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http___galum.hr_izlozbe_izlozba_1094__1.xml
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Vedran Karadža Tabulov is a certified painter-graphic artist and a visual culture teacher. In addition to painting and graphic art, he is also engaged in the art of assemblage in which he has achieved high results in works of recognizable expression. For the time being, his latest series encompasses some thirty objects produced by compiling items from manufactural, industrial and biological waste. He has once again remained consistent in his choice of materials and the conception of sculpture, as he continues to be occupied with the reconstruction of already made objects and with their transposition into sculpture, from the realm of nature and the realm of technology into the realm of art. The process includes construction and sculpturing. It is more than mere arranging and assembling of waste. The conceptual principle underlying his assemblages is the contrast between various objects and materials, as well as all kinds of inversions, ditractions, transposals and dislocations, whereby the objects are deprived of their ordinary functions. That is what gives rise to interaction, tension and conflict marked with strong symbolism and metaphorical character, which are qualities particularly emphasized in this new series of works. The strength of his works lies exactly in the interrelations and the suggestions that they emanate. Familiar objects have been put into unusual context which is shocking, and whose hybrid does not support reality but encourages expression. They function as some sort of old instruments, objects with genetic disorders and functional ambiguities. Alchemical motivation can still be felt in his works, although this time it is merely initial. What is worth pointing out is the psychological and social connotation of his art. It is well manifested through the metamorphoses of objects with utility values, reminiscent of the kafkanian transformations concealing the sensitive psyche of the contemporary man before the danger of the chaotic world. In his new series, Vedran Karadža Tabulov silences the directives of aesthetics. Instead of making pretensions to completeness, precision or generally close attention to plastic language, his assemblages open up a space which indicates the existence of a deeper understanding not only of form, but of its meaning and purpose as well. While counting on the observer's perception as an integral part of his work, the author sets the requirement for careful reading, attempting to find the keys to the meaning of each individual form exposed to our view. This is largely contributed by the titles of the works, which as the author says 'forewarn, admonish, anticipate, but also express aspirations, celebrate and mock'. We would indeed be mistaken if we spoke all these words with a deadly serious face and if we left the element of ludic playfulness out of this sight. Vedran Karadža Tabulov is an example of an artist who visibly takes delight in the variety of shapes, materials and procedures, relying along the way on inspiration and lucky moment, but at the same time retaining full control over the creation. What he values is the very work process, which can occasionally be difficult, time-consuming and painstaking, but the result is eventually achieved. It is characterized by curiosity, imagination, and above all fierce primary instinct, as well as strong creative willingness and volition. And we all know that it was art historian Max Dvorak who a long time ago theorized about the artistic volition as an important component and presumption of a work of art. (Marija Stipišić Vuković, curator) Vedran Karadža Tabulov was born in 1977 in Split, Croatia. In 2002 Karadža graduated painting and printmaking at the Academy of Fine Arts in Široki Brijeg, Bosnia and Herzegovina. He lives and works in Drvenik Veli and Split, Croatia. List of works: Growth and Development, 2014. Conflict 4 – Better Version of Self (Positive), 2014. Conflict 3 – Better Version of Self (Negative), 2014. Conflict of Double Meaning (Double is Easy, but Meaning is Fucked Up), 2014. Superwunderkind, 2014. Amusement Kit, 2014. Conflict 7 – Any Resemblance to Reality..., 2014. Civilization, 2014. Is It Worth or Does It Pay Off, 2014. Culturogical, 2014. We Are What We Eat (Unless We Live on Love or Sunlight), 2014. Stick Your Head Into This If You Can, 2014. Me, You, Her, Him..., 2014. Full Glass – A Collection of Impressions, 2014. One of the Flowers of Hedonism, 2014. Conflict 2 – of Reality and Illusion, 2014. Not Such a Good Premonition, 2014. All works in mixed media.
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Vedran Karadža Tabulov je po struci slikar-grafičar i profesor likovne kulture. Osim slikarstvom i grafikom, bavi se i izradom asamblaža, gdje je postigao vrlo visoke dosege u djelima prepoznatljivog iskaza. Za sada, njegov najnoviji ciklus čini tridesetak objekata nastalih spajanjem predmeta zanatskog, industrijskog i biološkog otpada. I ovoga puta iskazuje dosljednost u odabiru materijala i poimanju skulpture jer se i dalje bavi rekonstrukcijom već načinjenih predmeta i njihovim transponiranjem u skulpturu, iz carstva prirode i carstva tehnike u carstvo umjetnosti. Ima tu i konstrukcije i kiparenja. To je puno više od pukog slaganja i spajanja otpada. Koncepcijsko načelo na kojemu ostvaruje asamblaže jest kontrast između različitih predmeta i materijala, kao i inverzije svake vrste, odmicanja, pomicanja i dislociranja, gdje se predmeti stavljaju izvan uobičajenih funkcija. Otuda proizlaze interakcija, tenzija i konflikt koje obilježava jaka simbolika i metaforičnost, što je u novom ciklusu posebno izraženo. Snaga njegovih djela krije se upravo u suodnosima i sugestijama koje iz njih proizlaze. Poznati predmeti dovedeni su u neobičan kontekst koji šokira, a čiji hibrid ne podržava stvarnost, ali potiče ekspresiju. Oni djeluju kao neki stari instrumenti, predmeti s genetskim poremećajem i funkcionalnom nejasnoćom. U njegovim djelima i dalje se osjeća alkemijska motivacija, premda je ovoga puta ona tek inicijalna. Ono što valja istaknuti je upravo psihološka i socijalna konotacija njegove umjetnosti. To se vrlo dobro manifestira kroz metamorfoze predmeta uporabnih vrijednosti, koje podsjećaju na kafkijanske preobrazbe, iza kojih se skriva osjetljiva psiha suvremenog čovjeka pred opasnosti od kaotičnosti svijeta. U novom ciklusu Vedran Karadža Tabulov stišava direktive estetike. Njegovi asamblaži ne pretendiraju na dovršenost, preciznost i, općenito, brigu za plastički jezik, već otvaraju prostor koji ukazuje na postojanje nekog dubljeg poimanja ne samo oblika nego i njegovog značenja i smisla. Računajući na zapažanje promatrača kao na gradivni dio djela, autor postavlja zahtjev pažljivog iščitavanja da bi se pronašli ključevi značenja svakog pojedinog oblika koji se nudi pogledu. Tome uvelike pridonose i naslovi djela koji, kako sam autor kaže, „upozoravaju, opominju, nagovještavaju, ali i iskazuju težnju, slave i ismijavaju“. I zaista bismo pogriješili ukoliko bismo sve ovo izgovarali smrtno ozbiljna lica i ako bi element ludičke igre ostao izvan ovog pogleda. Vedran Karadža Tabulov primjer je umjetnika koji vidljivo uživa u raznolikosti oblika, materijala i postupaka, oslanjajući se pritom na inspiraciju i sretan trenutak, ali u isto vrijeme zadržavajući punu kontrolu nad stvaranjem. Važan mu je sam proces rada, koji može biti katkada težak, dug i mukotrpan, ali u konačnici rezultat ne izostaje. Ističe se znatiželjom, maštovitošću, a iznad svega žestokim primarnim instinktom i snažnom stvaralačkom voljom i htijenjem. A znamo da je već odavno povjesničar umjetnosti Max Dvorak teoretizirao o umjetničkom htijenju kao o bitnoj komponenti i pretpostavci umjetničkog djela. (Marija Stipišić Vuković, kustos) Vedran Karadža Tabulov rođen je 1977. godine u Splitu. 1995. godine maturirao je na općoj gimnaziji Vladimir Nazor u Splitu. 1996. godine upisuje Akademiju likovnih umjetnosti, u Širokom Brijegu, u Bosni i Hercegovini. Diplomirao je 2002. godine u klasi prof. Igora Dragičevića, stekavši titulu slikara-grafičara i profesora likovne kulture. Živi i stvara u Drveniku Velom i Splitu. Popis radova: Rast i razvoj, 2014. Konflikt 4 - bolja verzija sebe (pozitiv), 2014. Konflikt 3 - bolja verzija sebe (negativ), 2014. Konflikt dvosmislenosti (lako je za dvo ali smisleno je zajebano), 2014. Heureka, 2014. Superwunderkind, 2014. Komplet za razonodu, 2014. Konflikt 7 - svaka sličnost sa stvarnošću..., 2014. Civilizacija, 2014. Vrijedi li ili se isplati, 2014. Kulturološka, 2014. To smo što jedemo (osim ako ne živimo od ljubavi ili sunčeve svjetlosti), 2014. Zabij glavu u ovo ako možeš, 2014. Puna čaša - zbir dojmova, 2014. Jedan od cvjetova hedonizma, 2014. Konflikt 2 – od stvarnosti i iluzije, 2014. Ne baš dobra slutnja, 2014. Svi radovi izvedeni su kombiniranom tehnikom.