Montenegrin academic painter Goran Ćetković is, in his own artistic way, both a philosopher and a poet, wrote an art critic from Serbia, Dejan Đorić pointing out that Ćetković is one of the most gifted representatives, relatively speaking, of the new Montenegrin fantastic painting, recognized both in the country and the world.
Đorić writes this in the text "Art paroxysms of Goran Ćetković" ahead of the exhibition of paintings "Zub vremena", which will present the renowned and recognizable artist from Bar in Belgrade. The exhibition of Goran Ćetković's paintings "The Tooth of Time" will be opened on May 18 in the "Lucida" gallery in Belgrade at 34 p.m. After Ćetković's exhibitions in Bar, Podgorica, Zagreb and elsewhere, he says, "The Tooth of Time" will finally be presented in Belgrade, and it is also his 35th solo exhibition. In an interview with "Vijesti" on that occasion, Ćetković revealed that he is already planning the XNUMXth jubilee exhibition, in which he would present his new series of paintings "Slijepi putnik", which he believes is the pinnacle of his creativity so far and which proves that the artist is in continuous rise.
"The spirit of the Dinaric man is too wide and too deep to be placed in the realistic, everyday, utilitarian or initimistic, it seeks the epic, mythical, spiritually broad, irrational, visionary and ecstatic. That is why Ćetković's painting is like a cry, a cry, a lament over not only this time, about which the esotericist and Nobel laureate William Butler Yeats sings: 'Things are falling apart, the center no longer holds, anarchy has broken through the world'. Ćetković returns the observer to borderline states, the head is only an occasion, as the most mystical part of the body...", writes Đorić.
He adds that Ćetković boldly brings the aesthetics of the ugly into his works, and with the desire to return painting to its spiritual sources, he is in collusion with the moaners. Edvard Munch.
"Goran Ćetković in a world weakened by nonsense, which is spiritually inhibited and deadened, roars like a lion in the desert, his artistic howls tear the silence of the consumerist, utilitarian world of planetary toadstool and perhaps, as Bishop Nikolaj Velimirovic said, they are crying out to God... Ćetković is not only a painter of current courage, but of all humanity, otherwise his painting would have been short-lived. He does not address only the present-day being, endangered humanity, but also the past, every man, from the first to the last, there is so much power in his paintings. On them, however, everything is only in accordance with what he said Nebojsa Pajkic: 'From Adam everything is a fall'", concludes Dejan Đorić, and Goran Ćetković continues the conversation for "Vijesti".
The setting "The Tooth of Time" is specific and stands out in many ways on our art scene. Do striking works like these stand the test of time? How many works are you presenting from that cycle and do you have any expectations?
Although this cycle has about 40 works, at this exhibition I will present myself with 12 large-format paintings. None of these works have been exhibited before in front of the Belgrade audience, so I expect the exhibition to cause enormous media attention as well as great interest from the art audience and critics. The ravages of time leave no one indifferent. This cycle indicates the transience of human life, however, on the other hand, interest in the images from this cycle is increasing, so the Tooth of Time resists oblivion.
The very name of the cycle corresponds to the relativity of time, so how does time and the passage of time affect your works, this cycle, but also new works and cycles that are in the making?
"The tooth of time" fully corresponds with the relativity of time. The transitoriness of life, that is, time, strongly affects my creativity. For me, painting is a kind of philosophy. To philosophize means to think about life and of course death. In all of this, emotion is extremely important. If we are aware of the transience of life, and we certainly are, then we manifest our thoughts and feelings on canvas. And all of that is present in the painting, as well as in life... Each of my cycles, current, past and future, fully correspond with each other, and the theme of the transience of life, as well as the alienation of today's man, is dominant in my painting.
Each of your works is stylistically recognizable, regardless of the variety of motifs and diversity that the cycles bring. How important is that to you? Also, does it sometimes happen that pictures from different cycles, with different themes and approaches, are created at the same time, and how does that affect you as a creator?
Originality is important for every artist. This is where the work and of course the character of the artist is crucial. Each of my works is recognizable. It is created in one breath with an authentic handwriting. And of course, my painting relies on emotion. I'm known to create in cycles. When I get saturated on one subject, I move on to another. And thanks to that, my work gains freshness and quality. And each cycle fully corresponds to each other, regardless of the topic.
Do you have any special inspiration? It seems that maybe it is a man, his psychological states, sometimes his homeland, nature-landscapes, women and the female body... Or do you create with certain goals, reflections, provoking ideas and inspiration, and not waiting for them?
My preoccupation since my academic days is figurative painting. An inexhaustible source of my inspiration is primarily man, his character, psychological states and certainly his alienation in the modern world. I usually paint people in the form of portraits but also figures. Landscapes, as if they are parts of these paintings, and they spread the sound of longing and nostalgia. The motifs of the homeland, the Montenegrin karst, water and sky, point to a special emotion...
On the other hand, the cycle "Tree of Life" is also created, in which I treat the woman as the central motif in a special way. She is the mother goddess. Sublime, in the form of a nude, with slightly hidden eroticism. Her figure is reduced and simplified.
The point is constant work. I don't wait for special moments of inspiration...
This is your 34th solo exhibition. An enviable number... Do you have plans for the 35th to be special, big and comprehensive, somewhere in Montenegro, or have you not thought about it yet?
I sincerely hope that this year I will realize my 35th jubilee solo exhibition and that in Montenegro.
I plan to introduce myself with the latest series of paintings, the cycle "Blind Passengers". I think this cycle is the peak of my creativity so far. And yet, in 2018, I claimed that for the cycle "The Tooth of Time". What makes me particularly happy is the continuity and constant progress in my work...
Given that you often exhibit outside, what would you say the audience is like here, and what is it like outside of Montenegro; what is the position of the artist and what are the differences in any context that left the biggest impression on you?
I think that every representation of an artist is extremely important, whether he exhibits in the country or abroad. I am proud of many of my exhibitions. Both in Bar, Podgorica, and at exhibitions in Zagreb, Rijeka, Belgrade, Novi Sad, Zurich... What I am proud of is the wonderful audience that follows my creativity. This is evidenced by the huge number of visits that have been recorded at all my exhibitions in Montenegro and abroad.
The position of artists is not at a satisfactory level both here and in the surrounding area. I mostly rely on myself in my work and activities. I believe in what I do. Art critics highly appreciate my work, as well as the audience, and that is what fulfills me.
As an artist, painter, do you feel the turbulent political situation here, but also on a global level? Does it affect you or do you distance yourself from such events and news?
As an artist, I sympathize with all the pain caused by current political events in our country and, of course, in the world. We cannot be cold and ignore everything that is happening, whether it is somewhere in the world or in our own backyard. Of course, as an artist I draw inspiration from that as well. "The Tooth of Time", and especially the series "Blind Passengers", send a clear message to the audience and the world. The message is more than clear - where is this world going!!!
How would you announce the exhibition in Belgrade and would you reveal any future plans, perhaps? What are you currently working on?
The ravages of time in Belgrade.
It sounds great to me, as it does to many fine art lovers in that city. My 6th solo exhibition will be opened in the renowned gallery "Lucida" on May 18 at 34 p.m., which will be held there until May 27. I expect a large number of art audiences at the very opening of the exhibition, as well as during its duration.
What I have planned for the next period is certainly the realization of certain exhibitions in the country and abroad.
Right now, I'm drawing on paper...
Unnecessary things that shouldn't happen
You had certain problems with the production and organization of the installation in Belgrade, and that with the addresses of the competent institutions of Montenegro. However, after informing the public about it via social media, everything was quickly resolved. But what is your comment on the reaction/s of the Ministry of Culture and the whole situation?
First of all, I would like to offer the background of it. So, in order to complete one cycle of paintings, I need at least two years of hard work and sacrifice. I received an invitation for a solo exhibition from the Council of the private gallery "Lucida" in Belgrade and one of the most important Serbian art critics. Dejan Đorić.
Organizing an exhibition is not a simple task. We need to furnish the pictures, provide their transport to Belgrade, then print catalogs and invitations, as well as many other things.
All costs of the organization are borne by me - the author of the project.
And then problems arise where you think it's unimaginable. Specifically, in my case, problems arise with the papers that are obtained from the Ministry of Culture. Without these papers, you cannot export images to another country. For the last decade, that paperwork was completed in one day - 1 day. I submitted the necessary papers a month before the opening of the exhibition. After 15 days, I contacted the service at the ministry and they said that they could not guarantee that the papers would be completed. From that moment on, the ground under my feet shifted. I immediately reacted via social networks and did not want to accept the fact that the entire project could fail due to the lack of promptness of individuals in the Ministry of Culture.
However, the spokesman of the ministry quickly became aware of my problem and reacted quickly, so the papers, i.e. the permission to export pictures, were completed in an urgent manner.
I don't think these things should happen. In all surrounding countries, this permit is obtained electronically within an hour. In the end, everything ended as it should, and I would like to take this opportunity to thank the spokesperson of the Ministry of Culture.
That my pictures travel the world is the priceless value of my creativity
Your paintings are in private collections throughout the country and abroad. Do you sometimes find it difficult to separate yourself from the work and do collectors order the same paintings/motifs?
That my pictures travel the world is the priceless value of my creativity. And that fulfills me completely. Of course, sometimes there is regret for a sold painting, but my guiding principle is that those who create seriously can always do better...
What is art collecting like today, what does it mean and how do galleries work, in your opinion?
I rarely collaborate with gallerists. Only when some special occasions are involved, i.e. projects of great importance. In accordance with our circumstances, the sale of my paintings is constantly on the rise. These are people who like my paintings and who buy for pure pleasure.
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