{"id":1519,"date":"2021-12-09T15:16:00","date_gmt":"2021-12-09T14:16:00","guid":{"rendered":"https:\/\/galerijasanjaj.com\/?post_type=izlozbe-cpt&p=1519"},"modified":"2025-12-04T16:45:18","modified_gmt":"2025-12-04T15:45:18","slug":"dies-dimidius","status":"publish","type":"izlozbe-cpt","link":"https:\/\/galerijasanjaj.com\/en\/izlozba\/dies-dimidius\/","title":{"rendered":"Dies Dimidius"},"content":{"rendered":"

Dies dimidius<\/strong><\/p>\n\n\n\n

Looking far back to prehistoric times, we observe the pronounced symbolic character of the number twelve. The day was measured from sunrise to sunset, with dawn marking the beginning of the first hour, noon at the end of the sixth, and sunset at the end of the twelfth, marking the end of one half of the day.\nA cycle consisting of twelve paintings, Damjan Kova\u010devi\u0107 has titled after the hours\u2014twelve hours in total\u2014which, according to certain beliefs, symbolize order in time and space. Each painting\/hour is an equal participant in forming a spiritual-visual balance and depicting a certain atmosphere from sunrise to sunset. The symbolism of the number twelve is equally present in secular (12 apostles) and profane (12 months) discourses, and Kova\u010devi\u0107 skillfully balances the division of the painting into celestial and earthly zones with his artistic abilities and previous literary background. The boundary is not clearly defined, and the worlds intertwine, creating an internal system where the two zones continuously merge into each other. Like medieval zografos and manuscript illustrators, Kova\u010devi\u0107 consciously chooses familiar symbols (creation of the world, alchemy, Notre Dame, the cross, death of stars, Eucharist, epiphany, sin, plague\u2026) from Christian iconography and medieval art, redesigns and re-signifies them, bringing them into the context of today's time. Thus, the plague can be equated with the coronavirus, and the Virgin Mary, who has fallen with Notre Dame which has burned. Around the chosen symbol, the author builds content aimed at narration rather than illusion of reality. The symbol is there to create conditions for crafting an atmosphere, which is different and distinctive in each hour of the day. Symbols are variable, but the atmosphere remains. Its role is to lead us through sensory stimuli (just as a scent can return us to a specific time or event) to the scene of events where, through the visual apparatus, we become an integral part of the environment.\nAlthough at first glance pessimistic, Damjan Kova\u010devi\u0107\u2019s paintings conceal a certain degree of sarcasm (necessary for survival), and also offer a vision of personal salvation through (de)personalized self-portraits, through which the author, like a Mycenaean angel, sheds his skin. Analyzing his visual language, it can be concluded that Kova\u010devi\u0107 remains faithful to \"good old painting\" (drapery, perspective, El Greco-like mannerism\u2014elongated figures, strong color, supernatural\u2026) correlating different symbols to create a personal mythology of a traditional character. Striving for simplicity and asceticism in composition, and in the spirit of Andrei Tarkovsky, Damjan Kova\u010devi\u0107 transforms his paintings into mystical portals of eternity and transience. He narrates about states between spirit and matter, between spiritual needs and existential necessity.
Ciklus koji se sastoji od dvanaest slika, Damjan Kova\u010devi\u0107 je naslovio, upravo, po satima – ukupno dvanaest sati – koji su prema odre\u0111enim verovanjima simbol za red u vremenu i prostoru. Svaka slika\/sat je ravnopravni u\u010desnik u formiraju duhovno-vizuelne ravnote\u017ee i prikaz odre\u0111ene atmosfere u periodu od izlaska do zalaska sunca. Simbolika broja dvanaest podjednako je zastupljena u svetovnom (12 apostola) i profanom (12 meseci) diskursu, a Kova\u010devi\u0107 svojim slikarskim sposobnostima i prethodnom literarnom bazom ve\u0161to balansira u podeli slike na nebesku i zemaljsku zonu. Sama granica nije jasno postavljena, pa se svetovi prepli\u0107u i grade unutra\u0161nji sistem u kojem se dve zone neprestano prelivaju jedna u drugu. Poput srednjovekovnih zografa i ilustratora manuskripta, Kova\u010devi\u0107 svesno bira poznate simbole (nastanak sveta, alhemija, Notr Dam, krst, smrt zvezda, evharistija, epifanija, greh, kuga\u2026) koje preuzima iz hri\u0161\u0107anske ikonografije i srednjovekovne umetnosti, redizajnira ih i preozna\u010dava, dovode\u0107i ih u kontekst dana\u0161njeg vremena. Tako se kuga mo\u017ee poistovetiti sa koronom, a Bogorodica koja je klonula sa Notr Damom koji je izgoreo. Oko izabranog simbola, autor gradi sadr\u017eaj koji ima za cilj naraciju, a ne iluziju realnosti. Simbol je tu da stvori uslove za kreiranje atmosfere, koja je u svakom satu jednog dana druga\u010dija i osobena. Simboli su promenjivi, ali atmosfera ostaje. Njena uloga je da nas posredstvom \u010dulnih nadra\u017eaja (kao kada nas miris vrati u odre\u0111eno vreme ili doga\u0111aj) odvede na mesto de\u0161avanja gde posredstvom vizuelnog aparata postajemo sastavni deo ambijenta.
Iako na prvi pogled pesimisti\u010dne, slike Damjana Kova\u010devi\u0107a kriju u sebi odre\u0111enu dozu sarkazma (neophodnu da pre\u017eivimo), ali i donose viziju li\u010dnog spasenja kroz (de)personalizovane autoportrete kojima se mikena\u0111elovskim skidanjem ko\u017ee, sam autor osloba\u0111a. Analiziraju\u0107i njegov likovni jezik, mo\u017ee se zaklju\u010diti da Kova\u010devi\u0107 ostaje veran \u201estarom dobrom slikarstvu\u201d (draperija, perspektiva, elgrekovski manirizam – izdu\u017eena figura, jak kolorit, nat\u010dulno\u2026) dovode\u0107i u korelaciju razli\u010dite simbole pomo\u0107u kojih stvara li\u010dnu mitologiju tradicionalnog karaktera. Te\u017ee\u0107i jednostavnosti i asketizmu u kompoziciji, a na tragu Andreja Tarkovskog, Damjan Kova\u010devi\u0107 slikarskom alhemijom pretvara svoje slike, istovremeno, u misti\u010dne portale ve\u010dnosti i prolaznosti. On pripoveda o stanjima izme\u0111u duha i materije, izme\u0111u spiritualnih potreba i nu\u017enosti egzistencijalnog.<\/p>\n\n\n\n

Selena Andri\u0107<\/p>\n\n\n\n

Photographers: Vladimir Miloradovi\u0107, Bojan D\u017eodan<\/p>","protected":false},"featured_media":0,"parent":0,"menu_order":0,"template":"","izlozbe":[8],"class_list":["post-1519","izlozbe-cpt","type-izlozbe-cpt","status-publish","hentry","izlozbe-prosle"],"acf":[],"_links":{"self":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/izlozbe-cpt\/1519","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/izlozbe-cpt"}],"about":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/types\/izlozbe-cpt"}],"wp:attachment":[{"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/media?parent=1519"}],"wp:term":[{"taxonomy":"izlozbe","embeddable":true,"href":"https:\/\/galerijasanjaj.com\/en\/wp-json\/wp\/v2\/izlozbe?post=1519"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}