Spajalica > Copula

Art interventions in public space, MMSU Rijeka

Pejac – Odljev mozgova / Brain Drain, Pepeo pepelu / Ashes to Ashes, Kamuflaža (Hommage René Magritteu) / Camouflage (Tribute to René Magritte)

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PEJAC – Kamuflaža (Hommage René Magritteu) / Camouflage (Tribute to René Magritte), Photo by Tanja Kanazir

Šesti čin donosi poetične intervencije koje se diskretno pojavljuju na tri lokacije unutar grada. Kompozicijama svojih upečatljivih site-specific intervencija, street umjetnik Pejac nam donosi suptilne optičke distorzije sastavljene od obrata logike prostornih elemenata koje na lokacijama pronalazi. Ispod sata na Titovom trgu iscrtava obrise srebrnkaste otrovne meduze oko kanalizacijskog ispusta kojeg pronalazi na samom pokosu korita. Njezin klobuk sugerira oblik ljudskog mozga, možda puno otrovnijeg od same meduze. Na drugoj strani korita koristi se lišajevima i raslinjem betonskog dijela pokosa kako bi iscrtao jelena u plamenu koji se naginje nad vodom, okružen apokaliptičnim pejzažem čijom rijekom, možda jednim od pritoka Rječine, pluta usamljeni kolut za spašavanje. Unutar prozorskih okvira Energane bivše tvornice Hartera, intervenira prizorom siluete dječaka koji praćkom gađa ptice sugerirajući uzrok i ostalih rupa na staklenom pročelju zgrade. Promišljenim korištenjem narativnih paralelizama, simbola i raznih elemenata nadrealizma i fantastike, Pejac se zadržava u minimalističkom vizualnom izričaju koji se ne poigrava isključivo s određenim konceptom, već sa samom percepcijom stvarnosti.

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The sixth act brings us poetic interventions that discreetly appear on three locations in the city. In the compositions of his remarkable site-specific interventions, the street artist Pejac presents subtle optical distortions that reverse the logic of the elements found on the location. Under the clock on Tito’s Square, on the slope of the river bed, the artist paints the contours of a silvery medusa around a sewer outfall. Its bell reminds of the form of human brain, which is perhaps more poisonous than medusa itself. On the other side of the river bed, he uses lichen and bushes of the concrete part of the slope to paint a deer in flames that leans over the water, surrounded by apocalyptic landscape in which a lonely lifebuoy floats on a river, perhaps one of the Rječina’s tributaries. Finally, in the window frames of Energana, energy plant of the former paper factory Hartera, he intervenes by painting the silhouette of a boy shooting birds with a slingshot, suggesting the cause of holes on the building’s front windows. In a deliberate use of narrative parallelisms, symbols and different elements of surrealism and fantasy, Pejac manages to retain a minimalist visual expression that plays not only with a specific concept, but also with the image of reality.

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