Nikola Radić Lucati

GALERIJA

Das Seine - Forschungsprojekt

Rafal Jakubowicz and Nikola Radić Lucati
Curator: Piotr Bernatowicz
Text: Nikola Šuica
Piekary Gallery, Poznan
April - May 2011.

"Das Seine" - Forschungsprojekt, is a joint exhibition of Nikola Radic Lucati and Rafal Jakubowicz, and curated by Piotr Bentarowicz (Poznan, Poland) to be shown at the Piekary Gallery, Poznan. From April 8th till 13th of May 2011.

Curator: Dr. Piotr Bernatowicz, art historian, lecturer at The Art History Institute of Adam Mickiewicz University in Poznan. Art critic, editor in chief of "ARTeon" art magazine, author of the book: "The Reception of Pablo Picasso in The Central and Estern European Countries 1945-1970".

Text: Dr. Nikola Šuica is the Associate Professor of Art History at the Faculty of Fine Arts in Belgrade. His recent published texts include "Beyond Cynical Reasoning - Encompassing the Contemporary Arts in Serbia", "Logos of the media age".

Rafal Jakubovicz: "FIASKO" (after Franz Ehrlich) - Corten steel.

Work by Rafał Jakubowicz consists of inscription "FIASKO" (Ger. fiasco), made in metal, and displayed on a wall, vertically – indicating the analogy to historical inscription on the facade of Bauhaus building's in Dessau. Typography refers to the inscription on the gate of Buchenwald concentration camp, made by one of the Bauhaus students - Franz Ehrlich, a controversial figure in post war German history. A pre war communist, a post war chief architect of the DDR, Ehrlich is a subject around which the struggle for the preservation of the historical "purity" of the Bauhaus school as the victim of Nazi persecution is currently being fought. Only a faint, but important trace of the man's humanistic ideals remains: His lettering, close in style to the one of his humanist teacher, Joost Schmidt, reminds us of the optimism of the time, and the fate of the artist who spent his life serving dictatorships.

Nikola Radic Lucati: "As they stand", 14 photographs, Lambda print.

The photographs from the "As they stand" series are dealing with the corrosive imprint of historical re-evaluations and erasure on life through their impact on architecture, and the way that age and decay expose the places of human sacrifice, of life and death. Two locations featured in these photographs seemingly couldn't be further apart - Sajmiste death camp, a Nazi Judenlager in the center of Belgrade, and the southern neigbourhoods of Tel Aviv from which the city was defended in the War of Independence of 1948, and from which the conquest of Jaffa and the Nakba of the Arabs in Israel had begun. Both have started their lives in the utopia of the 1930's streamlined, Bauhaus - influenced humanist drive. Both have been instrumental in the political expansion into the new territory, and symbolized new beginnings for their nations. Both have been betrayed, and effectively, culturally, abandoned by the resulting socialist post-war monoculture. The decays of both Israeli and Serbian societies are very different in scope and pace, but have very similar roots. A departure from the original, founding ethos of a society is always a precursor for the replacement of it's culture, which cannot exist without reflecting the society's moral values.