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SIEGBERT METELKO ON ZORAN MUSIC FOR THE ART MAGAZINE PARNASS

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There are experiences that stage your life in a new, previously unknown leadership. So it was in 1986 when I was confronted with the pictures of Zoran Music in the Museo Correr in Venice: for the very first time I watched the terrible visions of this string"Non siamo gli ultimi", the painted mountains of corpses, in which the artist at one mourning work of the dead concentration camp comrades in the Dachau concentration camp.

As a young person he was deported there, arrested in Venice, and afterwards interning at the Trieste concentration camp Risiera di San Saba, abruptly pulled from a promising artistic career. It was a matter of fate that Music fell in the hands of his pursuers right in the front of the portal of Palazzo Balbi-Valier, where he'd live much after with his former wife Ida Barbarigo.

In Venice he married Ida Cadorin, heiress to a legendary dynasty of painters who'd call himself"Barbarigo", Paris became his next house together with Venice, the karst and Dalmatian scene reminded him of their Mediterranean impressions of his youth. Anyone who slows down the karst through Trieste now , off the street, can meet them, the semi-wild horses galloping on the dry ground, the"Cavallini". They run through the area just like a mosaic of white stone splinters, looking at Zoran Music using a sort of thoughtful humor and painting them into their joyful deficiency of history.

Too often, of course, the image changes before his eyes. Then the white rubble reminds him of the white skulls of the deceased from Dachau and the horses remind him of the abysmal sense of freedom, a freedom that he knows is constantly threatened. Because what happened once will have to be replicated again and again.

There's not any optimism in songs for background, the experience remains incontrovertible. I've had closer contact with Zoran Music since 1988. I recall many hours we spent his Parisian studio along with fabulous house in Venice, the stories from his biography that summed up the Central European tragedies of the 20th century. In his domain he always pretended to become autonomous, self-critically he sometimes refused impressive sheets and sheets, you had to convince him to not destroy anything.

click to get more information about Zoran Music.

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