ZGODBA ZA VSE

Mirsad Begić je mojster kiparstva v vseh pomenih. Njegov kiparski pristop je vsestranski, monumentalen in življenjski, ko pretvarja v materijo vsa življenjska in likovna spoznanja, ki jih vtisne v svojsko kiparsko govorico. Gre za prepričljivo motrenje, izlitje kiparskega notranjega občutenja in osebnega odnosa do sveta v katerem se zrcalijo globlja človeška vprašanja biti.  
„Bit je tisto najbližje, a bližina je človeku najdlje.“ (Martin Heidegger) Napraviti oddaljenost za bližino je naloga umetnosti; odsotnost pretvoriti v prisotnost, tako, da se le ta nikdar ne razkrije v svoji dokončnosti.

Njegove kiparske postavitve delujejo kot sakralni svetovi iz onostranstva. Umetnost je večna in presega človeško življenje, je brezkončna saj živi lahko le skozi in zaradi živih. Podobno kot mogočne umetnine presegajo življenjski vek svojih stvariteljev, duh presega materialno telo.
Kiparstvo za umetnika pomeni nek nenehen preplet življenja in smrti, kjer se umetnost ne konča s smrtjo, ampak je doživetje estetske sublimacije Erosa inThanatosa, ki je brezčasna.

»Kiparstvo kot žrtveni oltar, kiparstvo kot kadaver, kiparstvo kot simbolična projekcija odkriva notranje življenje Forme, ki se nam tu in tam zazdi kot embrio ali kot feniks, ki se dviga nad pogoriščem, ali kot »mumija, ki hodi«. Vsi občutki so pravilni: Begićeve skulpture nastajajo in vznikajo iz smrti, iz žive meje bivanja ter izginotja, iz brezna tiste reže – in razpoke –, ki nas ločuje od poslednjega trenutka, zavrženosti, pozabljenja. Trenutek »padca v Nič« kot vzgon v duhovnost, trenutek večne smrti kot vstajenje v drugo, v domovanje, bitje, bivanje in eksistenco mrtvih.« (Odlomek iz besedila Andreja Medveda, Ohraniti Sanje, katalog Mirsad Begić, Veliki Čuvar, Obalne galerije, Piran, november 2012)

Zgodba je vedno sestavljena iz opisa doživetega ali izmišljenega v času. Brez teka časa se ne da povedati nobene zgodbe in ravno na tej točki se pojavi absurdna situacija, saj so kipi zamrznjeni v trenutku. Vendar ravno ta navidezna nezmožnost odpira nov svet, ki izhaja iz interpretacije gledalca. Le-ta vedno aktivno sodeluje pri interpretaciji zgodbe, ki se skriva onkraj logike strogo materialnega sveta.

Kiparsko občutenje pri Mirsadu Begiću je premišljeno tudi v postavitvi in odnosu same materije do prostora. Umetnik z umeščanjem v galerijski prostor gradi odnos, ki je premišljen. Postavitev se prilagaja specifičnosti prostora in prostor ni zgolj pasivni plašč okoli izoliranega objekta, ampak ga avtor vključi kot integralni del oblikovalnega in akcijskega prijema. Kipi niso fizično in simbolično ločeni od zunanjega sveta, v tem primeru galerijskega prostora. Vsaka razstava za kiparja Mirsada Begića pomeni delovni proces od snovanja, predpriprav, načrtov, skic, študija prostora in snovi, da vse zgnete/pregnete/poveže v kiparsko formo, ki  v prostoru zaživi kot celota kot zgodba za vse.

Jadranka Plut

A Story for Everyone

Mirsad Begić is a master sculptor in every sense of the word. His approach towards sculpture is versatile, monumental and vital as he manifests his experiences and artistic notions in a unique artistic language. We are confronted by a persuasive observer, who pours out his inner feelings and his personal world views which reflect the deeper questions about human existence.
“Being is the closest thing, but closeness is most distant to man.”(Martin Heidegger). To transform remoteness into closeness is the task of art; to change absence into presence in a way which never reveals its finality.

His sculptural installations seem like some sacred worlds from the Hereafter. The art is eternal and surpasses human life. It is endless but it can exist only through and because of the living; as great works of art exceed the life span of their makers likewise the spirit surpasses the material body. To this artist sculpture is a constant interweaving of life and death in which art doesn’t end with death but offers a timeless experience of an aesthetic sublimation; of Eros and Thanatos.

“Sculpture as a Sacrificial Altar, sculpture as a cadaver.  As a symbolic projection sculpture reveals the inner life of the Form which occasionally seems like an embryo or the Phoenix rising from the ashes or a “walking mummy”. All these notions are correct: the sculptures of Begić originate and rise from death, from that living border between existence and disappearance. They emerge from the chasm of that fissure, that crack which divides us from the final moment, from rejection and oblivion. The moment of “falling into Nothingness” is like emerging into spirituality. The instant of eternal death is as a second resurrection in being and dwelling in the world of the dead.”
  (An excerpt from the text “Ohraniti sanje” by Andrej Medved, from the Catalogue of Mirsad Begić “Veliki čuvar”, Obalne galerije, Piran, November 2012)
 
The story is always derived from an experience or an invention within a particular time frame. Without this context we are unable to tell a story. Now, here a contradiction occurs, because sculptures are frozen in time. However this seeming obstacle opens a new world which results in the observer’s interpretation. The observer always has an active role in interpreting the story which hides beyond the logic of strictly material world.

We can also recognise Mirsad Begić‘s sculptural sensibility in the thoughtful layout of this exhibition as well as in the relationship between the material and the space. The layout conforms to the specific qualities of the space which is no longer just a passive surrounding for an isolated object. It has now become an integral part of the whole design and a relationship has been established. The sculptures are no longer separated from the outside world which in our case is the gallery space, either in a physical or a symbolic way. To Mirsad Begić each exhibition is a working process. It encompasses devising, conceptualizing, planning, sketching, studying the space and material, moulding / kneading / and finally binding everything together into a sculpture which ultimately comes to life as a whole in a story for everyone. 

Text, Jadranka Plut
Translation, Nina Zelenko