u konkretnom
vremenskom okviru. Obzirom
da se sav prizor pred nama odvija
“sada i ovdje”, dojam o autentičnosti
događaja jači je od njegovog virtualnog
postojanja pa nam prizor sa
slike postaje stvarniji od stvarnosti
same. Fenomen nam zasigurno nije
stran jer okruženi smo virtualnim
svjetovima isprepletenim sa stvarnima
gotovo na svakom koraku (od
davne pojave filma nekada pa do
suvremenih marketinških i drugih
vizualnih sistema svuda oko nas,
video igara, hologramskih i ostalih
čuda današnjice), no ono što djeluje
začudno nije moment virtualnog
već proširenog vidika koji senzacionalizira
ugođaj promatranja.
Opsežan opus akrila na platnu
srednjih i velikih formata broji preko
40 radova kojima nas autor uvodi
u svijet motiva na rubu apstrakcije
i figurative. Sve su to mahom prizori
intenzivnog kolorita i uređene
apstraktne forme s težnjom na
linearnoj kompoziciji satkanoj od
jasnih i oštrih poteza boje kistom,
bilo u horizontalnom ili vertikalnom
smjeru, nerijetko i u međusobnom

Akril na platnu, 160x90 cm, 2014.
komplementarnom kontrastu boja,
tvoreći pomalo futuristički dojam
jer nam prizori djeluju poput pokreta
uhvaćenog u brzini kretanja,
onako letimično, kao što i sam naziv
izložbe kazuje. Pri tom se na svakom
od radova pojavljuje detalj u izrazito
realističkoj maniri, gotovo hiperrealističkoj,
koji cijeloj kompoziciji daje
dodatnu dinamiku - sliku od apstraktne
forme pretvara u konkretnu
figurativnu. Detalji postaju okosnica
motiva preuzimajući dominaciju
nad kompozicijom, definirajući apstraktni
dio kompozicije (koji zauzima
većinu slikarske površine) i ona
time postaje scena tj. prostor, poprište
događanja u kojem detalji igraju
glavnu ulogu. Zanimljivo je kako
osim doživljavanja prostora na slici
(kojeg u stvari nema), dobivamo i
dojam uhvaćenog vremena, upravo
pomoću onog već spomenutog
futurističkog doživljaja slike. Što se
samih detalja tiče, oni su pomno
odabrani i neki od njih upućuju na
poznate slikarske motive iz klasične
riznice motiva povijesti slikarstva
koji nam omogućuju višeslojnost
iščitavanja simbolike na slikama.
Izvedbeno to može biti jasan detalj,
dok se u drugim slučajevima, fra-

Akril na platnu, 160x90 cm, 2014.
gmentima ili zamućenom izvedbom
detalja, kao da je izvan fokusa fotografskog
objektiva, samo naslućuje
njegova prisutnost. Ponegdje je apstraktna
kompozicija samo ispresijecana
pravilnim linearnim oblicima,
bez definiranih figurativnih detalja
pa sveukupni prizor podsjeća na
“grešku u sistemu”, bilo računalnom
ili nekog drugom, čineći dojam nepotpune
slike na televizijskom ekranu
(zbog nedostatka tv signala npr.).
Od svih radova, koji odišu istom
poetikom, samo su neki nadograđivani
tehnologijom AR, a njih je potrebno
otkriti služeći se svojevrsnim
“detektivskim” oruđem, u ovom slučaju
pametnim telefonima ili tabletima
koji sadrže odgovarajuću aplikaciju
za prepoznavanje AR tehnologije.
Proširena realnost (augmented
reality) dostupna je u svakidašnjem
životu već gotovo desetljeće i vrlo se
brzo širi u različite sfere čovjekovog
djelovanja. U svrhu dopune slikarstvu
čini se kao stvorena, ukoliko se
spretno koristi. Usporedba originala
s kopijom, prijelaz je granice u percepciji
klasičnog umjetničkog djela,
u smislu da je svaka kopija jednako
autentična u usporedbi s originalom
jer aplikacija funkcionira na jednak

način kod originalnog djela kao i
kod kopije. AR tom mogućnošću
sliku čini dostupnom svakome u
cjelokupnom doživljaju, dok original
uvijek ostaje jedinstven u klasičnom
smislu slike na zidu, a čini se da njene
kopije mogu djelovati beskonačno,
no i njihov je vijek vezan s kratkom
vječnošću dostupne tehnologije
koju diktira tržište. Kada npr. digitalna
aplikacija više ne bude dostupna,
prestaje li time i životni vijek same
slike koja se zasniva na djelovanju
aplikacije (i ona opet postaje samo
klasičan slikarski objekt)? Ovaj fenomen
otvara mnoga pitanja vezana
uz vrijednost i autentičnost umjetničkog
djela o kojima možemo raspravljati,
kao i mnoga druga pitanja
vezana uz fenomenologiju ljudskog
postojanja, no sigurno je jedno –
prolaznost vremena neizbježna je,
a njene manifestacije sve su prisutnije
kako u svakidašnjem životu,
tako i u načinima njegova bilježenja.
Tina Širec Džodan
Akril na platnu, 90x160 cm, 2016.
Akril na platnu, 90x160 cm, 2015.

Akril na platnu, 90x160 cm, 2017.
LETIMIČNO (IN PASSING)
Dražen Turković’es solo exhibition
entitled Letimično (In Passing)
represents a selection of his recent
works created in the past two to
three years. This whole body of
work is in fact a complete departure
from his previous style. A shift in
terms of motifs, as well as in terms
of technical performance of ideas
on canvas should not be surprising.
Namely, Dražen Turković is an
artist who is not afraid of research
of the media in which he has been
creating for many years, launching
into some new spheres of classical
artistic expressions, mainly acrylic
on canvas, with each new cycle. As
much as this may sound unconvincing,
given the medium of classical
painting, this artist’s use of classical
painting techniques always has
the purpose of discovering their
new capabilities in relation to expression
and realization, which is
also true in this case. His skill and
mastery of handling painting techniques
remain unquestioned in the
process. But what makes this shift
so thorough, is not hidden in the
technique and its realization nor in
motifs (both are advancement of
his previous creative work), but it is
hidden in the overall visual identity
and scope of the paintings, which
goes beyond the two-dimensional,
simultaneously crossing borders of
physical appearance of a painting in
real space and time, and transmitting
it in the virtual one. This special
visual experience is made possible
for us by new technologies, and one
of them is used by Dražen Turković,
weaving hidden recognition technology
called AR 1 into his acrylic
canvases so they turn from static
two-dimensional scene into dynamic
audio-visual games, while reviving
the entire content of the painting.
What makes fascinating watching
such scenes is our experience of a
gallery or some other space because
the space becomes proactively involved
in the scene, so the gallery
from passive and timeless participant
of the event becomes an active
participant in the artistic motif in a
specific time frame. As the whole

Akril na platnu, 53x95 cm, 2016.
Akril na platnu, 75x90 cm, 2016.
scene takes place before us “here
and now”, impression of authenticity
of the event is stronger than its
virtual existence so the scene from
the painting becomes more real
than the reality itself. Certainly, this
phenomenon is not unfamiliar to us
because we are surrounded by virtual
worlds that are intertwined with
the real ones almost at every step
(from as far back as the appearance
of motion pictures to the contemporary
marketing and other visual
systems all around us, video games,
holographic and other wonders of
our time) but what is astonishing
1
AR - Augmented Reality is a technology that allows us to view additional content
(information) in digital form overlaid / applied on the elements of the actual object.
This phenomenon can be most accurately described a concept. It is based on the
idea the information provided by devices with a screen, GPS, camera, compass,
gyroscope and other sensors are added digitally to the real world, thus enabling us
to see reality in expanded form on the display of such a device.
http://www.bug.hr/bug/tekst/augmented-reality/96297.aspx

Akril na platnu, 75x90 cm, 2016.
Akril na platnu, 53x95 cm, 2016.
is not a moment of the virtual but
rather augmented perspective that
sensationalize feeling of observation.
An extensive body of work of
acrylic on canvas of medium and
large formats encompasses almost
40 works with which the author
introduces us to the world of motifs
bordering between abstract
and figurative painting. These are
mostly scenes of intense colors and
organized abstract forms with an
emphasis on linear composition
woven from clear and sharp strokes
of paint brush, either in horizontal
or vertical direction, often in mutual
complementing colors thus creating
somewhat futuristic impression
because these scenes look to us like
movements caught in fast motion,
in passing, as said by the title of the
exhibition. At the same time, a detail
in extremely realistic, almost hyperrealistic,
manner appears on each of
the paintings and it gives the whole
composition additional dynamics
and transforms the painting from an
abstract form into a concrete figurative
one. In the process, the details
become a mainstay for motifs, assuming
dominance over the composition
and defining the abstract part

Akril na platnu, 75x90 cm, 2016. Akril na platnu, 75x90 cm, 2016.
of the composition (which takes up
most of the painting’s surface) and
it, in turn, becomes a place of action
i.e. a space, a stage for events where
details play a major role. It is interesting
how in the process, we get, apart
from an experience of space on the
painting (which actually does not
exist), the impression of captured
time, precisely thanks to the aforementioned
futuristic experience of
the painting. As far as the details are
concerned, they are carefully selected
and some of them point to famous
painting motifs from classical
motifs treasury of history of painting
and they enable us to engage in
multilayered reading of symbolism
on the paintings. When it comes to
realization, at times it may be a clear
detail, while in other cases it only
hints at its presence with fragments
or blurred details as if out of focus of
the photographic lens. Sometimes
an abstract composition is only interrupted
with regular linear forms
without defined figurative details,
resulting in an overall scene reminding
us of “system error,” either a
computer or some other kind, thus
creating an impression of an incomplete
image on a TV set (for example,

Akril na platnu, 160x90 cm, 2016.
due to lack of TV signal - glitching).
Of all the works which radiate
the same poetics only few are upgraded
with AR technology and
those need to be discovered using
the kind of “detective” tool, in this
case smartphones or tablets containing
an appropriate application
for recognition of AR technology.
Augmented reality is available in
daily life for almost a decade now
and it spreads very quickly to different
spheres of human activity. If
skillfully used, it seems to be perfect
way for complementing painting. A
comparison between the original
and the copy represents crossing a
border in the perception of classical
art, in the sense that each copy
is equally authentic compared to
the original because the application
functions in the same way with
the original work as with the copy.
Thanks to that feature, AR makes
the painting in its overall experience
available to everyone, while
the original remains unique in the
classical sense of the painting on the
wall, and it appears that its copies
can operate infinitely. Nevertheless,
their life is in fact bound by a short
eternity of the available technology

Akril na platnu, 115x85 cm, 2016.
that is dictated by the market. When
e.g. digital application has no longer
been available, will this also bring
to an end existence of the painting
which is based on functioning
of the application (and it again becomes
only the classical painting
object)? This phenomenon raises
many issues that we could discuss
related to the value and authenticity
of an artwork, as well as many
other issues related to the phenomenology
of human existence, but
one is certain - transience of time is
inevitable, and its manifestations are
increasingly present both in everyday
life and in ways of recording it.
Tina Širec Džodan

I M P R E S S U M
nakladnik / publisher:
HDLU Istre
za nakladnika / for the publisher:
Dorina Vlakančić
predgovor / preface:
Tina Širec Džodan
prijevod / translation:
Aida Čengić
fotografije / photographs:
Dražen Turković
lektura / proofreading:
Sanja Čerlenica
logistika / logistics:
Tina Širec Džodan
tehnički postav / technical set-up:
Miro Ploj
idejni postav / exhibition set-up:
Tina Širec Džodan
oblikovanje / visual identity:
Dražen Turković
tisak / printed at:
Kerschoffset Zagreb d.o.o.
naklada /copies: 150
izložbeni prostor / exhibition venues:
Galerija Luka, Mul i Aneks, Pula

Dražen
Turković
Rođen je 1950. u Pribanjcima (Hr). Srednju školu primijenjenih umjetnosti i
dizajna (Šola za oblikovanje - Ljubljana) završio je u Ljubljani, nakon čega je
upisao studij slikarstva na akademiji u Milanu (Accademia delle Belle Arti di
Brera – Milano) i diplomirao 1975.
Bavi se z slikarstvom, grafikom, digitalnom grafikom i dizajnom.
Grupno i samostalno izlaže od 1974. u zemlji i inozemstvu. Više puta nagrađivan
na međunarodnim izložbama.
Član HDLU od 1976. Živi i radi u Puli.
Born in 1950 in Pribanjci (Cro). He graduated from the Secondary School for
Design (Šola za oblikovanje) in Ljubljana, after which he went on to study painting
at the Academy in Milan (Accademia delle Belle Arti di Brera - Milano)
and graduated in 1975.
His body of work consists of paintings, graphics, digital graphics and design.
He has participated in group and individual exhibitions since 1974, both home
and abroad. He has received numerous awards at international exhibitions.
Member of the Croatian Association of Artists since 1976.
He lives and works in Pula.
Kontakt:
+385 95 876 5488
www.drazenturkovic.wordpress.com
Hrvatsko društvo likovnih umjetnika Istre
Istarska 30, 52100 Pula
Tel. 052 2214408 / 098 464741 / Fax: 052 388308
e-mail: hdlu.istre@inet.hr
www.hdluistre.hr
NASLOVNICA:
Akril na platnu, 85x115 cm, 2017.