Le Meridien Lav Magazine

OTKRIJTE DALMACIJU DISCOVER DALMATIA

OTKRIJTE DALMACIJU DISCOVER DALMATIAŠIBENIKŠibenik, poznat i kao grad kralja Petra Krešimira IV, jedanje od najstarijih hrvatskih gradova i ujedno prvi u svijetučije su ulice zasvijetlile na principu izmjenične struje 1895.godine. Iste je godine na rijeci Krki proradila i hidroelektra-na na Skradinskom buku - samo dva dana nakon puštanjau pogon one na Niagarinim slapovima te se smatra prvomotvorenom hidroelektranom u Europi. Među brojnim suve-nirima koje turisti kupuju, najpoznatiji je šibenski bagatin,novac koji je Šibenik kovao još u doba Mletaka.Šibenik, known as the city of King Petar Krešimir IV, is oneof the oldest Croatian cities and also the first in the worldwhose streets flashed on the principle of alternating cur-rent in 1895. This was also a year of opening hydropowerplant on Skradinski buk on the Krka River - only two daysafter opening the one on Niagara Falls - and is consideredthe first open hydropower plant in Europe. Furthermore,among numerous souvenirs, the most celebrated one isthe coin “Šibenik bagatin”, minted during Venice era.NP PAKLENICANacionalni park Paklenica je raj za planinare i penjače te po- National park Paklenica is heaven for mountaineers and climb-sjetitelje iz cijelog svijeta koji dolaze osvajati svoje vrhove. NP ers and visitors from all over the world are coming to conquer itsPaklenica obuhvaća najatraktivnije dijelove južnog Velebita, a peaks. NP Paklenica covers the most attractive parts of the south-njegova najupečatljivija obilježja su dva kanjona - Velika i Mala ern Velebit, and its most striking features are two canyons - VelikaPaklenica. Park je također poznat među ljubiteljima Winnetou and Mala Paklenica. The park is also well known among the fans offilmova jer su snimani u nacionalnom parku. Winnetou movies, where it was filmed.104



IZLOŽBA / EXHIBITION Vasko Lipovac More, ljudi i obale / Sea, people and shores 19.5.2017. - 01.10.2017.106

F okusiran na neočekivano, Le Méridien predstavlja autentične i inspirirajuće programe. Kombinirajući modernu umjetnost sa svojim europskim porijeklom, Le Méridien stvara atmosferu koja inspirira sve sudionike da uživaju u trenutku u kojem se nalaze te svakodnevnim životnim situacijama. Umjetnici koji izlažu svoje radove u Le Méridien Lavu uglavnom dolaze iz Splita ili imaju značajne poveznice sa Splitom i lokalnom zajednicom. „Chic, cultured, discovery“.... su osnovne vrijednosti Le Méridiena stoga smo ponosni da Vam možemo predstaviti izložbu Vaska Lipovca \"More, ljudi i obale.\"W ith a focus on the unexpected, Le Méridien offers engaging programmes that are as authentic as they are inspiring. Mixing contemporary culture with its European heritage, Le Méridien creates a culturally refined, meaningful and stimulating atmosphere which inspires participants to celebrate the beauty of a moment and the possibilities for insight that live within common occurrences. Artists exhibiting in Le Méridien Lav, Split have a strong relationship with Split and the local community. Chic, cultured, discovery... these are our core values and with that in mind we are proud to present to you the exhibition of Vasko Lipovac, \"Sea, people and shores.\" Piše / Čudan je svat bio Vasko Lipovac; umjetnik sudbinski ozračen Vasko Lipovac was the odd man out; artist predestined to beWritten by zavičajnošću i tradicijom ali istovremeno potpuno otvoren su- irradiated by regionalism and tradition, yet at the same time vremenosti. Nikad ovisan o kurentnim trendovima u koje bi fully open to new modernity. He never relied on current trends ZLATKO uskakao poput slijepog putnika već prvenstveno usmjeren na to jump on in as a fare dodger, but was primarily focused on GALL propitkivanja mogućnosti drugog i drugačijeg likovnog pogle- review of possibilities of another and different art view. And da. A nalazio ga je bez obzira na odabrane likovne forme, na he found it, regardless of the chosen art form, material and materijal i stilske mijene. Svojevrsna „zavičajna nostalgija“ bila shift of style. A kind of “regional nostalgia” was and remained je i postala prepoznatljiva crvena nit koja se provlačila Lipov- recognizable red thread running through Lipovac’s work from čevim opusom od samih početaka. Prisutna čak i u onoj ranoj the very beginnings. It was present even in that early phase of fazi „antropomporfne geometrije“ sa stilizacijama jedrenjaka i “anthropomorphic geometry” with stylizations of sailing boats riba, zaigranih sportaša od uglačanog metala nalik boćarskim and fish, shiny metal playful athletes resembling ninepins or čunjevima ili starih pomoraca i njihovih mladenki svedenih na old seafarers and their brides reduced to geometric shapes. geometrijske likove. Bili su to začeci osebujne ikonografije ko- Those were the seeds of particular iconography that Vasko, joj je Vasko — kao rođeni Kotoranin — ostao trajno vjeran; as a native of Kotor, remained forever faithful to; iconography ikonografije koja je u svojoj osnovi dalmatinska i mediteranska. that is basically Dalmatian and Mediterranean, yet never read No nikad očitana kao sankrosanktni totem, kao strogo defi- as sacrosanct totem pole, as strictly defined canon. Quite the niran kanon. Dapače. Bila je predložak za reinterpretaciju, za opposite. It was a model for reinterpretation, for personal re- osobnu reviziju. S obilatom dozom topline i onog suptilnog Li- vision. With ample dose of warmth and that subtle Lipovac povčevog humora. Rekao bih i duhovitih višeznačnih „posvaja- humour. And I would say witty ambiguous “adoptions” and nja“ i resemantiziranja nekih općih mjesta iz povijesti umjetno- resemantizations of some general places from art history. sti. Ne samo baroknih interijera kapetanskih tinela s votivnim Not only with baroque interiors of captains’ living rooms with slikama njihovih brodova, klasičnih portreta brkatih pomoraca votive images of their ships, classic portraits of moustached ispred svojih lađa i topovnjača već i duhovitog naslanjanja na seafarers in front of their vessels and gunboats, but by funny Magrittea s marinerima kojima je u ustima lula, na glavi ka- leaning on Magritte with sailors having pipes in their mouths, petanske kape stilizirane poput polucilindra ili pak stari jedre- captains’ caps on their heads, stylized as bowler hats or even njaci. Kao prepoznatljive karake ili radikalne geometrijske stili- old sailboats. As recognizable carracks or radical geometric zacije. Repertoar upotpunjuju crteži, grafike i slike mornarskih stylizations. The repertoire is complemented with drawings, spoža, parobroda i jedrenjaka, zaigranih kupača u idiličnom graphics and paintings of seafarers’ brides, steamboats and plavetnilu ili pak prijeteće „nevere ča se valja“ — kako bi ka- sailboats, playful bathers in idyllic blue or even threatening zala pjesma — usred kotorskog fjorda... I ova izložba nije tek “rolling storm” — as the song says — in the middle of Kotor pokazna vježba Lipovčeve ikonografije Dalmacije i mediterana fjord... This exhibition is not only demonstration exercise of Li- već i pametan zbir krajputaša ključnih Vaskovih stilskih mije- povac Dalmatian and Mediterranean iconography, but a clev- na i čudesnog puta od geometrijskih redukcija i minimalizma er aggregate of roadside monuments to key Vasko’s stylistic ka „deskripciji“ i figurativnoj stilizaciji. Čak i začetaka erotskog shifts and amazing way from geometric reductions and mini- ciklusa koji je prošao dugačak put od geometrije obnaženih malism to “description” and figurative stylization. And even of „valjaka“ i „kugli“, antropomorfnih „cona“ do prepletenih kugla- the origins of erotic cycle that had gone a long way from ge- sto-putenih volumena koji su u kasnijim fazama dobili i jasne ometry of naked “cylinders” and “spheres”, anthropomorphic fizionomije. Kao simboli jednog vremena prošlog — a opet i “ninepins” to interwoven spherical-sensual volumes, that got mitske dalmatinske i mediteranske izvanvremenosti — ili pak clear physiognomies in later phases. As symbols of time past kao sveprisutni otisci emocionalnog umjetnikovog rukopisa i — and again of mythical Dalmatian and Mediterranean time- zavičajne prtljage djetinjstva. lessness — or as omnipresent imprints of artist’s emotional handwriting and childhood homeland luggage. 107

IZLOŽBA EXHIBITION VASKO LIPOVAC108

IZLOŽBA EXHIBITION VASKO LIPOVAC 109

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