{"id":8416,"date":"2022-04-19T00:48:02","date_gmt":"2022-04-19T00:48:02","guid":{"rendered":"https:\/\/zeptermuzej.rs\/?p=8416"},"modified":"2022-04-19T00:49:15","modified_gmt":"2022-04-19T00:49:15","slug":"radivoje-djurovic","status":"publish","type":"post","link":"https:\/\/zeptermuzej.rs\/en\/radivoje-djurovic\/","title":{"rendered":"RADIVOJE \u0110UROVI\u0106"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpqsvx7c-7c47acebc5aaf7a7c66eb337199181b3\">\n.avia-image-container.av-kpqsvx7c-7c47acebc5aaf7a7c66eb337199181b3 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpqsvx7c-7c47acebc5aaf7a7c66eb337199181b3 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-kpqsvx7c-7c47acebc5aaf7a7c66eb337199181b3 av-styling- avia-align-center  avia-builder-el-0  el_before_av_layout_row  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-6418 avia-img-lazy-loading-not-6418 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/rdj.jpg\" alt='' title='rdj'  height=\"170\" width=\"143\"  itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div>\n<\/div><\/div><\/div><!-- close content main div --><\/div><\/div><div id='av-layout-grid-1'  class='av-layout-grid-container av-145098-81142c67ee4e07e7b47b2dd7af6d57dc entry-content-wrapper main_color av-flex-cells  avia-builder-el-1  el_after_av_image  avia-builder-el-last  grid-row-not-first  container_wrap sidebar_right'  >\n<div class='flex_cell av-342x0-573d092b10da78219aa23e09b501e5f1 av-gridrow-cell av_one_fifth no_margin  avia-builder-el-2  el_before_av_cell_three_fifth  avia-builder-el-first '  ><div class='flex_cell_inner'><\/div><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2or7w-00a529e3bbb83d9959896d5fd0970073\">\n.flex_cell.av-2or7w-00a529e3bbb83d9959896d5fd0970073{\nvertical-align:top;\nbackground-color:#ffffff;\n}\n.responsive #top #wrap_all .flex_cell.av-2or7w-00a529e3bbb83d9959896d5fd0970073{\npadding:30px 30px 30px 30px !important;\n}\n<\/style>\n<div class='flex_cell av-2or7w-00a529e3bbb83d9959896d5fd0970073 av-gridrow-cell av_three_fifth no_margin  avia-builder-el-3  el_after_av_cell_one_fifth  el_before_av_cell_one_fifth  content-align-top'  ><div class='flex_cell_inner'><p><section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Belgrade, 15. october 1950 \u2013 28. october 2008.<\/p>\n<p>\u0110urovi\u0107 graduated from the Academy \/Faculty of Fine Arts in Belgrade, Department of Painting, in 1974 and completed his postgraduate studies in 1978 with Professor Stojan \u0106eli\u0107.<\/p>\n<p>He was born in Belgrade in 1950 and died in 2008 and his whole life was dedicated to art. He lived in Belgrade, New York \u00a0(in the late eighties) and London (from 2001 to 2005), and did not have many solo exhibitions. Between 1976, the year of his first solo show of paintings and drawings organised in the Kolarac Gallery, and 2005, when he had his last solo (paintings) in the Gallery of the Association of Serbian Artists (ULUS), he had five exhibitions: in 1979 in the Gallery of Graphic Artists (drawings), in 1981 in Nik\u0161i\u0107 (paintings and drawings), in 1986 in the Kolarac Gallery (paintings), in 1993 in the Gallery of Graphic Artists (collages), and in 1999 in the ULUS Gallery (paintings), together with Zoran Grebenarovi\u0107 and Mladen Mi\u0107unovi\u0107.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.34.32%20PM.png\" alt=\"\" width=\"861\" height=\"175\" \/><\/p>\n<p>From 1973 he participated in a number of group exhibitions in Yugoslavia and Serbia, in France, The Netherlands and Great Britain and received several important awards: the October Salon award for painting in 1989 and in 1986 was rewarded by the City of Belgrade Cultural Department for the best solo exhibition in the Kolarac Gallery.<\/p>\n<p>He painted, drew, made collages, helped in the execution of important mosaics; general design, magazine and book design were also within the scope of his activities. He used oil paints, acrylic, combined techniques, coloured pencils.<\/p>\n<p>In the late 1980s he worked on the mosaic for the Serbian National Theatre in Novi Sad and the Radio-television building in Ko\u0161utnjak in Belgrade.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.34.43%20PM.png\" alt=\"\" width=\"839\" height=\"205\" \/><\/p>\n<p>He was a member of the Association of Serbian Artists (ULUS) from 1975.<\/p>\n<p>\u0110urovi\u0107 did not just paint, but he thought about his profession. In his recently discovered notes we find: \u201eMy paintings are the result of a profound and systematic observation of things that surround me. Therefore, the chosen motif is separated from the whole to which it belongs and when transposed onto the canvas it offers the unexpected, because we are used to see it together with other elements or happenings that accompany it and with which it makes up an entity that we recognise and remember&#8230; Objects separated from the whole acquire new qualities, new characteristics. When one considers those relations one could speak about these paintings as a view of the world. The surrounding world we pass every day without noticing it.\u201c<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.34.50%20PM.png\" alt=\"\" width=\"392\" height=\"458\" \/><\/p>\n<p>In the catalogue for exhibition RADIVOJE \u0110UROVI\u0106, OB BICYCLE TO A MODERN CITY, Bojan Buri\u0107 wrote:<\/p>\n<p>Radivoje \u0110urovi\u0107 belongs to the generation of young people who studied at the Academy of Fine Arts in Belgrade (Faculty, after 1973) in a creative atmosphere that generated a number of artists who made their city in the 1980s a true metropolis of art. Although it seemed then that two exclusive poetics were dominant in the School, such as poetic or symbolic realism and abstraction \u2013 classifying students in a simplified way into rationalists and intuitivists \u2013 the creative potential lay in those who carefully fostered and retained their individuality. Radivoje \u0110urovi\u0107 was one of them and he was able to use in the best way the fact that he attended the prestigious class of Professor Stojan \u0106eli\u0107 and learned the methodology that helped him to build and improve his own sensibility and inform his own visual reflections. His creative self combined intelligence and intuition, asceticism and concision with creative hedonism that would suddenly break into flames of colouristic fireworks. During his maturation into a personally striking artist, discreet but persistently present on the artistic scene of the time, Radivoje \u0110urovi\u0107 understood his professor\u2019s lessons: he applied them but also found a sovereign articulation of his own idiom. Very serious and dedicated to his painterly tasks and elaboration of plastic problems, which he recognised as constituents of his painterly world, he did not allow himself to be fascinated by the first successes but worked consistently in order to realise harmony between the minimal means of expression and maximum visual experience and effectiveness. He created his drawings and early painting with his chosen reduced syntax, with just the line or delicate hatching, monochromatic surfaces, a radical choice of confronted sharp geometric forms or curvatures, soft contours that define the relief. His narratives came from his immediate surroundings: the view from the window of his room or studio at the Academy or objects of profane existence \u2013 and in their relations he was not looking for symbolic meanings but for visual, plastic values and the ways they made up compositional rhythms.<\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.34.57%20PM.png\" alt=\"\" width=\"893\" height=\"186\" \/><\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 \u00a0One of the key goals the artist placed before himself was to overcome the resistance of the coloured pencil which seismically recorded deformations of the geometric forms as reinforcements of the dynamics of movement within the scene and a gradual bending of space suggestively turning into fluid. All this is evident in his drawings where he worked out of what would certainly happen in paintings. The view as theme, the relationship between fragments and the wholeness of a scene, are always present as motives in \u0110urovi\u0107\u2019s works and represent his desire to harmonise the real and the abstract, as the place where the material and spiritual meet. Drawings\/miniatures assume view finding, focusing and establishing a distance towards the seen and recorded in the depth of the artist\u2019s and our glance. Therefore their real existence is drawn into the depth of the emptiness of the space, a white canvas or white <em>passepartout <\/em>encircling the consistence of the drawn scene of strict essentiality.<\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.35.10%20PM.png\" alt=\"\" width=\"919\" height=\"290\" \/><\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.35.15%20PM.png\" alt=\"\" width=\"861\" height=\"405\" \/><\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.35.23%20PM.png\" alt=\"\" width=\"899\" height=\"324\" \/><\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 \u00a0In the eighties, when we finally achieved the temporal synchronisation with European and global artistic happenings, and the time of numerous creative poetics, Radivoje \u0110urovi\u0107 produced paintings with recognisable appropriations of op-art, pattern painting and neo-geo tendencies. In those years he was at the same time engaged in design, not only by implementing his high visual culture for \u201cuseable purposes\u201d but with possible displacement of the decorative into another segment of creative activity \u2013 to get liberated from the formalism of modernity and keep the freshness and purity of his painterly expression.<\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.35.29%20PM.png\" alt=\"\" width=\"911\" height=\"200\" \/><\/p>\n<p>\u00a0 \u00a0 \u00a0A precious experience was his engagement in the execution of mosaics because the work called for concentrated thinking about the relationship of fragments and the whole. The setting of particular pieces that endow the composition with meaning and the objectness of the mosaic image led him to a creative adventure of the production of collages and in the early nineties he made an exceptionally good cycle of works in this technique. They represent only one period in \u0110urovi\u0107\u2019s opus, one segment of his intensive engagement in an emancipated consideration of collages but also his overall re-examination of the limits of his painting in order to keep it in the spheres of pure pictorial representation. By cutting ribbons from different kinds of paper, mostly printed, \u0110urovi\u0107 created mono-elements painted in diverse colours as constitutive elements of his collages. A module is materialised colour where the artist makes interventions with the brush in order to create coloured accents. In the series of pictures\/collages <em>Stadiums<\/em> \u0110urovi\u0107 set these modules\/ribbons into the rows of the auditorium and in that way turned them in coloured slices of the body of the stadium. By laying the coloured ribbons in a geometric order the artist controls their visual cacophony and creates fields of different visual dynamics and energy effectiveness. By disturbing the strict geometric order of modules \u0110urovi\u0107 deforms the two-dimensionality of the scene and secures the objectness of that collage. This \u201csystemic plastics\u201d enables the movement from two-dimensionality to an object, by means of the structure of monads. A haptic space is realised and at the same time the front plane of the plastic happening is preserved. In the margins of some of the collages there are traces of extraction from the surface, thus securing in advance the depth of the happening in the lowest zone, where the diagonally arranged multi-coloured paper ribbons are crossed and fastened to the support only in several places. Seized and captivated by the texture, the shadows give specific dynamics to the scene. The optical polyvalance of these works, achieved primarily by different intensities of rostrum fields and their rhythm, led \u0110urovi\u0107 into the process of painting where the visual effects were directly related to the reflections and refractions of light in\/on the painted surface. In his works made during the last ten years of his life, when he painted only stylised urban scenes, the main subject matter in fact was the phenomenon of colour radiation, his long lasting preoccupation.<\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.35.36%20PM.png\" alt=\"\" width=\"907\" height=\"478\" \/><\/p>\n<p>\u00a0 \u00a0 \u00a0The series of almost monochromatic paintings produced between 2001 and 2006 is an extraordinary outcome of his overall researches and media adventures. The paintings emanate colouristic soundness and resonance of colour\/s by restrained vibrant lineal structure; their gentle and accidental slippage from the geometric order and discreet tonal nuances deform and influence the suggested relief of these paintings. Executed with \u201ca jeweller\u2019s precision\u201d the facets of these painted surfaces radiate a painted passion and satisfaction that rehabilitate painting as the medium, which survives despite all theoretical hypotheses&#8230;<\/p>\n<p>The following sentence is found among \u0110urovi\u0107\u2019s rare notes:<\/p>\n<p><em>\u201cMy paintings are dedicated to the modern city, to segments of a modern city; every stroke seems frighteningly out of control and the next one deadly precise&#8230;\u201d<\/em><\/p>\n<p><em><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.35.42%20PM.png\" alt=\"\" width=\"918\" height=\"403\" \/><\/em><\/p>\n<p><em><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/Screen%20Shot%202015-11-25%20at%203.35.52%20PM.png\" alt=\"\" width=\"853\" height=\"809\" \/><\/em><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-n6a58-3c2074c02d4e106450cc1d5d0aae4054\">\n.flex_column.av-n6a58-3c2074c02d4e106450cc1d5d0aae4054{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-n6a58-3c2074c02d4e106450cc1d5d0aae4054 av_one_full  avia-builder-el-5  el_after_av_textblock  el_before_av_textblock  first flex_column_div av-zero-column-padding  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpx354ey-90f780acf022e7337cffd3bcf990b8dc\">\n.avia-image-container.av-kpx354ey-90f780acf022e7337cffd3bcf990b8dc img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpx354ey-90f780acf022e7337cffd3bcf990b8dc .av-image-caption-overlay-center{\ncolor:#ffffff;\nfont-size:10px;\n}\n<\/style>\n<div  class='avia-image-container av-kpx354ey-90f780acf022e7337cffd3bcf990b8dc av-styling- avia-align-center  avia-builder-el-6  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-6416 avia-img-lazy-loading-not-6416 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/1.png\" alt='' title='1'  height=\"175\" width=\"861\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/1.png 861w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/1-768x156.png 768w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/1-600x122.png 600w\" sizes=\"(max-width: 861px) 100vw, 861px\" \/><\/div><\/div><\/div><\/div><section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Od 1973. u\u010destvuje na velikom broju kolektivnih izlo\u017ebi, u Jugoslaviji i Srbiji, u Francuskoj, Holandiji i Velikoj Britaniji a dobio je i nekoliko zna\u010dajnih nagrada:\u00a0 nagradu Oktobarskog salona za slikarstvo dobio je 1989, a 1986. nagradu SIZ-a kulture Beograda za najbolju samostalnu izlo\u017ebu slika u Kolar\u010devom narodnom univerzitetu.<\/p>\n<p>Slikao je, crtao, pravio kola\u017ee a i dizajn, likovna oprema \u010dasopisa i knjiga, mu nije bio stran. Koristio je ulje, akrilik, kombinovanu tehniku, olovke u boji.<\/p>\n<p>Krajem sedamdesestih godina XX veka radio je na izradi mozaika u Srpskom narodnom pozori\u0161tu u Novom Sadu \u00a0i u zgradi Televizije na Ko\u0161utnjaku.<\/p>\n<p>Bio je \u010dlan ULUS-a od 1975 godine.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-6413 aligncenter\" src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/2-1.png\" alt=\"\" width=\"839\" height=\"205\" srcset=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/2-1.png 839w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/2-1-768x188.png 768w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/2-1-600x147.png 600w\" sizes=\"auto, (max-width: 839px) 100vw, 839px\" \/><\/p>\n<p>\u0110urovi\u0107 nije samo slikao ve\u0107 je o svom sopstvenom delanju i razmi\u0161ljao. U skoro otkrivenim bele\u0161kama nalazimo: \u201eMoje slike su plod jednog pomnog i sistematskog gledanja stvari koje me okru\u017euju. Tako, odabran motiv izdvajam iz celine kojoj on pripada i prenesen na platno on pru\u017ea iznena\u0111enje, jer smo navikli da ga gledamo u odre\u0111enom sklopu sa ostalim elementima ili zbivanjima koja ga prate i sa kojima predstavlja celinu po kojoj ga prepoznajemo i pamtimo&#8230; Predmeti izdvojeni iz celine dobijaju nove kvalitete, nove karakteristike. U tim relacijama se o ovim slikama mo\u017ee govoriti kao o pogledu na svet. Na svet koji nas okru\u017euje i pored koga prolazimo svaki dan, a ne prime\u0107ujemo ga.\u201c<\/p>\n<p>U katalogu za izlo\u017ebu RADIVOJE \u0110UROVI\u0106, BICIKLOM U MODERAN SVET Bojana Buri\u0107 pi\u0161e:<\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 Radivoje \u0110urovi\u0107 pripada generaciji umetnika koji su studirali na Akademiji likovnih umetnosti u Beogradu (od 1973. Fakultetu), u kreativnoj atmosferi koja je iznedrila brojne stvaraoce, a koji su u\u010dinili osamdesetih godina svoj grad istinskom umetni\u010dkom metropolom. Iako se \u010dinilo da na samoj \u0160koli dominiraju dve izrazite poetike, kao \u0161to je poetski ili simboli\u010dki realizam i s druge strane apstrakcija, a \u0161to je simplifikovano delilo studente na racionaliste i intuitivce, stvarala\u010dki potencijal se nalazio u onima koji su svoju individualnost bri\u017eljivo negovali i o\u010duvali. Me\u0111u njima je svakako Radivoje \u0110urovi\u0107, koji je svoje \u0161kolovanje u presti\u017enoj klasi profesora Stojana \u0106eli\u0107a na najbolji mogu\u0107i na\u010din iskoristio da se metodolo\u0161ki osposobi, da gradi i neguje sopstvenu osetljivost i da formira svoje vizuelno mi\u0161ljenje. U njegovoj stvarala\u010dkoj li\u010dnosti bile su spojene inteligencija i intuitivnost, askeza i jezgrovitost iskaza sa stvarala\u010dkim hedonizmom, koji bi iznenada buknuo i rasplamsao se u koloristi\u010dkom vatrometu. Tokom izrastanja u personalno vrlo markantnog umetnika, diskretnog, ali postojanog prisustva na tada\u0161njoj likovnoj sceni, Radivoje \u0110urovi\u0107 umeo je da razume pouke profesora, da ih primeni, ali i da suvereno pristupi artikulaciji svog jezi\u010dkog idioma. Veoma ozbiljan i posve\u0107en svom slikarskom poslu i elaboraciji plasti\u010dkih problema, koje je prepoznao kao konstituente svog slikarskog sveta, nije dozvolio da ga ponesu prvi, uspe\u0161ni rezultati, ve\u0107 je uporno radio na ostvarenju harmonije izme\u0111u minimalisti\u010dkih izra\u017eajnih sredstava i maksimalnog vizuelnog do\u017eivljaja i u\u010dinka. Izabranom redukovanom sintaksom, samo linijom i delikatnom \u0161rafurom, ili monohromnim povr\u0161ima, radikalnim izborom su\u010deljenih o\u0161trih geometrijskih formi i zaobljenja, mekih kontura koje defini\u0161u reljef, stvarao je svoje crte\u017ee i rane slike. Njegovi narativi su iz najneposrednijeg okru\u017eenja: pogled kroz prozor sobe ili ateljea na Akademiji, predmeti profane egzistencije u \u010dijim odnosima ne traga za simboli\u010dkim zna\u010denjima, ve\u0107 za likovnim, plasti\u010dkim vrednostima i njihovim uodno\u0161avanjem u kompozicione ritmove.<\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-6411 aligncenter\" src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/3-1.png\" alt=\"\" width=\"392\" height=\"458\" \/><\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 \u00a0Savladavanje otpora drvene olovke u boji, koja seizmografski bele\u017ei deformaciju geometrijskog oblika kao poja\u010davanje dinamike pokreta u prizoru i postepeno zakrivljavanje prostora koji sugestivno postaje fluid, o\u010digledno je na crte\u017eima, razradi onoga \u0161to \u0107e se tek izvesno desiti u slici, bio je jedan od klju\u010dnih ciljeva koje je ovaj umetnik sebi postavio\u2026 Tematizacija pogleda, odnosa fragmenta i celovitosti prizora, koji su uvek prisutni kao motiv na \u0110urovi\u0107evim radovima, predstavlja te\u017enju ka uskla\u0111ivanju realnog i apstraktnog, kao mesta na kojem se susre\u0107u materijalno i spiritualno. Crte\u017ei\/minijature podrazumevaju viziranje, fokusiranje i uspostavljanje distance prema vi\u0111enom i zabele\u017eenom u dubini umetnikovog i na\u0161eg pogleda. Stoga je njihova realna egzistencija uvu\u010dena u dubinu praznine prostora, belog papira\/paspartua koji zaokru\u017euje konzistentnost iscrtanog prizora, stroge elementarnosti.<\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-6409 aligncenter\" src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/4-1.png\" alt=\"\" width=\"893\" height=\"186\" srcset=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/4-1.png 893w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/4-1-768x160.png 768w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/4-1-600x125.png 600w\" sizes=\"auto, (max-width: 893px) 100vw, 893px\" \/><\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 \u00a0Tokom osamdesetih, kada smo se vremenski kona\u010dno sinhronizovali s evropskim i svetskim umetni\u010dkim doga\u0111ajima, a u doba pluralizma stvarala\u010dkih poetika, Radivoje \u0110urovi\u0107 se prepoznaje po slikama koje na najbolji mogu\u0107i na\u010din aproprijaciski razmatraju iskustva <em>opart<\/em>-a, <em>pattern painting<\/em>-a, sve do <em>neogeo<\/em> tendencija. Tih godina, on se istovremeno bavi i dizajnom, ne samo implementiranjem svoje visoke vizuelne kulture u \u201eupotrebne svrhe\u201d ve\u0107 i mogu\u0107no\u0161\u0107u da se izazov dekorativnog delo\u017eira u drugi segment stavrala\u0161tva; da se oslobodi formalizma modernizma i tako o\u010duva sve\u017einu i \u010distotu svog slikarskog izraza.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-6407 aligncenter\" src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/5-1.png\" alt=\"\" width=\"919\" height=\"290\" srcset=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/5-1.png 919w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/5-1-768x242.png 768w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/5-1-600x189.png 600w\" sizes=\"auto, (max-width: 919px) 100vw, 919px\" \/><\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 \u00a0Rad na izvo\u0111enju mozaika je tako\u0111e bio dragoceno iskustvo, koje je podrazumevalo koncentrisano razmi\u0161ljanje o odnosu fragmenata i celine. Slaganje partikula koje daju smisao kompoziciji, kao i objektnost mozai\u010dke slike, odvelo ga je ka stvarala\u010dkoj avanturi rada na kola\u017eima a \u0161to je rezultiralo, po\u010detkom devedesetih, izuzetno uspe\u0161nim ciklusom dela izvedenih ovom tehnikom. Oni ne predstavljaju u \u0110urovi\u0107evom opusu samo jedan period ili segment njegovog intenzivnog bavljenja emancipovanim kola\u017enim mi\u0161ljenjem, ve\u0107 i sveukupno preispitivanje granica sopstvenog slikarstva, da bi ga o\u010duvao u sferama \u010diste pikturalnosti. Isecaju\u0107i trake od papira, razli\u010ditog porekla, uglavnom \u0161tampanog, \u0110urovi\u0107 je stvorio monoelement razli\u010dite obojenosti kao gradivni element svoje kola\u017ene slike. Modul je materijalizovana boja na kojoj autor interveni\u0161e \u010detkom, dodaju\u0107i bojene akcente. U seriji slika\/kola\u017ea <em>Stadioni<\/em> \u0110urovi\u0107 sla\u017ee ove module\/trake u redove gledali\u0161ta koji postaju bojeni re\u017enjevi tela stadiona. Slaganjem trake monoelemenata u geometrizovani poredak, autor dr\u017ei pod kontrolom njihovu vizuelnu kakofoni\u010dnost, stvaraju\u0107i polja razli\u010dite vizuelne dinamike i razli\u010ditog energetskog dejstva. Ugro\u017eavanjem strogog geometrijskog poretka modula, \u0110urovi\u0107 je deformisao dvodimenzionalnost prizora i obezbedio objektnost takvog kola\u017ea. Ovakva \u201esistemska plastika\u201d omogu\u0107ava izlazak iz dvodimenzionalnog do predmeta, strukturom monada. Stvara se hapti\u010dki prostor a istovremeno se \u010duva prednji plan plasti\u010dkog doga\u0111aja. Poneki od kola\u017ea po marginama nose trag \u201eva\u0111enja\u201d iz povr\u0161i i time unapred obezbe\u0111uju dubinu doga\u0111aja koji se ostvaruje u poslednjoj zoni, gde se ukr\u0161taju dijagonalno raspore\u0111ene raznobojne papirne trake, fiksirane za podlogu samo u pojedinim ta\u010dkama. Senke, zahva\u0107ene i zarobljene teksturom, vizuelno dinamizuju ceo prizor. Opti\u010dka polivalentnost ovih radova, postignuta pre svega razli\u010ditim intenzitetom rasternih polja i njihovim ritmom, uvela je \u0110urovi\u0107a u proces slikanja koji, po svojim vizuelnim efektima, problematizuje refleksije i refrakcije svetlosti u\/na slikanoj povr\u0161ini. Fenomen radijantnosti boja, koji ga je godinama zaokupljao, tematizovan je kroz stvarala\u0161tvo poslednje decenije njegovog \u017eivota, kada se u potpunosti prepu\u0161ta slikanju stilizovanih urbanih sekvenci.<\/p>\n<p class=\"BodyText1\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-6405 aligncenter\" src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/6-1.png\" alt=\"\" width=\"861\" height=\"405\" srcset=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/6-1.png 861w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/6-1-768x361.png 768w, https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/6-1-600x282.png 600w\" sizes=\"auto, (max-width: 861px) 100vw, 861px\" \/><\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 \u00a0Serija skoro monohromnih slika nastalih u periodu od 2001. do 2006. predstavlja izvanrednu rezultantu svih njegovih istra\u017eivanja i medijskih avantura, odi\u0161e koloristi\u010dkim zdravljem, zvu\u010dno\u0107u boja\/boje suspregnutom vibrantnom linearnom strukturom, koja blagim, akcidentnim iskliznu\u0107ima iz strogo geometrijskog poretka deformi\u0161e i diskretnim valerskim razli\u010ditostima uti\u010de na sugestiju reljefnosti ovih slika. Izvedene \u201ejuvelirskom precizno\u0161\u0107u\u201d, fasete ovih slikanih povr\u0161ina isijavaju slikanu strast i zadovoljstvo koje rehabilituje slikarstvo kao medij koji uprkos svim teoretskim hipotezama opstaje\u2026<\/p>\n<p class=\"BodyText1\">\u00a0 \u00a0 \u00a0U retkim zabele\u0161kama Radivoja \u0110urovi\u0107a nailazimo na re\u010denicu:<\/p>\n<p><em>Moje slike se bave modernim gradom, segmentima modernog grada. Tu svaki potez izgleda zastra\u0161uju\u0107e nekontrolisan a svaki slede\u0107i smrtonosno precizan&#8230;<\/em><\/p>\n<p><em>\u00a0<\/em><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-n6a58-3c2074c02d4e106450cc1d5d0aae4054\">\n.flex_column.av-n6a58-3c2074c02d4e106450cc1d5d0aae4054{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-n6a58-3c2074c02d4e106450cc1d5d0aae4054 av_one_full  avia-builder-el-8  el_after_av_textblock  el_before_av_one_full  first flex_column_div av-zero-column-padding  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpx354ey-6634d2779817accc2bb5529123eee4b0\">\n.avia-image-container.av-kpx354ey-6634d2779817accc2bb5529123eee4b0 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpx354ey-6634d2779817accc2bb5529123eee4b0 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