U iščekivanju novih ‘Fragmentaša’ – razgovor s Vanjom Babićem

U iščekivanju novih ‘Fragmentaša’ – razgovor s Vanjom Babićem

Kategorija Razgovori | 21/03/2018 51

 

Erste fragmenti, o kojima smo i ranije izvještavali, projekt je Erste banke i urbanokulturne platforme Urbanke koji je započeo krajem siječnja u svom četrnaestom izdanju kada je raspisan natječaj za otkup umjetničkih djela mladih i neafirmiranih umjetnika te studenata akademija likovnih umjetnosti. Natječaj je službeno završen te se iščekuju njegovi rezultati koji će biti znani drugom polovicom travnja, kada će započeti pripreme za skupnu izložbu autora otkupljenih radova u zagrebačkoj ‘Galeriji Kranjčar’. Predsjedavajući žirija je Vanja Babić, voditelj Galerije Matice hrvatske i kustos Galerije Kranjčar, koji je, uz likovnu kritičarku Jutarnjeg lista Patriciju Kiš, član žirija Fragmenata od samih početaka. Netom prije završetka natječaja, priupitali smo ga o njegovim očekivanjima za ovogodišnje Fragmente, općem iskustvu žiriranja jednog takvog natječaja te njegovom značaju na tržištu umjetnina.

Član ste žirija Erste fragmenata od početaka natječaja; može li se među izabranim i nagrađenim radovima proteklih godina sagledati određeni tijek, promjena i smjena ideja i pristupa u umjetnosti?

Teško je govoriti o nekoj značajnijoj, kako kažete, promjeni ideja i pristupa među otkupljenim i nagrađenim radovima. Zapravo, to bi se više odnosilo na eventualne promjene u sklonostima i afinitetima nas kao žiranata koji smo te radove i odabrali. U svakom slučaju, ne podržavamo podilaženje trendovima pod svaku cijenu, a svaki konkretan rad nastojimo vrednovati posve individualno, bez obzira na medij u kojemu je izveden.

Što očekujete od ove godine? Koliko se umjetnika obično odazove na natječaj?

Očekujem mnogo prijava i jednako toliko zanimljivih radova. Nadam se da će žiri imati težak posao uslijed velike i ujednačene konkurencije na visokoj razini, da će nas mučiti tzv. ‘slatke brige’.

U početku smo iz godine u godinu imali kontinuirani rast broja prijava jer su Erste fragmenti sve više dobivali na vidljivosti i popularnosti. U posljednjih nekoliko izdanja možemo govoriti, ako me pamćenje dobro služi, o doista respektabilnih 180-200 prijava.

Kakvo je Vaše općenito iskustvo stručnog ravnanja ovim projektom? Koji su njegovi izazovi, zašto mu se vraćate i kako su se mijenjali Vaši ciljevi u usmjeravanju projekta?

To je nesumnjivo jedno lijepo iskustvo. Žiriranje podrazumijeva razmjenu misli i argumenata među članovima žirija, a to može biti itekako zanimljivo i poticajno. U tom smislu to je i korisno iskustvo jer smo u prilici u relativno kratkome vremenu dobiti stanoviti uvid u mnoštvo uradaka mladih umjetnika čiji rad do tada nismo dovoljno ili uopće poznavali. Osobno, nakon obavljena žiriranja uvijek bih osjetio potrebu navratiti na Akademiju likovnih umjetnosti u Zagrebu te malo zaviriti u klase pojedinih profesora. Što se tiče ciljeva, uvijek se nadam zanimljivoj i vizualno svježoj izložbi otkupljenih radova, a u budućnosti bih volio da kolekcija nastala dosadašnjim otkupljivanjem radova posredstvom natječaja Erste fragmenti bude i sustavno prezentirana, što bi podrazumijevalo povremene izložbe s izborom radova iz njezina fundusa. Takve izložbe mogle bi se raditi po tematskom, medijskom ili naprosto ‘best of’ ključu.

Što Vam najteže pada u procesu selekcije? Kako žirant u humanistici kroti svoju subjektivnost i pristranost određenim idejama i estetici kako bi donio ‘objektivnu’ odluku?

U selektiranju mi najteže pada kada mi se neki rad istodobno čini zanimljivim i površno ‘bleferskim’. Takvih situacija ima, osobito ako mi je autor posve nepoznat. Također, obzirom da radove otkupljujemo posredstvom reprodukcija, moguća su i stanovita razočarenja kada napokon vidite original. Naime, u umjetnosti vrijedi pravilo po kojemu što je neki rad bolji, to na reprodukciji više gubi na snazi i uvjerljivosti, ali vrijedi, dakako, i obratno, pa se poneka slabija ostvarenja katkada znaju ‘prošvercati’ zahvaljujući lukavo načinjenim reprodukcijama. Zbog toga o glavnoj nagradi uvijek odlučujemo na zasebnom sastanku uz već otkupljene originale. Objektivnost u umjetnosti? U apsolutnom smislu ona ne postoji. Srećom, rekao bih. Kao što je nemoguće dati konačnu definiciju što je to umjetnost, tako je nemoguće i biti posve objektivan. Posve sam siguran da se ishod našega žiriranja nipošto ne bi posve poklopio s rezultatima nekog drugog žirija. Bitno je da razgovaramo i uzajamno nadopunjujemo zapažanja, a na kraju i glasujemo. Zbog toga broj članova žirija uvijek mora biti neparan.

Žiri čine umjetnici i stručnjaci različitih usmjerenja; na koji ste način komplementarni?

Da, žiri čine umjetnici, kustosi i likovni kritičari. Među nama sigurno postoje neke razlike, ali one su manje nego što biste možda mogli misliti. Mislim da ostvarujemo dobru sinergiju različitih zapažanja.

Koji su opći kriteriji kojima se žiri vodi prilikom odabira radova, a koji Vaši osobni?

Mogu govoriti samo o svojim vlastitim kriterijima. Ponajprije, važno mi je osjetiti da mladi umjetnik točno zna što određenim djelom želi iskazati te da iza toga djela stoji u cijelosti. Nadalje, volim autore koji su skloni neprestanom propitivanju i problematiziranju medija u kojem rade. I na kraju, moram osjetiti usklađenost, odnosno povezanost između autorove ideje i njezine realizacije.

Je li kod mladog umjetnika kojeg se kani nagraditi važnija zrelost u umjetničkom radu ili iznimno obećavajuća, ali još neformirana iskra koja čeka neki poticaj (možda upravo u vidu priznanja poput Fragmenata) da se posve rasplamsa? Može li se očekivati takva izvjesna zrelost od umjetnika u dvadesetima?

Djelomično ste već u pitanju ponudili i odgovor. Određeni stupanj zrelosti uvijek je neophodan, ali bilo bi vjerojatno opasno kada bi netko već s trideset ili manje godina posve ‘zaokružio’ svoju umjetničku priču. Nad njime bi se u tom slučaju nadvila sjenka manire i stagnacije.

Sudjelujete i u izboru kandidata za stipendiju; koji Vas kriteriji vode u toj kategoriji?

Pri odabiru stipendista tri su osnovna kriterija. Iskazao bih ih u postocima: zanimljivost i kvaliteta rada sudjeluje s 50%, a ocjene na studiju te socijalna situacija kandidata s po 25%. Ovo, dakako, može zvučati jednostavno, ali je jako daleko od toga. Uvijek razgovaramo s kandidatima, i to je izuzetno važno. Odabir stipendista spada mi u najteže zadatke vezane uz Erste fragmente. Bio bih najsretniji kada bi svi mogli dobiti stipendiju!

Zašto su mladim umjetnicima potrebni upravo natječaji i nagrade poput Erste fragmenata? Što znači takva vrsta priznanja njima osobno, a što njihovom ostatku karijere?

Ovakvi natječaji jako su potrebni. Mladi umjetnici dobivaju priliku pokazati svoj rad, a pritom si malo i popraviti financijsku situaciju, što im onda i podiže samopouzdanje te ih stimulira na daljnji rad.

Koja je uloga Erste fragmenata na suvremenoj umjetničkoj sceni u kontekstu promicatelja, otkupitelja i financijera umjetnosti?

Uloga nipošto nije zanemariva, pogotovo jer smo jako deficitarni sa sličnim inicijativama. Erste je banka na najboljem putu formiranja jedne bogate, zanimljive i specifične kolekcije čiji bi fundus činili rani radovi afirmiranih hrvatskih autora i autorica. Jer, da podsjetim, riječ je o imenima poput Davida Maljkovića, Ivane Franke, Alema Korkuta, Tanje Deman, Ivana Fijolića, grupe ABS, Matka Vekića, Pauline Jazvić, Roberta Šimraka, Gordane Bakić, Lale Raščić… da ne nabrajam dalje.

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