Duje Jurić rođen je 18. travnja 1956. god. u Rupama, diplomirao na zagrebačkoj Akademiji likovnih umjetnosti u klasi prof. Vasilija Jordana 1981. god. Suradnik je majstorske radionice prof. Lj. Ivančića i N. Reisera od 1982.- 1985. god. Od 1984.- 1999. god. djeluje kao slobodni umjetnik, od 1999.-2000. god. radi u Muzeju suvremene umjetnosti u Zagrebu, a od tada do danas kao docent i potom izvanredni profesor na ALU.
DUJE JURIĆ, painter (Rupe, Croatia, 1956)
Jurić graduated from the class of Professor Vasilije Jordan at the Zagreb Academy of Fine Arts in 1981; he himself has been an associate professor there since 1999. Jurić was an associate of the Master Workshop of Lj. Ivančić and N. Reiser, 1982 - 1985. He surfaced at the beginning of the 1980s with his typical painterly order and geometrical language. Jurić painted oblong forms, in blacks, whites and greys, and two-dimensional forms linked in sets of thick reticulations on a uniform ground with basic colours. He also designs ambiances, and performs actions and participated with his work on the theatre group ‘Kugla glumište’ (1980s). Duje Jurić has been exhibiting independently since 1984 and onwards he exhibited at about thirty solo exhibitions and participated at about hundred collective exhibitions at home and abroad. Among the various recognitions, in 2003 Jurić received the annual ‘Vladimir Nazor Award’ (for the annual achievements in the field of painting). He lives and works in Zagreb.
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Duje Jurić: Hommage pužu
Zašto pužu? „Moja zemlja Štaglinec“ citiram naslov akcije, u doslovnom je značenju kućica u polju, zdenac i ...okućnica - predstavlja okružje idealno za realizaciju ove zamisli jer ambijent doživljavam kao pravo mjesto- koje objedinjuje prirodne i simboličke analogije puža i njegovu ulogu vezanu uz plodnost i kretanje životnog, u neprekidnom trajanju.
Metaforički, nasljednica zemlje u Štaglincu, umjetnica Vlasta Delimar asocira me na ovo malo biće koje otjelovljuje i nosi „ures pretka koji svraća na zemlju da je oplodi, te nosi sve simbole blagotvornih oluja i neba„ i na sva značenja kojim je po ljudskim vjerovanjima pojavnost puža simbolički bremenita.
Vlasta se svojoj zemlji vratila i oplođuje je, na način koji je odabrala osobnim životnim pozivom, daje joj novu dimenziju, sijući u nju novo sjeme, sjeme umjetničke energije i nastojanja...
„Općenito, puž je lunarni smbol. Ukazuje na periodično preporađanje: puž pokazuje i skriva rogove kao što se pojavljuje i nestaje mjesec; smrt i ponovno ređenje, tema vječnog povratka. Označuje i rodnost: spirala vezana uz mjesečeve mijene i rast roga. Puž stoga postaje mesto lunarne teofanije; u drevnoj meksičkoj religiji bog mjeseca Tecçiztecatl prikazuje se zatvoren u puževu kuću. Poput školjke i puž sadrži seksualni simbolizam: analogija sa stidnicom, tvari, pokretom i slinom. Simbolizam i kretanje u neprekidnom trajanju. Spiralni oblik puževe kućice, živio on u vodi ili na zemlji, posvuda je glif temporalnosti i postojanosti bića kroz nestalnosti promjene. U Azteka je puž obično simbolizirao začeće, trudnoću i porod (ELIT; 174, prema Jacksonu The Aztec Moon- Cult). U Dahomeju se puž smatra sabiralištm sperme. U egipatskim hijeroglifima spirala se prikazivala pužem. Poput ovoga, u prirodi veoma raširenog, geometrijskog oblika, mogao je simbolizirati životni razvoj. U sjevernoj se Africi izrađuju brojanice od puževih školjki... Puž podsjeća na ovnujski rog... Osim toga, sklon je vlazi, a iz zemlje izlazi, kako kažu seljaci, samo nakon kiše. Vezan je uz ciklus polja, postao je simbolom plodnosti koju daju mrtvi, gotovo neizbježnim uresom pretka koji svraća na zemlju da je oplodi, te nosi sve simbole blagotvornih oluja i neba).“
Tribute to the Snail
Why the snail?... “My Land, Štaglinec”, and I quote the title of the action, literally meaning a little house in the field, a well and... a yard around, constitutes a context ideal for the realisation of this idea, for I feel the ambience to be the right place, one that unites natural and symbolic analogies of the snail and its role in connection with fecundity and the movement of the vital, in incessant motion.
Metaphorically, to the land and earth in Štaglinec, the artist Vlasta Delimar, has interesting associations with this little creature, that embodies and bears “the ornament of the forebear who returns to earth to fructify it, and bears all the symbols of beneficent storms and skies”, and all the meanings according to which in human beliefs the appearance of the snail is symbolically loaded.
Vlasta has returned to her earth, and is fructifying it, in the manner that she has chosen with her personal life’s calling, giving it a new dimension, sowing new seeds in it, the seeds of artistic energy and endeavour.
“In general, the snail is a lunar symbol. It refers to the periodic renewal: the snail shows and hides his horns as the moon appears and vanishes; death and rebirth, the theme of the eternal return. It also stands for fertility. The spiral is related to the phases of the moon and the growth of the horns. The snail is thus a place of lunar theophany; in ancient Mexican religion the moon good Tecçitecatl is shown enclosed in a snail shell. Like the shell, the snail too contains sexual symbolism: an analogy with the pudendum, substance, movement and slime. Symbolism and movement in incessant duration. The spiral form of the snail’s shell, whether it lives in water or on land, is a glyph of temporality and the constancy of a being through the inconstancy of change. Among the Aztecs the snail commonly symbolised conception, pregnancy and birth (ELIT; 174, after Jackson The Aztec Moon Cult). In Dahomey the snail is considered a receptacle for sperm. In Egyptian hieroglyphs the spiral is depicted with a snail. Like this geometrical form that is so widespread in nature, it could symbolise vital development. In northern Africa they make counting beads out of snail shells. It recalls the ram’s horn. In addition, it tends to wetness; it comes out of the earth, as the peasants say, only after rain. It is related to the cycle of the fields, it has become a symbol of fertility given by the dead, with the almost inescapable decoration of the ancestor who returns to earth to fructify it, and bears all the symbols of beneficent storms and nights.
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