* SKULPTURE U ATELJEU KAMEN / STONE SCULPTURES IN ATELIER * SKULPTURE U ATELJEU STAKLO / GLASS SCULPTURES IN ATELIER1. VENERE / VENUSES2. ANĐELI / ANGELS3. FIGURE / FIGURES4.ANIMALIZAM / ANIMALISM5. OBJEKTI / OBJECTS6. RAZNO / VARIOUS7.SKULPTURE U PARKU / SCULPTURES IN PUBLIC PARKS8. STAKLENE SKULPTURE / GLASS SCULPTURESPRESS-INFO-FOTO O UMJETNIKU
MARIJAN GRAKALIĆ      
POBUNA EROSA - IZLOŽBA CRTEŽA PETRA HRANUELLIJA

Kad su posrijedi crteži Petra Hranuellija, redovito nastalih i kao skice za njegove kamene ili staklene skulpture, crtani olovkom ili tušem tako da se naglasi kontura figure i ništa drugo, onda se ujedno radi i o svjedočenju raspusnosti erotizma koji karakterizira habitus ovog umjetnika. Takvom spontanom neposrednošću koja djeluje prirodno gotovo do nezgrapnosti ali ipak i krajnje privlačno i blisko, odskače se od tiranije vremena koja uglavljuje kao standardni tehnički proces da se sve što je erotsko doživljuje i svodi na puku seksualnost. Pobuna erosa kod Hranuellija, gledajući njegove crteže, je očita. Ona ima prvenstvenu zadaću ne sam u tome da se odmakne od dehumanizirajućih tendencija koje dominiraju konzumentom praksom seksualnost, već da i erotizam predstavi na način koji nam treba uljepšati život. Crta infantilnoga u crtežima ima upravo takvu namjeru. Vraćanja početku u kojem eros i ljubav nisu stvar neke ''psihološke revolucije' već ono što je samo po sebi iskonski neizbježno i zato važno kao konkretno estetsko i erotsko oslobođenje. Biti umjetnikom znači biti u tajnom i stalnom dosluhu sa erosom (npr. Platon ga zamišlja kao demona), biti u mogućnosti prispodobiti sretna stanja makar i redukcionistički, kao što je kod Hranuellijevih crteža slučaj, tek konturom.

Uostalom, koliko god da se eros čini starom stvari, pojmovno i umjetnički, sposobnost umjetnika jest i u tome da mu svojim umijećem i iskustvom priskrbi i određenu svježinu, bilo stilom bilo toplinom. U ovim erotografijama eros je posve konkretan, buntovan i izvjestan. Nema tajni, skrivanja ili prešućivanja. Otvorenost prema drugome tako je također interpretira erotski, zanatski vješto i misaono i estetski zrelo.

Marijan Grakalić
Galerijska soba Marije Braut – Cinkuš, Mletačka 9., Gornji grad, Zagreb, 2019.


EROS REBELLION – PETAR HRANUELLI DRAWINGS EXHIBITION

When considering Petar Hranuelli´s drawings, regularly originating as draft for his stone and glass sculptures, drawn with pen or ink so that contour of the figure can be emphasized and nothing additional, then it can also witness dissoluteness of erotism, which characterizes habitus of this artist. With such spontaneous immediacy which appears natural almost to awkwardness, but still extremely attractive and close, bounces from the tyranny of time, which enters as standard technical process so that everything that is erotic can be experienced and broken down to pure sexuality. Eros rebellion by Hranuelli, when looking at his drawings is obvious. It has the primary goal not only to distract from dehumanizing tendencies which dominate over consumer with sexuality practice, but also in erotic performance in a way, which needs to beautify our lives. The line of infantile in drawing has exactly such tendency. Coming back to the start in which both Eros and love are not the things of some “psychological revolution”, but are that, which in itself is primordially inevitable and therefore important as concrete esthetic and erotic liberation. To be an artist means to be in secret and constant listening with Eros (i.e. Plato imagines him as demon), to be able to liken happy states at least reductionistically, as it is the case with Hranuelli`s drawings, only with a contour.
After all, no matter how old Eros may seem to the thing, conceptually and artistically, the artist`s ability is to provide him with a certain freshness with his skill and experience, either in style or warmth. In these eritographies, Eros is quite a concrete, Eros is quite concrete, rebellious and certain. There are no secrets, hiding or silence. Openness to the other is thus also interpreted erotically, artfully skillfull and thoughtfully as well as aesthetically mature.

Marijan Grakalic
Gallery room of Marija Braut – Cinkus, Mletacka 9, Gornji Grad, Zagreb, 2019.


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Venera anima mundi

Neprikosnovena upućenost prema iskonu oblika i značenja pogađa nas snažnom otvorenošću kroz radove kamenih Venera kipara Petra Hranuellija (1975). Dojam je pogođen ne samo formom i strukturom već i patinom kamena koja time neposredno upućuje na želju da se istraže poveznice između aktualnosti i nasljeđa kojeg ove statue duhovno baštine iz riznice dalekog primordijalnog svijeta. One ne samo da predstavljaju nesvakidašnju senzibilnost jedne rudimentarne i pred klasične forme koja nije slučajna, već ujedno pretpostavljaju podrijetlo svih drugih antropomorfnih predstava koje su kasnije nastale upravo temeljem takvih primjera odnosno njima sličnih prapovijesnih uzora. U tom pogledu ove Venere pretpostavka su ne tek senzibiliteta već i hrabrosti povratka izvornome, samosvojnom i neukalupljenom modelu kiparskog izraza sada prikazanog u suvremenoj izvedbi načinjenoj modernim umjetničkim alatima.

Ponajprije nas ovdje zatiče ona tako rijetka uvjerljiva izražajnost kada se radi o mitopoetičkom naglasku u modernom umjetničkom djelu koje time biva transponirano kroz vrijeme i prostor. Drevni simbol kao uzor i nadahnuće sada se pokazuje kao snažan autorski motiv što čini bližim uhu tajanstveno šaputanje jedne gotovo predmitske paradigme, istodobno donoseći i estetsko osvježenje ali i intrigantnu asocijativnost usmjerenu ka shvaćanju konteksta autore i dijela. Sasvim nedvojbeno Venere Petra Hranuellija odbljesak su jednog pradavnog fenomena koji kasnije kroz razne vidove svog izražavanja bitno određuje razvoj duhovnosti i umjetnost u kojem one, Božice, postaju veličanstvenom svjetskom dušom odnosno maternicom svijeta prisutnom još od pravijeka pa do kasnije neoplatnoske duhovnosti i drugih misterijskih primjera. Taj kontekst upućenosti prema misteriji, tajni ili onom skrivenom ili ezoterijskom ali oduvijek aktualnom čini Petra Hranuellija prisutnim i vrijednim u značajnom generacijskom okruženju zainteresiranom u tom području (Josip Zanki), ali također i u široj panorami hrvatskih umjetnika upućenih istim ili sličnim interesima (Željko Kipke, Vladimir Dodig Trokut). No za razliku od spomenutih, medij i način kojim barata Petar Hranuelli izrazom je izvorne i gotovo rodne fascinacije kako podnebljem kamena tako i uzorima gotovo primarnim i različitim od često popularnih ezoterijskih slikovnica zato jer njegova umjetnička praksa svoje ishodište i uzor vidi u artefaktima nastalim daleko prije nego što je, moguće, iskopan prvi grob.

Venere se ovdje svojom ljepotom, dražima i čilošću zbivaju usred kamena slaveći život kao onu univerzalnu odrednicu gdje umjetničke asocijacije odišući prozračnošću jednog nevinijeg doba. Kao da nas sada dotiče vrijeme u kojem još nije bio sazidan globalni labirint od kamenja, neba i ljudskih duša, pa se zato tada po prirodi stvari obradom kamena mogao udahnuti život svim stvarima. Naravno, i samom kamenu za kojeg se vjerovalo da raste iz utrobe zemlje. Zemlje koja je podjednako rodna i plodna kao Božica, odnsono Velika Majka koju Maria Gimbutas u svojim arheološkim raspravama prepoznaje kao dušu što svemu i svakome udahnjuje život. Tako nas na svoj način i ove skulpture kamenih Venera odvode u no područje doživljaja u kojem se svijet prepoznaje kao ono što postoji prije bilo kakvog grijeha okolnosti, a jedini orijentir u svemu tome jeste famozna majka snova, anima mundi (svjetska duša) koja oduvijek provocira neiskazivu izvornost otajstva srca. Moguće prkosno, možda i izvan poželjnog toka suvremenih umjetničkih nastojanja, kipar nam poručuje da ne postoji neka kažnjiva misao kada je u pitanju izvornost, pa ove Venere kao da kliču: Non serviam! (Ne želim služiti!).

Snage izraza kod izloženih skulptura ni danas se ne odriče ničega. Tu se ne sluti nikakav bijeg, ne želi se biti drugdje. Dapače, one potenciraju sve veze i odnose koji se stječu rođenjem i uvode nas u vječnu zagonetku našeg vlastitog položaja u svijetu. U tome i jest vrijednost predstavljenog nesputanog srca života kojim nas umjetnik podsjeća na mladost svijeta, na radost koju izmiče tome da ono zauvijek bude ugušeno smrtnim krikom, zazivajući produženje značenja koje je odmaklo od toga da se zasniva na neodređenošću figure. Karakter izraza tu odbacuje svaku konfuziju težeći jednostavnosti i prikazujući ženu u nijansama onog mentalnog pejzaža koji je dalek od nespokojstva i neurozama modernih psihologiziranih prizora. Ujedno, naglašeni dojam slavljenja začudno stoji okrunjen misterijem rođenja ali analogijom zemlje i neba, utjelovljen u ovim kamenim gospodaricama života i zavjetnim simbolima naravnih vjerovanja kao svojevrsne predodžbe psihičke obnove svih ljudskih energija.

Venere Petra Hranuellija pružaju se pogledu koji dotiče onu nezaobilaznu dijakroničnu narav potke svjedočenja o naslućivanju pretpostavljenog zadatka neumrlosti duhovne inspiracije što u sebi simbolički objedinjuje misterij život i svijeta samim motivom božice kao njegove možebitne prve autentične izvornosti. Dakle, kao onog što je uvijek i zauvijek izvorno.
Marijan Grakalić
MUZEJ GRADA SKRADINA, Skradin, 2011.



Venera anima mundi

a sancrosanct privity towards primival forms and meanings strikes us with a vehement strenght while observing Petar Hranuelli´s (1975) Venuses of stone . The sensation is not only reached by the form or structure but also by the stone patina that indirectly aims towards the wish to research furher into the connections between the current and heredity within these statues. inherited from the treasury of the far primordial world.

They not only represent a seldom sensibility of a rudimentary and pre-classical form that certainly isn´t incidental, but is the actual origin of all the other antromorphic presentations that came into exsistance much later, moreover based on such examples of similar prehistoric models. In this sense these Venuses are an hypothesis not only of sensibility but of a return towards the authentic, distinct and original model of sculpturing, presented as a contemporary act made by modern artistic tools.First of all – here we are overtook by that seldomly convincing expression when we speak about the mythic and poetical accent in the modern artistic work that as such is transponded through time and space. The archaic symbol as role model and inspiration shows as as strong motiv of an author that secretly whispers a pre-mythic paradigm and at the same time evolves an esthetic recreation, however an intriguing association directed towards the understanding of the author and the work in their context.

Indisputebly Petar Hranuelli´s Venuses reflect an ancient phenomenon that later on, through different kinds of expression, distinctly influence the development of spiritiuality and art as such - where the Godesses becomes a wordly spirit moreover the uterus of the world, present from ancient times, viá neo-platonic spirituality towards other mythical examples.The context of privity in the sense of the mystical, secretive or hidden, that is esoterical but always current makes Petar Hranuelli an active and valubale member of a generation-millieu with interests in this field (Josip Zanki), but also in the broader panorama of Croatian artists with similar preocupations (Zeljko Kipke, Vladimir Dodig Trokut). But unlikely those mentioned, the media which handles Petar Hranuelli is primarilly the expression and fascination of and with origin, both in the sense of the stone as well the role model. This make his art differ from the ususal popular esoteric picture-books, his artistic practice finds its source and model in artefacts made far before even the 1st grave was digged out.

This Venuses with all their provocative beauty and alacrity exist within the stone, celebrating life an the universal guideline where artistic association respires the transparency of more innocent times. As if we are influenced by a time when the global labyrinth of stone, skys and human spirit was not jet build, when by working stone one could still breathe life into almost everything. Naturally also into stone that at the time was believed of that it literally grows out of the earth. The Earth fruitful and fertile as a Godess that is Great Mother, Maria Gimbutas in her archeological discours recognises as the spirit that actually inspires life to each and everything. In this sense and way, the stone Venuses mentioned, take us to a place of sensation where the world is recognized as a place before sin, with one single landmark, the fantastic mother of dreams, anima mundi (wordly spirit), as always provoking the eneffable authenticity of the sacrament of the heart.

The sculpturor sends the message, maybe somewhat defiantly or uncompliant with the contemporary artistic stereotypes, that there is no punishable thought regarding originality, so this Venuses may also shout out loud: : Non serviam! (I do not want to serve!). The strenght of expression of this particular sculptures does not abnagate anything. There is no sense of elopement, one doesn´t want to be elsewhere. On the contrary, they potentiate all possible connections and relations gained by birth and lead us towards the never-ending riddle of our own position in the universe. There lies the value of uninhibited life, the artist reminds us of - the youth of the world, the happiness that tries to avoid the scream of death - calling for a prolongation of meaning that avoids characterization by undefinable figures. The character of expression declines any kind of confusion in order to reach simplicity in the presentation of the female according to the nuances of a mental landscape, far away from the agitation and neurosis of modern psychologized scenes.

However at the same time the sense of celebrating prodigiously stands crowned by the mystery of birth, but otherwise by the analogy of earth and sky, embodies within this stone- mistresses and symbols of sacrament of pagan beliefs, a certain notion of psychological renovation of all human energies. Petar Hranuelli´s Venuses by sight reach that unavoidable diachronic nature of the weft of attestation about the symbolic
motif of the Goddess as the symbol for the mystery of life and its first authentic eventual origin. That is the one that always and forever remains underived.


Marijan GrakaliC
SKRADIN TOWN Museum - Skradin, 2011






Design R
Copyright 2007 Petar Hranuelli - Design R
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