V sodelovanju s Slovensko matico smo v sredo, 14. junija, ob 17. uri v dvorani Matije Tomca pripravili pogovorno srečanje z akademikom prof. Andrejem Jemcem.
Srečanje z akademikom prof. Andrejem Jemcem, slikarjem in grafikom, je bilo posvečeno predstavitvi obsežne monografije Andrej Jemec: Slike, ki jo je letos izdala Slovenska matica.
Andrej Jemec, rojen v Vižmarjih leta 1934, je ustvaril obsežen, tehten in velikokrat nagrajen slikarski in grafični opus (med drugim je tudi prejemnik Prešernove nagrade za življenjsko delo leta 1994), poleg tega pa se je uveljavil tudi s pedagoškim delom na Akademiji za likovno umetnost in oblikovanje v Ljubljani, kot svetovalec pri vprašanjih likovne podobe prostorov ter kot premišljevalec o družbenih in kulturnih vprašanjih.
Pogovor je vodila dr. Ignacija Fridl Jarc, tajnica in urednica Slovenske matice, ki je predstavila ta izjemen projekt, obsežen monografski pregled slikarskega opusa Andreja Jemca; med pogovorom smo obiskovalci lahko na platnu spremljali kronološko urejen izbor reprodukcij njegovih likovnih del in nekaterih dokumentarnih posnetkov. Cenjeni gost akademik prof. Andrej Jemec se je v svojih spominih na do sedaj prehojeno življenjsko in umetniško pot dotaknil tudi mladih let v Šentvidu in študijskega obdobja na ljubljanski akademiji, iskanja in razvijanja svojega osebnega slikarskega sloga, spregovoril pa je tudi o svojih pogledih na mesto likovne umetnosti v šolskem sistemu ter ob tem izpostavil nekaj pomenljivih kritičnih vprašanj o našem odnosu do likovnega jezika v sodobnem (s podobami nasičenem) svetu. V pogovoru je sodeloval tudi akademik prof. dr. Jožef Muhovič, slikar, filozof in likovni teoretik, ki je z izbranimi besedami orisal portret Andreja Jemca kot profesorja, kakršnega je spoznal najprej kot študent in kasneje kot profesorski kolega na likovni akademiji, in kot slikarja, ki se v svojih suvereno zasnovanih kompozicijah in močnih simbolnih podobah razkriva kot mojster barve in svetlobe.
S sonato za dve violini sta dogodek obogatili dijakinji Škofijske klasične gimnazije Elizabeta in Julija Tomac. Ob tej priložnosti pa smo v Meršolovem atriju postavili tudi razstavo izbranih del akademika Andreja Jemca, ki je na ogled še do 25. avgusta. Pogovoru lahko prisluhnite na posnetku, ki ga je pripravil Metod Trajbarič.
Križev pot (I – XV) – Brez krščanske kulture ni evropske, 2006 – 8. 10. 2017, akril, platno, poliptih, 180 x 250 cm (vsak del 60 x 50 cm)
Andrej Jemec je zapisal, da so bila izhodišča za zasnovo poliptiha Križev pot naslednja:
Ko je govora o Antonu Cebeju (1722–1776) in njegovih sodobnikih, ki so izraz širšega pojmovanja slike in njene likovno pripovedne vsebine v njegovem času in najbrž najbolj številna slikarstva tema, kot človekova in božja življenjska zgodba, je vsakemu človeku blizu v njegovem popotovanju skozi življenje. Meni pomeni ob vseh simbolnih pomenih posameznih postaj nekaj, kar je bilo in bo zgodba človeštva, dokler bo živel človek in to uresničena v jeziku časa svojega bivanja. Hkrati pa univerzalna upodobitev vseh desetih božjih zapovedi in človekovega trpljenja, ki jih človek zmeraj znova živi in tudi krši.
Križev pot Henrija Matissa (1869–1954) je po svoji minimalistični zasnovi v risbi in razkošju barvna svetlobe, svetlobnih pramenov njegovih vitrajev, ki potujejo prek njegovih črno belih risb na keramiki, kot se sonce pomika po nebu. Duhovita in čarobna je Mattisova zamisel. To počasno pomikanje svetlobe je kot oživljen Križev pot, kot nekakšen utrip luči življenja; v prispodobi je lahko ta snop žarkov razumljen tudi kot podoba materializiranega duha.
Velika serija akvarelov, nastalih v zimi 1963/64 v Parizu, pomeni v mojem opusu izrazito beleženje prototipov slik, nastalih v tem obdobju. Tudi risbe in skice, nastale v tem času intenzivnega soočanja z mislijo o slikarstvu, ob vseh pariških spoznanjih in izkušnjah tistega časa, pomenijo nekakšen komentar ali priložnost za razmislek o širokem vpogledu v zgodovino umetnosti do najnovejših dosežkov. Jasno, iz mojega pariškega zornega kota in razmisleka o vsem tem.
Če omenim, da je moje zgodnje spoznanje o evropskih koreninah umetnosti in njenih največjih dosežkih temeljilo predvsem na krščanski veri in kulturi, je sedanja globalno usmerjena filozofija umetnosti načrtno spregledala ta očitna dejstva. Kljub vsem spomenikom krščanske kulture, ki so daleč najštevilčnejši pomniki tisočletnega pričanja o poreklu krščanskih umetnostnih vsebin na vseh koncih in krajih Evrope, se kot gluhi in slepi za preteklost, za ta dejstva, celo najprestižnejše kulturne institucije nacionalnega pomena obnašajo do zgodovine, kot da v njej ni najti najboljše smerokaze za prihodnost. Sedanja grozljiva politizacija in banalizacija vseh duhovnih korenin sedanjega življenja, pa teh civilizacijskih dejstev sploh ne upošteva.
(Andrej Jemec, Zabreznica, 23.–24. 7. 2019)
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