Formally, the new works of Korkut could be defined as sculptural drawings of geometric figures, or as skeletons or outlines of geometric bodies (most often cubes), the sides and edges of which bend slightly under their own load, as if slowly melting. For the production of these characters, the author fully uses the appropriate materials – polyurethane and epoxy, which undergo thermal and other physical changes, thus unobtrusively emphasizing the aforementioned physical action, which is also potentiated by the large formats of the statues. With this process, Korkut gradually moves from an inorganic, geometric shape to a morphology of the organic, while remaining true to his own sculptural experimentation and at the same time uniquely hinting at the iconography of science fiction or the medium of film and comics.
Alem's new sculptures, in addition to showing the transience and fragility of life, are also the author's apocalyptic vision of the future, since these objects, as well as some of Korkut's previous works, draw attention to the ecological problems of modern humanity, or express doubts not only about the survival of biological individuals, but also about the existence of humanistic acquisitions and ethical values of humanity. The decay and the passing of the body are Alem's allegorical depiction of the contemporary spiritual state, although the author allows the possibility of a better future. The twelve statues placed in the former kostanjevica Church, in this monumental, pure and simple, yet spiritually sublime gothic space, remind of the Twelve Apostles who, despite human weakness, vulnerability, doubts, personal fears and general social repression, managed to maintain and create new spiritual strength.
Text: Mladen Luci /
Photo: Marko Ercergovi /
Formalno bi lahko nova Korkutova dela opredelili kot kiparske risbe geometrijskih figur ali kot okostja oziroma obrise geometrijskih teles (najpogosteje kock), katerih stranice in robovi se rahlo upogibajo pod lastno obremenitvijo, kot da bi se počasi topili. Avtor za izdelavo teh likov v celoti uporablja ustrezne materiale – poliuretan in epoksid, ki sta podvržena toplotnim in drugim fizikalnim spremembam, s čimer nevsiljivo poudari omenjeno fizično dejanje, ki je potencirana tudi z velikimi formati kipov. Korkut s tem postopkom od anorganske, geometrijske oblike, postopoma prehaja v morfologijo organskega, pri čemer ostaja zvest lastnemu kiparskemu eksperimentiranju ter hkrati svojstveno namiguje na ikonografijo znanstvene fantastike oziroma medij filma in stripa.
Novi Alemovi kipi so, poleg tega da kažejo na minljivost in krhkost življenja, hkrati tudi avtorjeva apokaliptična vizija prihodnosti, saj ti predmeti kot tudi nekatera prejšnja Korkutova dela opozarjajo na ekološke probleme sodobnega človeštva oziroma izražajo dvom ne le v preživetje bioloških posameznikov, temveč tudi v obstoj humanističnih pridobitev in etičnih vrednot človeštva. Propad in minevanje telesa sta Alemov alegorični prikaz sodobnega duhovnega stanja, čeravno avtor dopušča možnost boljše prihodnosti. Dvanajst kipov, umeščenih v nekdanjo kostanjeviško cerkev, v tem monumentalnem, čistem in preprostem, pa vendar duhovno vzvišenem gotskem prostoru, spominja na dvanajst apostolov, ki jim je kljub človeški šibkosti, ranljivosti, dvomom, osebnim strahovom in splošni družbeni represiji uspelo ohraniti in ustvariti novo duhovno moč.
Besedilo: Mladen Lučić
Foto: Marko Ercergović
