Neven Tudić

 

 

"Symphony orchestra?"

The mind, the absolute spirit and the absolute idea are all synonyms of the mind that contemplates itself.

Descartes’ famous Cogito, ergo sum (I think, therefore I am) is not constituted by contemplating 'I'=Ego. 'I' is an unquestionable, given and caught, and as such it is abstractly determined, or undetermined. Being (Esse) or 'I am=It is' is determined by the existence of 'I'. Therefore, the unquestionable fact of the existence of 'I' speaks of the existence of the main subject - him, something, someone. And we want to be questioning that mechanically accepted fact upon which the contemporary world rests so that we can question it and state that it leads to Rashomon, the conditionality of such an ingrained notion: subjectivism aka egoism.

Being=Existence is only a product of the evidence of some someone, some being, and here, of that 'I=Ego'. And so Being is conditioned and limited by that 'I'. 'I' is empty in itself because it doesn’t contemplate itself and so it needs an outer object or event to fill its own void.

But Being, per se, is unlimited, pure, unconditioned, empty and unaffiliated with any particular being that could set its limits. As such, it is universal but differs from universality and an orientation towards such abstract generalities present in all manifestations of today - most visible in politics, where private interests of elites overflow under the cover of universalities, in which in extreme cases the army, police and state power are called in order to realize those universal (but in fact mine) ideas. Therefore, the existence of all of us is conditioned by the goals of our rulers.

In short: Being (Esse) was before - and is before - any particular being. It powers itself from its own void, unlike other created beings that necessitate others for their own affirmation. Both, Being and Thought, are empty, undetermined, direct and inseparable one from another. They move in the void specifying their emptiness and pureness. By that self-determination, Being becomes something else, something determined and conscious, ontologically different from the undetermined, immediate and most general.

Nothing emerges from nothing, and so is the creation and making of sculpture, film, music and literature. There must be something, some kind of evident, sensory object to register and identify with and sculpt our own, and accidental will. But Being (Esse) is free from all existence of something. It creates itself from pure nothingness, from true universality different than any particularity.

Unspeakableness of that first 'Nothing' rejects the empirical facts of given and created, withered away as natural and self-explanatory emergence and disappearance. Therefore, the path of development and self-determination of of that initial - undetermined and unrelated to others - is shortened. The above said is the origin of both, life and death, in their finality and finiteness, of the impossibility to reach an original universality that is absolute. It is the only way to overcome the complacency determined as the main motive of art, work and the individual and limited act.

Questioning the unquestionable and factual Ego=I=Universality, Being is transferred to all spheres of life – technology, politics, art and so forth. Art lives through the ambition to reach the absolute but also dies because of the need for the presence of an object or event. - Which leads to random reaction and subjectivism, so that the contemplation of art necessitates image and impression conditioned and terminated by the presence of an object. But only negation and the negation of negation open the path to return to the enriched presence of unlimited and infinitely free Being.

Neven Tudić // 02.05.2020.

 


Ptica bez glave i repa

Likovno djelo se mora vidjeti da bismo mogli razgovarati o dojmu kojeg je ostavio umjetnik na nas. Dakle, nužnost opažanja slike je neminovna. A od kuda ta nužnost, taj uvjet da se nešto, pa tako i umjetničko djelo MORA vidjeti, osjetiti.

Od kuda izvire ta nužnost, taj objektivan pristup, a na koncu, taj mehanizam. Bez prihvaćanja te nužnosti neće se ostvariti dojam, predodžba o umjetnini. Da li je upitna ta obveznost kao datost, činjenica , zatečenost i nikako neka bitna alternativa. Ne, jer to je samorazumljivo i prirodno, opće prihvaćeno i šta drugo od tog opće ustanovljenog?

Od kuda potreba da se usvoji nužnost a time ograničenost, pa tako i konačnost ?
Da li je samorazumljivost nešto izvorno i slobodno ili razlog da pomislimo da nama nešto upravlja i upućuje na automatizam, autoritet, na subordinaciju i točnost. Da li je takav put ulazak u istinu?
Svaka samorazumljivost počiva na ograničenju da se nešto samo po sebi neobjašnjeno i apstraktno ostavi u nejasnoći i nerasvijetljenosti. Lakše je ostati u nečem što je jasno i što ne traži daljnje traganje za izvorom, već se fiksira u toj tmini i jednostavnom identitetu, okončanom u samom sebi. U takvom mehanizmu mi smo gledatelji, dakle i subjekti nasuprot čega je nešto objektivno, dakle slika. Da li taj Ja koji sebe dovršava u prostom identitetu da sam Ja Ja čime samorazumljivost sebe dovodi u evidentnost i jasnoću od kuda se nema potrebe dalje ići i ništa drugo pitati. Ta samorazumljivost okončava u tom prostom i prekinutom identitetu=subjektu sada gledatelju od kuda se kreće prema vani, prema objektu, sada umjetničkom djelu. Eto nas u području rabljenog izraza: Condicio sine qua non (uvjet bez kojeg se ne može).

No izvorno i prvo jeste to Jest: apsolutno i čisto je, bez podijeljenosti, razlike i odnosa. U sebi je identitet bitka=Jest i Ništa. I neodređeno je. Upravo otvoreno i neodređeno Jest i stoga jest u jedinstvu sa Ništa. Već to određenje toga neodređenoga je postalo, dakle nastalo i nestalo ali sad već stupilo u odnos određenjem izvornog u to drugo i tuđe izvornog i prvog, neograničenog, slobodnog, općenitog. Iz tog izvorno nastaje nešto određenjem ali onoga što je neodređeno i samo po sebi određenje neodređenoga je upravo negacija i repulzija tom početnom i čistom. To strano, to drugo sebe samoga je zarobljeno u negaciji koju negaciju nova negacija uvodi upravo konkretizaciji općenitoga i nesputanoga.

A taj Ja što okončava u praznom jednakosti, identitetu sa samim sobom, pa je konačan i ograničen prema općenitoj realnosti koja je bezvremenska i neograničena, jer je neodređena, prihvaćen je kao jedinstvo i sinteza razlike, podijeljenosti te apstraktne općosti na subjekt i objektu, zatvoren je u samorazumljivosti, i praznini upućenoj upravo da formalno sjedini rastavljenu zatočenost na subjekt i objekt, jer je sjedinjenje samo prihvaćeno, a nikako pokrenuto po sebi samome, bez odnosa na neko drugo, dakle bez suprotnosti i prihvaćene razlike. Takovo prihvaćeno jedinstvo jer je postavljeno, a ne proizvedeno je ugašeno i postavljeno samo kao nešto a priori formalno i idealno, te u toj zaustavljenosti, praznini i konstataciji nema kretanja. Zato se moraju prihvatiti samo date, zatečene stvari koje svaki subjekt producira na svoj nacin što ide u nedogled, beskonačnost.

Iz narečenog htjeli smo reći da misao po sebi samoj, iz čistog početka gdje je bitak=to Jeste i Ništa sjedinjeno, a neograničeno nečim drugim što određuje sebe ne priznajući nikakvo zatečeno stanje, nikakvu podjelu, onda i podjelu na umjetničko djelo i publiku, nego i to zatečeno, konkretno publiku i umjetnika kao nositelja umjetničkog djela upućuje na nužnost povratka u početnu i otvorenu neodređenost sada osvješćenu , tj. svjesnu te prvotne neograničenosti kao beskonačno bitnog puta. Budući da je misao prošla kroz tu početnu otvorenost, a zatim nužnost ograničenja te otvorenosti upravo svjesnim određivanjem samopostavljene pojave u razlici na publiku i umjetničko djelo, nužno je i imanentno negirati pojavu i pojavnost kao nešto što nastaje i nestaje, kao nešto što je prolazno i okončava, a produženo u čežnju, nadu i zvjezdano nebo. Stoga tu unaprijed postavljenu razliku u umjetnosti samoodređenjem pojma, misli u neograničenu prvotnost uvesti u realiziranu slobodu.

Isti je princip bitan i za politiku(„bez koje se ne može“) i svaku pojavu počevši od rada, tehnologije, znanosti i svega onoga što je uhvaćeno i zatočenu u određenost koju bespogovorno, automatski i mehanički usvajamo.
Ptica bez glave i repa upravo simbolički, dakle na umjetnički način, uskraćen za sredstva kojim ne može slikati mislima ukazuje na potrebu prevladavanja subjektivnog, pojedinačnog stava i opće prihvaćenog stava o nemogućnosti promjene nečega ustanovljenog kao status quo (što je također produkt mišljenja), upravo nužnošću da okrenemo, tj. stavimo na noge ono što na bilo koji način ograničava prodor u istinu i slobodu.

Neven Tudić // 30.01.2019.


DIALEKTIKAL MAMMOTH „It doesn't suit you,mammoth,when you're turned! You look unnatural“

What lies before and prior to the thought determined value judgement of that which IS, the BEING itself? By necessity, the turning of the mammoth became a phenomenon, a phenomenon perceived throught our senses. As mammoth is the object presented to the eye, wie form and shape opinions about the observed. Is it that which it is? Mammoth is limited by our perception, and our perception is limited by the displayed disclosed object-mammoth. Althought dependence on the object (ness) limits us, our views and stands are reassured by the presented BEING. And what exactly is released from our sensibility of the object?-well,what do you say, mammoth?



The Big Bang Theory has been built into the destruction of every hierarchy, organization and system based on external planning. When this administrative-bureaucratic system will destruct, we ask the following epochs. Therefore I present the pyramidal organization phenomenon through one of its manifestations: Brainwashing.

Consequently, the performances named "Washing..." will wash out the brain placed on the pedestal. At the entrance of the intended room for the performances is a small banister (fence), and in front of the banister - entrance will march a soldier who symbolizes the system he guards and protects: the system of brainwashing.

That is the reason he does not allow anyone to enter. However, since every system has a small puncture that turns into a giant hole trying hard to conceal and camouflage it, thus certain sloppiness and lack of pedantry of the soldier - the guardian of the system will suggest with this individual act the porosity of the system. We have to wait and see when the action for the change will actually take place...



The motive of my work in visual art is the attempt to find fundamentals of the visual objectivity (registered by emotions), which is known as the immediate first stage of cognition, in the fact that, above all, it is. For, if the criterion of knowledge is what I see and sense before me, then this knowledge is ever based on subjective, individual view and is always limited. This relativity does not question the subject, which ultimately, especially in politics, seeks power to adopt and realize my own opinion to be the best one. Thereby the world is submitted to the power through which and by means of which my superiority is established over the others. We, the men, before anything else, are.

This ''are'' = essence is the unlimited, the freest that should be the reason to doubt my limited and subjective attitude which is precisely realized by power, strength, force. And the perception of the magnificent ''are'' represents our motive of work and overcoming the restraints by the acknowledgement that we are beings open to freedom and limitlessness, and not necessarily function of the other and superior.



Welcome to the online gallery where you can see some works from the 7 series and 4 movies.




Serie 1 - 45x60 cm, Pieces: 20



Serie 2 - 25x35 cm, Pieces: 200



Serie 3 - 30x45 cm (Last artwork is 180x200 cm), Pieces: 20


Serie 4 - 115x105 cm, Pieces: 20



Serie 5 - 40x50 cm, Pieces: 20



Serie 6 - 95x105 cm, Pieces: 60



Serie 7 - 10x6 cm, Pieces: 30


Neven Tudić / +385 91 930 87 22