Nis Art Fondation

 
  • Increase font size
  • Default font size
  • Decrease font size
  • default color
  • blue color
  • green color
Home Other Olja Ivanjicki
Olja Ivanjicki PDF Print E-mail


POVODOM IZLOŽBE OLJE IVANJICKI

Olja_Ivanjicki_crtezi
DIN „Fabrika duvana“ u sastavu Filip Moris Internešenel, kao donator, sa zadovoljstvom podržava akcije Niš Art Fondacije  čiji je prvenstveni cilj afirmacija umetnosti. Nekoliko akcija na planu likovne i muzičke umetnosti mladih, kao i akcija koja je u toku sa mladim dramskim piscima, već predstavljaju kulturnu činjenicu Srbije. Posebno je značajno da se ove aktivnosti odvijaju u jednom od najznačajnijih gradova Srbije, Nišu, što predstavlja suštinski doprinos policentričnom razvoju srpske umetnosti.
Posebna nam je čast što naša fabrika podržava najnoviju akciju Niš Art Fondacije, izložbu prve dame srpskog slikarstva - gospođe  Olje Ivanjicki. Njeno umetničko stvaralaštvo  i afirmacija sada su krunisani  izložbom jednog dela njenih radova, koji  svojom impresivnšću  čine čast svakoj sredini u kojoj se nađu..

Skip Bornhiter
generalni direktor
DIN „Fabrika duvana“ a.d. Niš, u sastavu Filip Moris Internešenela


ON THE OCASSION OF THE EXHIBITION OF OLJA IVANJICKI


DIN „Fabrika duvana“ an affiliate of Philip Morris International with great pleasure supports the activities of Niš Art Foundation, as a donor, first and foremost in the area of art affirmation.   A number of initiatives in the area of fine arts and music of the young, as well as the ongoing activity for young playwrights have already become the cultural fact of Serbia.  It is of special importance since these activities are occurring in one of the most important cities in Serbia, Niš, and thus represent an essential contribution to the polycentric development of Serbian art.
It is our great pleasure that our factory is a supporter of the brand new initiative of Niš Art Foundation, the exhibition of the first lady of Serbian painting, Olja Ivanjicki.  Her artistic engagement and affirmation are now being crowned with the exhibition of one part of her works, which is impressive and represents real honour to any artistic and social milieu it appears in.

Skip Bornhuetter
General Director
DIN „Fabrika duvana“ a.d. Niš, an affiliate of Philip Morris International


OLJA IVANJICKI: SUDBINA, STAV I UMETNOST ZA UGLED


Niš Art Fondacija pre svega postoji za mlade. Svojim akcijama  Fondacija je to pokazala na delu. Mladi slikari i vajari sad već svake godine očekuju da  se desi izložba najboljih, da se među najboljima najbolji nagrade i da se našoj javnosti koja voli umetnost Niša, Beograda i Novog Sada pokaže šta se jedne sezone desilo na likovnom planu među mladima Srbije.
Što Niš Art Fondacija priređuje izložbu jedne tako poznate ličnosti našeg slikarstva kao što je Olja Ivanjicki takođe ima veze sa mladima. Njen jasan stav prema likovnom je njena umetnička i životna sudbina  koju je ona sama skovala. Ona je svoju sudbinu već davno  uzela u svoje  ruke. I ona takva traje do današnjeg dana.
Ona time jasno pokazuje mladima, čije radove i sama sa ostalim članovima bira za godišnju izložbu, da nije dovoljno stvoriti likovno delo svojom  mladalačkom energijom i rano ispoljenim darom, već je još važnije opstati, trajati, a to znači menjati se i pri tom ostajati svoj.
Olja Ivanjicki je  mladima svojim  opusom -  sudbina, stav i umetnost za ugled.  
                                                                                    

Lale Đurić



OLJA IVANJICKI: FATE, ATTITUDE, AND ART TO BE FOLLOWED


Young are the real reason for the existence of Niš Art Foundation. The Foundation has proved that through its numerous activities. Young painters and sculptors have already grown the habit of eagerly expecting the exhibition of the best to take place, when and where the best of the bests will be selected and awarded, and thanks to which the public of Niš, Belgrade and Novi Sad will have a chance to see what has happened in the area of fine arts among young artists  during one season.
The fact that Niš Art Foundation is organizing the exhibition of such a prominent figure of Serbian painting as Olja Ivanjicki is, has also something to do with the young. Her firm attitude towards painting is her artistic and life fate which she herself has moulded. Long ago she has taken her own fate into her hands, and as such it has lasted to this very day. By doing that she serves as an example to the young, whose works she herself selects together with the other members of the NAF jury, that a creation of a work of art through youthful energy and early talent is not enough in itself, but it is essential to persevere, and last, which in fact means to keep changing but yet stay true to yourself.
Through her scope of work.
Olja Ivanjicki is to the young the fate, attitude and art to be followed.


Lale Djurić



olja ivanjickiKakva čast, uzbudjenje i zadovoljstvo! Pod krovovima Galerija NAFa u Nišu i Beogradu Olja Ivanjicki prvi put izlaže svoje čudesne crtačke maštarije a uz njih  još i  pet objekata i pet slika. Dva pop art ulja s pocetka njene umetnicke priče, dva platna sa temama koje je često varirala – Mantenjin sveti Sebastijan iz 1981. godine i Velaskezove Infantkinje iz 1990. godine. A, najnovije ulje, Čudo u ArkadijiI, tek izašlo iz njenog ateljea, Vas simbolično poziva da prošetate kroz Oljin misleno umetnički svet  jedinstvene senzibilnosti.



"TRANSFORMIŠITE SE,  ULAZITE U ZONU VRTLOGA MISLI"


“Njene umetničke dileme postaju i naše, tako da tesko razaznajemo kada njeno delo sledi a kada predvidja stvarnost! (...)


U skrivenoj logici umetnickog razvoja Olje Ivanjicki leži uzbudljiva zagonetka njenog dela! Predstavu i viziju ovostranog ili  onostranog sveta  kazuje nam metaforom koja je uvek iznad privida ,iznad banalnosti mehanickog realizma. (...)


Po prirodi ekscentrični egzibicionist kosmopolitskih shvatanja, Olja je prihvatila sve simbole vremena koje je okruzuje: brzinu, energiju, erotiku. (...) 

Sadržaj Ojlinih  "kofera", kutija, fioka, nije referirao direktno na  socijalni, politicki ili satiricni smisao. Ako je  i  postojalo nesto nejasno, misticno to je bio  sam nacin na koji ih je stvarala. (...) Ta pakovanja i aranziranja su nastavila svoj život i u slikama i crtežima u koje je smeštala ljude i dogadjaje. (...)
Eklektična na stvaralački i ličan nacin, Olja je vrsila selekciju bogatog inventara, od starogrčke, preko renesansne do savremene umetnosti. Pokusavala je da ostvari jedno celovito, kako kaze Sejka, integralno slikarstvo koje će objediniti umetnika  i svet koji ga okruzuje. (...)


Ojla je slikar mislilac koji poseduje  sve odlike virtuelnog crtača i koloriste ali koji   formu ipak najcesce podredjuje ideji. Ona  koristi razne tehnicke postupke veštinom koja zadivljuje: od iluzionisanja prostora i pokreta, prelamanja planova, poliperspektive kompozicije, smelih skracenja, pa do efekata bljestavih reklamnih boja u jakim i smelim kontrastima. (...)


Zahvaljujuci produktima  savremene tehnologije: televiziji (Olja i danas tvrdi da bez televizije ne bi mogla da slika), filmu, ilustrovanim revijama, plakatima, fotožurnalima ,Olja uvodi u  svoje mitove i legende junake savremene civilizacije koji su je zaintrigirali još u vreme kad je bila opsednuta renesansom. (...)


Oljini prizori nisu samo isečci iz mašte već stvarnost koja je opseda i nad kojom lebdi njena ljudska zabrinutost i zapitanost. (...)

U Oljinom  prividnom  haosu otkrivamo jedan imanentni red i sklad, jednu unutrašnju logiku izmedju na oko nelogičnih i apsurdnih odnosa realnih i irealnih bića. (...)


Uzbudljivi crteži koji su, u odnosu na slike, mekaniji  u formi i slobodniji u potezu, bude kod posmatrača emocije  u rasponu od od lirskih do dramskih. Slobodni, na prvi pogled skoro nedovršeni, Oljini crteži prisno prijanjaju na posmatračevu dušu i oko. (...)

Misteriozni, pomalo užasavajući svet iz maste je najprisutniji u crtežima i projektima Kontaktora, jednog od glavnih"pronalazaka"Olje Ivanjicki. Kontaktori (mehanicki organizmi) koje je ona zamislila treba da zamene drugo ljudsko biće koje nam je u životu neophodno za doživljaj ljubavi. Jedino u ljubavi, kaže Olja,  zaposlena  su sva naša čula i svi naši osećaji. U svetu sve većeg otudjenja tu drugu osobu je sve teže naći. Olja želi da pomogne pa je u tu svrhu stvorila čitav mali program za zadovoljavanje ljudskih osećaja i ljudskog tela koji je zasnovan na sistemu iznenadjenja: naglo penjanje i spuštanje, gubljenje ravnoteže i osećaja vremena, sistem za gnječenje i maženje. U tim čudnim okolnostima čovek bi trebalo da se oseća izuzetno prijatno i zadovoljno, kao dete u majcinoj utrobi. Olja  svoje Kontaktore  uporedjuje sa nekom vrstom mehaničke materice. (...)

Ako je ponekad i preterivala u  ekscentričnim izjavama ili manifestacijama  nekonformističkog stava prema životu i umetnosti, Olji Ivanjicki, velikom radniku, ne može se nikako osporiti izuzetan umetnički talenat i  sigurnost i veština u koncepciji i realizaciji  koja imponuje.”

Izvodi iz: Neda Arnerić, OLJA IVANJICKI, diplomski rad na grupi za Istoriju   umetnosti Filozofskog fakulteta, Beograd, 1981.



What an honor, thrill and delight! Under gallery roofs of NAF in Nis and Belgrade Olja Ivanjicki exhibits her miraculous drawing fantasies for the first time, along with five more objects and five paintings. Two pop art oil works dating from the beginning of her artistic saga, two canvases with themes she has often varied – Mantegna’s Saint Sebastian from 1981 and Velasquez’ Infanta Margarita from 1990. Her latest work, Miracle in Arcadia, which has just come out of her atelier, symbolically invites you to take a stroll through Olja's contemplative artistic world of unique sensibility.


„TRANSFORM YOURSELVES, FOR YOU ARE ABOUT TO ENTER THE WHIRLPOOL OF THOUGHTS”


“Her artistic dilemmas have become ours, so it is rather difficult for us to discern when her work succeeds, and when it foresees reality! (...)


In the hidden logic of Olja Ivanjicki’s artistic development there’s an underlying exciting riddle of her work! The picture and vision of this and that side of the world is presented to us with a metaphor which is always above illusion, above the banality of mechanical realism. (...)


Being an eccentric exhibitionist with cosmopolitan view, Olja has accepted all the symbols of the time she lives in: speed, energy, eroticism. (...)


The contents of Olja’s “suitcases”, boxes, drawers, did not directly refer to social, political and satirical meaning. Even if there was something vague, mystic, it was the way she created them. (...)


These packages and arrangements continued to live in paintings and drawings where she placed people and events. (...)


Being electrical both creatively and personally, Olja made a selection from rich inventory, starting with Ancient Greek, through the Renaissance, up to modern art. She tried to accomplish a complete, in Sejka’s words, integral painting, which would unite an artist and the world around him. (...)


Olja is a painter-philosopher who has all characteristics of a virtual drawer and a colorist, but who always subordinates form to the idea. She uses various technical methods with an impressive skill: from making an illusion of space and movements, refraction of plans, poliperspective of the composition, confident truncations, up to luminescent advertising color effects with strong and daring contrasts. (...)


Thanks to modern technology products, such as TV (Olja claims even today that she wouldn’t be able to paint without television), movies, magazines, posters, photo-journals, Olja includes heroes of the modern civilization in her myths, heroes who attracted her attention back at the time when she was obsessed with the Renaissance. (...)


These sights are not mere products of imagination, but reality that obsesses her, which is surrounded by her human preoccupation and wondering. (...)


In Olja’s pseudo chaos we discern imminent order and harmony, internal logic between seemingly illogical and absurd relationships between real and unreal creatures. (...)


Exciting drawings, which are softer in form and more liberal in stroke than paintings, provoke beholder’s emotions, ranging from lyric to dramatic ones. Liberal, almost unfinished at first sight, Olja’s paintings closely adheres to the beholder’s soul and eye. (...)


The mysterious and slightly terrifying world of imagination is mostly present in drawings and projects of the Contactor, one of the main "discoveries” of Olja Ivanjicki. The Contactors (mechanical organisms) that she invented are meant to replace another human being, necessary for our sense of love. Only in love, says Olja, all our senses and feelings are engaged. In the world of rising alienation, it is more and more difficult to find that person. In her desire to help, Olja created a small program for pleasing human feelings and human body, based on a system of surprise: sudden ascent and descent, loss of balance and sense of time, system for puddling and petting. In these weird circumstances one should feel extremely pleasant and satisfied, like a child in his mother’s womb. Olja compares her Contactors to a kind of mechanical womb. (...)


Even if she sometimes overreacted in her eccentric statements or manifestations of a non-conformist attitude towards life and art, we cannot deny Olja Ivanjicki, a hard worker, an exceptional artistic talent, assurance, and skill of conception and realization, that gives great pleasure."


Excerpt from: Neda Arnerić, OLJA IVANJICKI, Thesis at the Department of Art History of the Faculty of Philosophy, Belgrade, 1981


OLJIN SVET


Olja je umetnik koga je teško svrstati. Pravi umetnici su iznad mode jednog vremena, pa čak stvaraju mimo tekućih trendova. Posmatarajući šezdeset i šest crteža na ovoj izložbi neko bi se polakomio da kaže da spada u postmodernizam, ali većina tih crteža je nastala pre postmodernizma. Dakle, ona je sa Medijalom preteča postmodernizma. Ali to Olju ne zanima. Nju zanima njen crtež, forma tih crteža, tema tih crteža, filozofija tih crteža, mistika tih crteža.


Isto bi tako pogrešio ko bi rekao da je reč o nekom obliku nadrealizma. Jesu to neka snoviđenja. Ali nemaju užas košmara niti strepnji budnog ružnog sna.


Ali ostavimo se pokušava sistematizacije Oljinog dela ili jednog dela njenog dela. Pogledajmo bez kulturnoistorijskog sindroma šta je to pred nama.


Pred nama je Oljin svet, njena vaseljena, njeno čovečanstvo, sabor svega što je postojalo od pamtiveka do dana današnjeg.


Na njenoj slici se sretaju i mašina za pranje  i David, i sprej i trkač, i Teuta i salamander. Ne znam da li baš na istom crtežu, jer čim se odmaknem od ovih crteža, oni mi zažive kao sve nekog velikog dana stvaranja. Tok velikog dana stvaranja svi su stvoreni u jednom trenutku velikog praska. Na tom velkom crzežu svekolikog sveta - Van Ajkov Arnolfo je bez svoje supružnice, trkač, simbol muškosti nam je okrenuo leđa, Madona i Teuta obe su Oljina slika i prilika, ali i simbol ženskog principa, inače ljigavi i gmizavi salamandri u ljubanom grču suverenim potezom Oljiner kičice ili olovke postaju najlepša bića na ovom Božjem svetu. Čini mi se Olja veruje da je to sve  delo Stvoritelja, a meni je drago što je ona preuzela da stvara umesto  njega, da se on malo odmori. (Valjda se zato govori o božjem daru). Stvaranje Olja Ivanjicki uzima u svoje ruke i stvara svet bliže želji srca, oku koji hoće lepotu i mudrosti koja misli da možda shvata nešto od svega što ga okružuje. Uživam da živim u svetu koji su stvoril ruka, mašta, dar i um Olje Ivanjicki. Samo nikako da uspem da telom prodrem u taj svet. Mom telu ostaje ovaj koji nije ona stvoriila, pa  Oljin čeznutljivo  milujem  svojim pogledom. I to nije malo.


OLJA’S WORLD


Olja is an artist difficult to categorize. Real artists are above the fashion of a period, they even create works contrary from modern trends. Watching sixty six drawings at this exhibition, one could say that it is postmodernism, but the fact is that most of these drawings were created before postmodernism. Therefore, along with Mediala, she is the precursor of postmodernism. However, Olja has no interest in that. She is interested in her drawing, the form, theme, philosophy and mystique of her drawings.


Similarly, one would make a mistake if he said that this was a kind of surrealism. These actually are dreams in a way. But what they lack is the horror of a nightmare and anxiety of a bad daydream.

But, let’s leave aside the attempt to systematize Olja’s work or a part of it. Let us observe what is in front of us without the cultural and historical syndrome. In front of us there is Olja’s world, her universe, her humanity, the sum of everything that has existed from the beginning of mankind until.


In her picture there is a dishwasher and David, spray and a racer, Teuta and salamander. I am not certain if all of them are in the same drawing, because, as soon as I move away from these drawings, they all unite as if they were a part of a big creation day. On that creation day, they were all created in a moment of a big bang. In that big picture of a diverse world, Van Aik’s Arnolfo is without his spouse, the racer, the symbol of manliness, has turned his back on us, Madonna and Teuta are both Olja’s spitting images and symbols of the female principle, whereas slimy and groveling salamanders in a love embrace depicted by the sovereign movements of Olja’s brush or pencil become the most beautiful creatures in this world. It seems to me that Olja believes that it is all the act of the Creator, and what I am happy about is that she undertook to create instead of Him, so that he would have some rest (I suppose that is why it is called God's gift). Olja takes creation in her own hands and she creates a world closer to the will of a heart, to the eye that seeks beauty and to the wisdom that thinks it understands some of what surrounds it. I enjoy living in the world that was created by a hand, imagination, a gift and mind of Olja Ivanjicki. The only thing is that I cannot enter it with my body. My body lives in the world she didn’t create, so I yearningly cherish Olja’s world with my gaze. That is something.


October, 2007 


Jovan Ćirilov



OLGA OLJA IVANJICKI


Skulptor, slikar , pesnik, dizajner.


Akademiju likovnih umetnosti i postdiplomske studije završila u Beogradu. Bila stipendista Fordove fondacije za studije u Americi. Dobila je nagradu Fulbrajtove fondacije, program ''Artist in Residence'', na Rhode Island School of Design. Jedina dama MEDIALE.


Od prve samostalne izložbe, izlagala je na mnogobrojnim samostalnim i grupnim izložbama širom sveta. Tokom šezdesetih godina, donela je pop art u Beograd i prva radila izuzetne i hrabre hepeninge, koje i danas pamte mnogi poštovaoci njenog dela. Njene slike i skulpture nalaze se u brojnim muzejskim i privatnim kolekcijama širom sveta.


Objavljena dela: Ogledalo ljubavi, prepiska Olja-Šejka, Silmir, Beograd, 1995; Oluja mozgova, KOV, Vršac, 1995; Videla sam pre i posle, pesme i eseji, Interpress, Beograd, 1998. Monografije: Bora Ćosić: OLJA; Dragoš Kalajić: OLJA LEONARDOVA KĆI; OLJA – Alpine Fine Arts; OLJA-multimedijalna monografija na cd-romu. U priremi je nova knjiga pesama, knjiga pisama i nova monografija.


Olja Ivanjicki je izabrana za Najboljeg slikara dvadesetog veka u Jugoslaviji na osnovu glasanja sprovedenog među jugoslovenskom publikom. Takođe je dobitnik mnogih prestižnih domaćih i svetskih priznanja iz oblasti umetnosti.


Od 2003. Olja Ivanjicki je napravila i nekoliko arhitektonskih projekata od projekta novog njujorškog Trgovinskog centra do mosta preko Dunava za Beograd. Takođe je učestvovala na Trećem Pežoovom takmičenju za projekat automobila bliske budućnosti a oprobala se i kao kostimograf u Narodnom pozorištu u Beogradu, u opereti Slepi miš, Johana Štrausa i kao dizajner odeće za modnu kuću MONA u kolekcijama Tesla, decembra 2005. godine i Njegoš oktobra 2007. godine


Olja Ivanjicki je jedan od osnivača Salona MEDIALE i Niš Art fondacije.