O homunkulusu Zdenka Huzjana / On Zdenko Huzjan's Homunculus
<div><a href="http://www.pazu.si/predstavitev/?id=8246"><em>Robert Inhof</em></a></div><div> </div><div>ANALI PAZU HD, let. 2, 1/2016, strani/pages 54-68</div><div>Celotno besedilo / Full text (<a href="/sites/default/files/Anali_PAZU_HD2_1_Inhof.pdf">PDF</a>)</div><div> </div><div><strong>Povzetek:</strong> Zdenko Huzjan s svojimi slikami zasleduje in se vpisuje v tisto smer modernizma, ki se je osredotočila predvsem na človeško figuro in stanje duha po ali pred velikimi svetovnimi kataklizmami: Jean Fautrier, Alberto Giacometti, Germaine Richier in seveda Francis Bacon. Od slovenskih avtorjev so mu sorodni Marij Pregelj, Gabrijel Stupica, Janez Bernik in Zoran Mušič. Ravno z življenjem Huzjanovih homunkulusov je smrt tesno povezana s tesnobo. Vendar pa tesnoba ne govori o eksistenčnih, ampak izključno o eksistencialnih stiskah. Huzjanovo bitje − homunkulus predstavlja sinkretizem različnih podob: glavonožcev, kakršne rišejo otroci v tretjem letu starosti, človeške lobanje, lastne podobe oziroma oblike lastne lobanje in podobe lokalne lendavske kuriozitete, mumificiranem truplu kapitana Mihaela Hadika, katere podoba je slikarja hkrati strašila in navdihovala že v otroštvu. Hadikovo truplo ni prava mumija, saj ni nastala namensko; tako dobro se je ohranilo zaradi dolgotrajne pogreznjenosti v močvirsko blato. Ta forma Huzjanovih bitij ima povsem drugačne referenčne točke; pomensko sorodna je tako skulpturam, ki so jih leta 1976 našli na arheološkem najdišču, imenovanem Lepenski vir, zoglenelim truplom prebivalcev Pompejev, Herculaneuma in Hirošime, prav tako pa tudi posebnim primerkom iz različnih kabinetov medicinskih kuriozitet. Huzjanove podobe so podobe, ki se v naš svet vedno znova vračajo. Te podobe so tiste, ki v naš svet ne sodijo več, a iz njega še niso povsem odšle. To so v brezprostorju okrastega neba izgubljene podobe, pri katerih lahko opazimo portretne značilnosti, se pravi značilnosti, ki so navzoče tudi v posmrtnih maskah. Ti »portreti« so predstavljeni in effigie, medtem ko so ostala Huzjanova bitja, homunkulusi, predstavljena kot tisto, kar ostane za pokojnikovo fizično podobo, zajeto v posmrtni maski ali v portretu, in je gledalcu načeloma nevidno, saj je položeno v grob. Ta bitja so predstavljena in corpore, torej v telesu, na katerem so vidni vsi znaki razkroja.<br /><strong>Ključne besede:</strong> homunkulus, figura, Zdenko Huzjan, monstruozne rase, slovensko slikarstvo. </div><div> </div><div><strong>Abstract:</strong> With his paintings, Zdenko Huzjan follows and puts himself on the map of the modernism which focuses primarily on the human figure and the state of mind after or before the world’s biggest cataclysms: Jean Fautrier, Alberto Giacometti, Germaine Richier and of course Francis Bacon. Marij Pregelj, Gabrijel Stupica, Janez Bernik and Zoran Mušič are some of the Slovene artists that are similar to Huzjan. Death is closely linked to anxiety, reflected in the life of Huzjan’s homunculi. However, this anxiety is not existential. Huzjan’s creature – the homunculus, represents the syncretism of various images: cephalopods, as drawn by three year old children, human skulls, self-images, shapes of his own skull and similar local Lendava curiosities, the mummified corpse of captain Mihael Hadik, whose image both inspired and frightened the painter in his childhood. Hadik’s corpse is not a real mummy, because it was not created on purpose; it has been preserved so well due to being sunken in the swamp mud for a longer period of time. This form of Huzjan’s creatures has completely different referential points; related in meaning to sculptures that were found in 1976 at the archaeological dig site Lepenski vir, the charred corpses of the Pompeians, Herculaneum and Hiroshima, as well as special specimens from various cabinets of medical curiosities. Huzjan’s images are images that repeatedly return to our world. These images do not belong to this world, yet they are not completely gone. They are images lost in spacelesnees of the okra skies, showing portrait characteristics, characteristics also present in death masks. These portraits are presented in effigie, while other Huzjan’s creatures, homunculi, are presented as the remains of the deceased physical form captured in a death mask or a portrait, something which is invisible to the spectator, because it is placed in a grave. These beings are presented in corpora, with the body showing visual signs of decay.any function or other activity by a person or authority performing such function or activity within a state or local community authority or as a bearer of public authority (Article 26 of the Constitution). The author presents the tort liability of the state in connection with the right to life, as one of the paramount values of democratic societies.Through case No. Up-679/12, dated 16 October 2014, decided by the Constitutional Court of the Republic of Slovenia, the author underlines that the state is not liable for damages only if it proves that it did everything in its power to eliminate the risk for the life and health of the individuals in the case of a damaging incident. The protection of human life and healthrequires that very strict criteria be employed in the assessment as to whether to exclude the liability of the state.<br /><strong>Key words:</strong> homunculus, Figure, Zdenko Huzjan, Monstruous races, Slovenian painting.</div><div> </div><div> </div>