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Галерија, израз вере у потенцијале Ниша

Ниш је град дуге историје, славних имена у далекој прошлости, где се у глави владара цара Константина и мајке Јелене зачела данашња европска хришћанска цивилизација.

Ниш је данас град младих. Довољно је прошетати се његовим улицама које врве од енергије младости. А где је младости има и дара. У то је поверовао Нишлија Радован Лале Ђуриц, који се одавно отиснуо од свога родног града и обрео у Њујорку. И где је успео као сликар. Он није жалио труда, рада и средстава да оснује Ниш Арт Фоундатион да се помогну млади дарови широм наше земље и да се направи модерни галеријски простор, најпространији, најлепши и најмодернији у нас, где ће сваке године млади сликари до 35 година показати шта су створили током те године.

Ниш, други град по величини у нашој земљи, може управо преко те галерије постати место из којег ће исијавати нова енергија, ново виђење и нови доживљај света. Галерија се нуди и као алтернативни простор за нова виђења сценске уметности.

Захваљујући донатору ДИН “Фабрика Дувана“ а.д. Ниш, у саставу Philip Morris International, са већ осведоченим смислом за потенцијале нишке културе, постоје сви услови да се она развије и да подухват са галеријом превазиђе локални оквир.

Није тајна да је у граду Нишу завладало мртвило међу онима који би требало да подстичу и одржавају немалу културну традицију овог града.

Енергија која ће исијавати из галерије као места нових подухвата, биће импулс и за друга догађања у граду. Галерија, и вера у младост оних који су око галерије, улиће нову наду у уметничке потенцијале Ниша. Ја верујем у те потенцијале и мисију Фондације која је за добробит дарова младих и основана.

Јован Ћирилов

The Gallery, Reflecting Faith in the Potentials of the City of Niš

Niš is a town of long history, of glorious names from distant past, the venue in which in the minds of Emperor Constantine and Mother Helen today’s European Christian civilization was conceived.

Today, Niš is the city of the young. One needs only to walk along its streets and see them thronging with youthful energy. Energy breeds talent. Such was the belief of Niš native Radovan Lale Đurić, who moved out of his hometown long ago and settled in New York. There he became successful as a painter. He spared no effort, work or resources to start up Niš Art Foundation. Its objective is to help young talented individuals from around our country, and to make a streamlined gallery building, the most beautiful and modern in the region, where every year young artists, up to 35 years of age, will present their creations from the previous twelve months.

Niš, the second city in the country by size, can use this very gallery as a centre from which a new kind of energy, a new view and experience of the world will emerge. In addition, the gallery will also provide an alternative stage for new enterprises in performing arts. 

Thanks to the donation of DIN “Fabrika Duvana“ a.d. Niš, part of Philip Morris International, a company with well-established understanding of the potentials of Niš culture, all conditions have been met for the Foundation to grow and for the gallery enterprise to extend beyond local borders.

It is no secret that in Niš apathy prevails among those who should be supporting the cultural tradition of this city, which is by no means neglectable.

The energy that will glow from this gallery, as the core of new ventures, will provide impetus to other events in the city, too. The gallery, and faith in the youth of those around it, will bring in new hope for the artistic potentials of Niš. I believe in those potentials and in the mission of the Foundation, which started precisely with the benefit of youthful talent in mind.

Jovan Cirilov

Umetnost mladih

U dugom proticanju vremena, Niš, Naissus ili „grad nimfi” kako su ga prozvali Rimljani, jedna je od čudesnih tačaka istorije koja se pamti i one koja je izgubljena kao vreme samo, bez onih koji je beleže da bi ostala upamćena za one druge koji će tek doći i koji su isključeni iz kolektivnog pamćenja. A opet, poneka godina, broj, poveže te odvojene tokove različitih i udaljenih vremena. Iz nekog podsvesnog nagoveštaja, tražila sam u godinama važnim za Niš događaje koji su se odigrali na broj šest u datumu. To traganje dovelo je do nečega što mi se i unapred činilo da je moralo da se desi: možda jedan od najpompeznijih događaja zbio se 306. godine kada je jedan od najpoznatijih Nišlija, a kasnije i veliki reformator Rimskog carstva, Flavije Valerije Konstantin (Konstantin Veliki) baš tu, ne u Rimu, proglašen za rimskog imperatora; u godini sa obrnutom šesticom, 1189, u vreme Trećeg krstaškog pohoda, Stefan Nemanja se u Nišu susreo sa Fridrihom Barbarosom radi dogovora oko strategije u borbi protiv Vizantije; 1886. godine u Nišu je usvojen zakon o osnivanju Srpske kraljevske akademije; 1966. godine osnovan je važan kulturni festival „Filmski susreti”. I najzad, ove 2006. godine, 3. aprila, počinje da se događa i nastaje Nis Art Foundation - NAF, ili umetnost mladih. NAF je nastao na osnovu toga što je Niš imao sreću da dobije donatore, DIN - Philip Morris, koji imaju nameru da pomognu i promovišu mlade umetnike tako što se putem konkursa vrši izbor radova, a onda se uz katalog i izložbu prezentuju radovi umetnika sa prostora Srbije i Crne Gore. Tako je počelo, tako je ove godine.

Nadamo se i imamo želju da Fondacija traje godinama. U ovoj godini osnivanja i prvoj godini održavanja konkursa nagrađuju se tri umetnika. Mladim umetnicima je, dakle, omogućeno da imaju svoj veliki početak, da imaju izazov, duhovni uzlet, da imaju mogućnost odslikavanja vizije današnjice, svega onoga što čini umetnost, mladost, traženje i nalaženje, bunt i radost, ili naslućivanje mogućnosti. Rečju, osnovana je jedna nova fondacija koja se okreće mladim umetnicima, a što će kao i prethodni datumi trajanja brojanog u milenijumima obeležiti Niš i Beograd, kao dve važne tačke na putevima istorije, osvajanja, ali nadamo se i budućnosti ovog prostora.

U obilju materijala koji je stigao na konkurs iznenađuje individualni pristup umetnosti. Prvobitno se očekivalo da će radovi mladih umetnika moći da se klasifikuju kroz jedan određeni pristup zvaničnim pravcima umetnosti sveta. Gledajući, međutim, radove, odabirući između skoro 2500 slika, grafika, skulptura, crteža i oko 800 umetnika, nameće se, kao jedan od generalnih zaključaka, misao da su svi pravci mogući, da su periferno zastupljeni, a da se pritom ne sagledava kom prostoru, kojoj državi ti radovi pripadaju, odakle su. Oni ne nose na prvi pogled obeležje mesta. Obično se na velikim svetskim izložbama nepogrešivo lociraju umetnici – da li dolaze iz Afrike, Severne Amerike, Južne Amerike, Azije. To se vidi po onome što rade, po izboru boja, po temama, po okruženju u kome slika nastaje. Ovde se naprotiv, nije dalo detektovati mesto. Kao da radovi ovih mladih umetnika pripadaju univerzalnom, opštem svetskom duhu. A opet, broj gradova je ograničen na Srbiju i Crnu Goru.

Globalno pitanje trenutka se nameće kroz izbor tema, kroz bunt ili odsustvo bunta, ravnodušnost, kroz portrete, tela, mermer, nesanicu, kroz geografiju danas važnih zemalja, kroz parlament, tetovaže, mrljice, kroz prizore neba, njihovu raznovrsnost, kroz travu na doručku, kroz boju koji guta sve pred sobom, vedute ranžirne stanice, lavirinte, kroz sećanje na Dišana i njegov Bicikl iz 1913, kroz gnev kao krik, kroz strah, kroz jedan dobar Pop Art objekat Velikog pakovanja od pet komada, gde se po ko zna koji put, ne bez ironije, okrećemo potrošačkom društvu, sa prizvukom najlonskih kesa u koje smo svi pomalo spakovani, a koje same za sebe već prete da preplave planetu u svom više miliona dugom vremenu poluraspada. Kese će nas naživeti. Uz takve kese, tu je i Kesa šećera, napravljena od mermera, za koju se pitamo nije li i ona iz kese neke afere ili je to čisti Pop art objekat.

Izoštreni pogled se vidi i u rečenici koja čini sliku „I am for the art which is up to the neck involved in every day shit, but no matter what, it still appears on it's top”. To je krik, kao dobar proglas umetnosti današnjice, opterećene prizorima slika i događaja ležernog, opuštenog, površnog sveta u kome živimo. Ako umetnik nazove svoj rad Između nade i beznađa, zapitamo se, gledajući tu totalnu sliku, opštu sliku sveta, nije li ovo teritorija izgubljenih duša, nismo li svi mi kao onaj puž na ivici žileta sa skulpture Capaea nemoralis i da li ćemo uspeti da tu ivicu pređemo neozleđeni.

Između naslova dela, od Vidika do Dvanaestorice, od Inicijacije do Lavirinta, od Errora do Zlatne kupole, od Bagera do Paukovog gnezda, susretali smo se sa raznorodnim interesovanjima i idejama, koje, naravno, svoje opravdanje i pobude nalaze u samoj slici. A pitanje naslova je uvek važno, ono daje i putokaz i ideju, i otvara mogućnost komunikacije sa posmatračem. Moglo bi se reći da je ovo novo vreme postmodernizma, da je akumuliralo iskustvo poslednjih sto godina moderne umetnosti, ali i da joj ne robuje. Ovo je najnoviji talas ironije, skepse, rafiniranog sarkazma, određene nonšalancije i možda ponajmanje mladosti. Gledajući sama dela, stiče se utisak da su umetnici jako zreli, da su mnogo prošli, da su ove teške godine donele zaista jedno prevremeno sazrevanje, jedno iskustvo više, koje možda drugi nisu imali. Na prvi pogled se pomisli da su prezasićeni svojim iskustvom i da nisu obuhvatili ništa od onoga što je oko nas, da nisu dovoljno aktivni na polju primećivanja i beleženja vremena kome pripadaju, ali na odloženi, drugi pogled, biva jasno da su u svoja dela uključili sve. Možda je to zasluga globalne mreže koja se svakodnevno koristi, koja se gleda, prati, isto na svakom kraju planete, u istom trenutku, sa kojom se živi i gde je moguće u nekoliko sekundi dobiti i informaciju, i dezinformaciju, i demanti, i saopštenje, i reakciju, i komentar i montažu, i proverene izvore, i potvrđenu vest, i sliku sa lica mesta, i svedoke, očevice sa bilo kog kraja sveta. Esencijalna karakteristika ovih radova je taj jedan, vrlo poseban stav prema činjenicama i događajima, koji je tolerantan, skeptičan, ironičan, ali blago, skoro prikriveno, kao da su umetnici želeli da sačuvaju svoju dušu od dodira.

I kao što su Evropa posle Prvog svetskog rata, a Amerika posle Drugog svetskog rata doživele veliki umetnički procvat, možda i mi sada doživljavamo procvat umetnosti i prema njoj stvaramo jedan poseban, drugačiji odnos. Imam utisak da će se možda ovim naporom i uz pomoć Nish Art Foundation napraviti jedna nova idejna postavka stvari. Ovo je prva godina, ovo je početak, ali očekujem da će Niš i Beograd, a uz njih i Novi Sad, Zrenjanin, Podgorica, Kragujevac i drugi gradovi postati novi umetnički centri, zajedno sa energijom ovog mladog sveta koji tek stupa na scenu. Po ovoj prvoj izložbi vidi se da ima nade.

Olja Ivanjicki, 23. februara 2006. Godine

 

The Art of the Young

In the long course of time, Niš, Naissus, or »the city of nymphs«, as it was called by the Romans, has been one of those remarkable places in history which are remembered, and still lost as time itself, without those who would take notice of them so that they could remain in the memory of those yet to come, thus excluded from collective memory. Yet again, a year, a number, serves to connect such distant currents from different, remote periods. Out of such a subconscious hint, in the years important for Niš I have looked for events having occurred with the number six in their date. The search has led me to what I thought had to happen: perhaps one of the most pompous events came in 306, when a most famous Niš native, later the great reformer of the Roman Empire, Flavius Valerius Constantinus (Constantine the Great), was proclaimed emperor right here, not in Rome; in the year with a six turned upside down, 1189, during the Third Crusade, Serbian Grand Duke Stefan Nemanja met Frederick Barbarossa here, attempting to agree on the strategy of struggle against Byzantium; in 1886, the Act on the foundation of Serbian Royal Academy was passed in Niš; in 1966, an important film festival was initiated, the »Film Encounters«. Finally, this year, 2006, on 3 April, there emerged Niš Art Foundation, or the art of the young. NAF was founded due to the fact Niš was fortunate enough to have donors, DIN – Philip Morris, who are determined to aid and promote young artists by announcing an open competition to select works of art, and then making a catalogue and organizing an exhibition to present the pieces of artists from Serbia and Montenegro. This is how it started, this is how it is this year.

We hope and wish that the Foundation would live on for years. In this founding year, the first year of open competitions, three artists are rewarded. Young artists are, therefore, allowed to have their grand beginning, to experience a challenge, a spiritual ascension, to get the opportunity to present their vision of today, of all that makes art, youth, search and discovery, revolt and joy, or a hint of possibilities. In a word, a new foundation has been opened, such that it should turn to young artists, and this act will, as was the case with the previous dates in the millennium timeline, once again highlight Niš and Belgrade as two important points on the path of history, conquest, and, we hope, the future of this land.

In the abundance of material that arrived in the competition individual approach to art is what surprises most. We first expected that pieces of young artists would be classifiable by means of a particular approach to official global art schools. However, viewing the works, selecting from among almost 2,500 pictures, prints, sculptures, and drawings of around 800 artists, we reach a general conclusion that all streams are possible, that influences prevail only on the periphery, while there is no clear impression where the makers are from, whether they belong to a particular area, or a country. At first glance, they do not indicate a specific location. In major exhibitions in the world, one can usually unmistakably locate artists – whether they come from Africa, North America, South America. It is seen in what they do, in how they choose colours, in their topics, in the environment in which a painting emerges. Here, on the contrary, the location is not easy to detect. As if the work of these young artists belongs to the universal, global mind. And still, the number of towns is restricted to Serbia and Montenegro.

The principal question of the moment imposes itself in the selection of topics, in the rebellion or the lack of it, equanimity, portraits, bodies, marble, insomnia, through the geography of the countries today deemed important, in the parliament, tattoos, stains, views of the sky, their diversity, grass on the breakfast, colour devouring everything in its way, sights of train shunting stations, mazes, in the recollection of Duchamp and his 1913 Bicycle Wheel, through the rage of a yell, through fear, though a fine Pop Art object of Big Package of Five Pieces, the who-knows-which instance of return to consumer society, not devoid of irony, with the aftertaste of nylon bags in which we are all packed somewhat, and which themselves threaten to overwhelm the planet due to the semidecay time measured by millions of years. Bags will outlive us all. Along with such bags, we also find the Bag of Sugar, made of marble, and wonder whether it might have come from an affair bag, or whether it is just a Pop Art object.

Keen perception is also found in the sentence making up one painting: «I am for the art which is up to the neck involved in everyday shit, but no matter what, it still appears on its top». This is a yell, a fine proclamation of today’s art, burdened by the images from pictures and the leisurely, relaxed, superficial world we otherwise live in. If an artist names his or her work Between Hope and Hopelessness, we wonder, looking at that total painting, the overall image of the world, if this might be the territory of lost souls, if we all might be the snail on the blade of a razor, as shown in the sculpture Cepaea nemoralis, and if we will manage to cross over the blade unharmed.

Between the titles of artworks, from Views to The Twelve Men, from Initiation to Maze, from Error to Golden Dome, from Dredger to Spider's Nest, we encounter diverse interests and ideas which, naturally, find justification and inspiration in the very picture. And the issue of the title is always important, it provides guidelines and the idea, and opens up the channel of communication with the observer. One could say that this is the new era of Postmodernism, that it has accumulated the experience of the last one hundred years of modern art, but that it does not act as modern art's servant. This is the latest wave of irony, skepticism, refined sarcasm, certain nonchalance, and, perhaps least of all, youth. Looking at the pieces, one gets the impression that the artists are very mature, that they have been through a lot, that these difficult years have indeed brought about a precocious maturation, additional experience that others might not have had. At first glance one thinks that they are too saturated with their own experience, and that they have not incorporated anything from the world around us, that they are not active enough observing and noting the time they belong to. However, after a pause, the second glance reveals that the works have incorporated all. This may be due to the global network they use and view on a daily basis, the network they live with, where in a few seconds one can get information, and disinformation, a denial, a statement, a reaction, a commentary and an edited recording,  as well as credible sources, confirmed news, images from the spot, testimonies, and eye-witnesses from every corner of the world. An essential feature of all the pieces is this very special attitude to facts and events, which is tolerant, skeptical, ironic. However, there is a moderate, even concealed tendency which suggests the artists might have wished to save their souls from external touches.

As it was in Europe after the First, and America after the Second World War, perhaps here and now we live in the age of the blossoming of art, where we are creating a specific, different relation to it. My impression is that this effort, supported by Niš Art Foundation,  might make a conceptually new setting. This is the first year, a beginning, but I anticipate that Niš and Belgrade, and along them Novi Sad, Zrenjanin, Podgorica, Kragujevac, and other towns will become art centres, boosted by the energy of these young people just coming to the scene. Judging by the first exhibition, there certainly is hope.

Olja Ivanjicki, 23 February 2006



Last Updated on Monday, 27 May 2013 22:05