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Wednesday, 28 February 2007 14:59
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MLADI - DRUGI TALAS  07

Pred pedesetak slika, crteža i skulptura mladih stojim  radoznao da sebi njihovu umetnost objasnim kao njihov doživljaj sveta. Daleko od toga da vizuelnu umetnost  shvatam kao puki odraz stvarnosti u kojoj žive, mogu ipak sebi da dozvolim da vizuelni svet koji su oni stvorili od boja, žica, kamena, olovke, hartije i gvožđa shvatim kao njihovu emociju. One te emocije čak ne moraju biti svesni, baš kao ni oni umetnici koji su se rodili davno pre njih.

Umetničko delo je katkada više, a katkad manje  od namera umetnika. Ali je uvek nova stvarnost koju umetnik dodaje svetu svojim darom. Njihovo delo taj svet dopunjuje, menja, ocenjuje, ublažava, stavlja pod znak pitanja  i mnogo štošta još.

Pedeset jedan mladi umetnik od 22 do 35 godina koje su između blizu osam stotina njihovih vršnjaka-umetnika  izabrali rođeni pre njih, ovoga puta mi deluju određeniji, opredeljeniji, vičniji nego oni od pre godinu dana.

I jasniji mi je njihov profil.

Velika većina njih je ironična, čak do sarkazma. Oni se podsmevaju svetu koji ih okružuje, bilo da svet odraslih shvataju kao grotesku, ili malograđansko životarenje, ili neprebolnu ružnoću egzistencije, ili pohlepnu erotičnost.

Gotovo svi ili polaze od apstrakcije da bi kao u nekoj vizuelnoj zagoneci smestili pojedinost gotovo očigledne figurativnosti. Ili od konkretnog idu u apstrakciju. Jer čak kad su opredeljeni za figuraciju, kod njih se oseća da je slikarstvo ove zemlje prošlo ozbiljni period vizuelne apstrakcije,  te je ona prisutna kod njih u enformelu pozadine, najčešće nekog konkretnog zida.

Velika većina izabranih su devojke, dve trećine. Ali ne može se reći da te dve trećine slikaju ženskim rukopisom, kako se to odomaćilo da se kaže u svetskoj i našoj literaturi. Ne, slike, skulpture i crteži su snažnog zamaha, čak besne. Nisu nikakav sitan vez, nedajbože slikarska ili vajarska čipka. Žene su se kod nas  očigledno ostavile pletećih igala i tkačkog razboja. Slikaju masnim bojama, delju grubi kamen, letuju ljuto gvožđe, kao da je oružje a ne oruđe.

A mladi muškarci, među ovim mladim umetnicima dive se sebi, svojoj muškosti, svojoj lepoti poteza, svojoj poželjnoj manjini mladih slikara i vajara.

A oni najbolji među najboljima na ovoj izložbi sigurno će nam pružiti nešto novo po kojima ćemo u budućnosti prepoznati baš ovu 2007. godinu.

Ukoliko to bude tako to će značiti da je Niš Art fondacija sa svojim donatorom Filip Morisom ispunila svoju misiju.

Jovan Ćirilov, 10. mart 2007.

THE YOUNG – THE SECOND WAVE ‘07

Here I am, curiously standing in front of a dozen paintings, drawings and sculptures done by young people, trying to explain their art to myself as their experience of the world. Far away from understanding visual art as mere reflection of the reality they live in, I can just allow myself to perceive the visual world they created with colours, wires, rock, pencils, paper and iron as their own emotion. They do not even have to be aware of the emotion, just like the artists born long before them.

A work of art presents an intention of the artist, sometimes more, sometimes less so. But it is always a new reality that the artist adds to the world with his gift. Their work fulfils the world, changes it, evaluates, mitigates, questions it and much more.

Fifty-one young people, age between 22 and 35, who were selected among eight hundred artists their age by the ones born before them, seem more precise this time, more determined, more agile than the ones from a year ago.

And I can see their profile more clearly.

A great majority of them is ironic, sarcastic even. They flout to the world around them, whether they perceive the world of adults as grotesque or provincial easy-living, or as an impossible-to-overcome ugliness of existence, or as greedy eroticism.

Almost all of them either start from the abstract in order to put a detail of almost obvious figurativeness into a visual riddle, or start from the concrete and go to the abstract. Because, even when they are in favour of figuration, one feels in their work that the painting of this country passed through a serious period of visual abstraction, and so it is present in their works as background, usually in the form of a concrete wall.

A great majority of the selected ones are girls, two thirds of them, actually. However, one cannot say that these two thirds have “female signatures”, as it is usually said in world literature, as well as in ours. Quite the contrary, the paintings, sculptures and drawings have a strong lunge, fury even. They are not fine embroideries, let alone pictorial or statuary lace. Women here have obviously given up on knitting needles and weaving loom. They paint in oil colours, carve rough rock and solder hot iron as if it is armour, not an instrument.

Young men, on the other hand, among the young artists, admire themselves, their manliness, their beauty of strokes, their desirable minority of young painters and sculptors.

And the best of the best on this exhibition will certainly give us something new, something that will be able to identify the year of 2007.

If that happens, it will mean that Niš Art Foundation, together with its sponsor, Philip Morris, has fulfilled it mission.

Jovan Ćirilov, March 10, 2007

Niš Art Foundation has entered the second year of its humanitarian and artistic existence. Once again, 2500 paintings, drawings, graphics and sculptures have been previewed. Therefore now, two years later, we should give a general impression of the young, such as their world view and our view of them; the way they see the world of today with their own eyes, because we don’t have the same dioptre, nor the same world view anymore, not even the same time, or the angle from which we observe. Their angle, in comparison to the angle from which we value both the world and themselves, has already moved to some other meridian, some other location. One could say that our location has been dislocated to certain extent from this time, it already gives a good insight into many issues, which cannot be reached by the young because the “big time” has passed by, and all they have is their own, present time. The issue of their present is the topic of all those paintings that have been seen this year and the last, and, hopefully, for many more years, until the passion ceases.

It is how the world of today looks, observed from their angle, what they have to offer though their work, because regardless of how personal it is, it is general, as well. So, through one’s personal world view, one gives the picture of the world which could express precisely and exclusively the present moment. They, too, deal with the present. The issue of the present is rather meagre because of one and the only reason: that is, how we live, where we live and how we lived in the past in comparison to the life of today. There is no chance for any event to occur without us knowing about it the very moment it happened. There is no more mail that we wait for that is not received the same moment it is sent from here, or any other place in the world. The speed of the message, the speed of the transfer of thoughts, the speed of events, doesn’t happen in the same way in these paintings; it is as if nothing from the technological revolution, that we have achieved until today and that we achieve every moment when adding up onto something that already exists, up to the limitless speed with which we will soon be getting messages from Mars, with the delay of only a few seconds, or data from Venus or Jupiter, that same speed cannot be seen in these pictures. According to the themes and the choice of motifs, these paintings seem to be made at some moment other that the present one. I wonder why and where we have stopped. I don’t say that the moment should be shown in the painting, but it shouldn’t, under any circumstance, be neglected. As if the growth of what is within doesn’t follow the growth of what is outside. The one within has stayed behind, squatted, faded away. Maybe it is the matter of school, education, maybe the matter of what is actually studied in these schools for art crafts, if the system of tuition is good enough.

I don’t know much about the system of tuition today because I haven’t stepped into school ever since I finished it, and it has been a while since then. It seems as if something in these schools does not function alongside the time it happened in. I do not wish to claim that all these are school works, i.e. that they are related strictly to school, because there is life outside schools as well, outside academies, outside institutions where formal education is acquired. There are also such people who have created art by themselves, for themselves and in themselves. However, watching a major part of a year and young generations, I get the impression that art is on some crossroads, and to have, to some extent, the insight into what is happening anywhere else, not in details, of course, is very difficult, there’s a lack of information. There is little possibility to see the big picture of what is happening in art today, because on any television channel in the world, not to mention newspapers, magazines, which are too sparse, there are very little reports about what should be written about the most, the art. The furthest point they have come to are shampoos and fashion. These are the topics we are best informed about. And about dandruff, as if it is a general occurrence, which has occupied all places in giving information and on the world top lists; as if all people have dandruff and the only issue is how to lose it. Then, the Big Brother was invented, and in the Big Brother a Big Problem happened. What happened is that, because of a single sentence, the whole India was offended. A conclusion was drawn that there are many racial problems. All everyone wanted was to obliterate the racial problems, it has been insisted for years that there are no racial problems and now it turned out that these racial problems cannot be obliterated. Everyone crossed all lines. They dispersed. We are faced with the situation of seeing the faces which we like or dislike, more or less, thinking, why should everybody like everybody else?

The art of the young lies somewhere among all that, and yet, I cannot give the formula of what it should be like, but what I would like to get is the time through these exhibits of the present moment, and the exhibits of the present moments are the young present generations. If I compared drawings from my youth to the drawings of these generations, which might be a good way of observing, then, maybe, by the method of comparative consideration, we would get to the point where it used to break, where the difference was, if there was one at all, and what caused the problem. Maybe I ask too much from this perspective from my relation to the world, because the real question is if the young are ready to give more. Obviously, they aren’t, because what they give and offer is what they can.

Is that maximum enough? When we look at the racers, we neglect all others but the fastest, the first one. Next year we will expect him to be a second faster, as it usually is, and so the world records are broken. Therefore, the maximum is what always counts. And then it is the question of that part of the second of the one who ran or swam, if he had the wind, if he wore the bathing cap or not, if he was dressed better. That second, or the part of the second, is determined by the shark leather suit, which is smoother that any person’s skin, regardless of the colour, type A, which sweats, makes bubbles and slows down, in comparison to the shark’s leather, which the fastest swimmer, the irresistible Ian Thorpe, was wearing at the last Olympics; besides, what is also taken into account is the way he jumped, the position of his body and the foot work, which was never seen before. What is needed is the maximum of the second. And where is that second in art? What is it reflected in? Where is that pompous countdown in art?

There is no answer to that question. Maybe the answer is in the collection of all works, in the choice of the themes, first of all, because if we agree that the means of expression are canvas, colours, brushes, black lead, a pencil, and a little more complicated in sculpture, whether it is clay, or rock itself, or wood, glass, ceramics, wire, iron, if we, then, agree that in this concept of the Niš foundation it is all about the classical materials, having into account that there is also video and photography, as well as their modifications, it is also about what the modern times brought, which altogether represents the language of art, the attributes to art, the question is what are the ways it can be seen. The art today has come out of a certain frame, which it has changed at the same time, and all that is done, that happens, that is spoken about, that is insisted on, could also be called the art today, which is rather different from the past artistic time, which, again, had its wide frames, starting with the architecture of the palaces, tombs, pyramids, arches of triumph, gardens, the seven world wonders, etc. Never has the repertoire been narrow, nor is it today. Even sometimes, someone feels something more and better.

Within the scope between the Difficulty of raising self-esteem to the Uniform of a faceless soldier, masked, pernicious, dangerous, seductive, modern, ready, or the line of nameless simple-minded fat women, something like a study, an maybe something more than that, or between the Seven layers of the sky and the Simultaneous game with masters, there is the story of the year 2007. All areas dominate, from the ecology of Sea protectors, to the autumn When the winds start and chestnuts fall, within the scope of the tempests, through the ones without titles, to the rock in the shape of the Pillow to put under your head, and the following Insomnia with prolonged shadows in the black and white darkness, from the joyful cat and mouse as a secluded echo of a fight for survival, to peppers, red, full, mellow, through the blast of a kiss and a stately foot of a palm tree in America for beginners, from a dizzy agave of an atomised cube, which appears both as a game of the old masters and as a sculpture, which moves, together with Predah and Piet, inventively and intensively, through the idea of mellow graphiti, the representatives of the street wrath, irony and satire, now moved into a gallery.

An finally, a greeting of a Cosmonaut from the darkness of the space, to us on the Earth, the Crucifixion as a form of the agony of the planet, or the eyes of Teodora, which, the longer I look, the more I ask from, expect from.

And, for the end, we could swing on the Carousel a little and go back to the very beginning, to the mail, to the charming nonchalance of the Post Office, SMS message, Chat Room, with the cage without the bird, with the dog without the reason and quoted Bukovski.

With this preface, I am trying to address the young artists, to start a dialogue in a way. I am trying to transfer what is the most radiant, and that is the love of art. I only know that we will not make a mistake IF…

Rudyard Kipling – If

If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
But make allowance for their doubting too,
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise;

If you can dream--and not make dreams your master,
If you can think--and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools;

If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"

If you can talk with crowds and keep your virtue,
Or walk with kings--nor lose the common touch,
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much,
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And--which is more--you'll be a Man, my son!

Olja Ivanjicki

February 19 / March 8, 2007

Подршка духу иновације...

Април 2007. друга година Нишке уметничке фондације

Млади таленти Балкана поново су на сцени како би све нас још једном опчинили својим савременим порукама. 

Енергију на платну, педесет емоција преточених у боју, педесет различитих форми визуелног изражавања, педесет неуобичајених погледа на нашу тренутну стварност, педесет порука пуних наде,  шаљу нам даровити млади људи са жељом да изненаде и  покрену све оне који верују да је уметност снажана форма израза, језик који не садржи речи али има моћ да пренесе осећања, опажања, интуицију...

Бизнис и уметност, насупрот мишљењу многих, имају много тога заједничког: обоје живе од исте индивидуалне енергије, обома је потребна слобода како би остварили свој израз, причају језиком друштва у коме живе, обоје живе од промене и иновације, обоје су у потрази за видљивошћу и одговарајућим простором како би пренели своју поруку...

У транзиционом окружењу какво је Србија, промене у друштву, економији, начину живота, култури представљају свакодневна правила игре, а уметничке експресије откривају невидљиво и постају глас свега што је неизречено. Уметност је креативни напор, она предвиђа трендове у друштву и говори нам о окружењу у коме живимо више од било које форме уобичајене комуникације.

Управо из тог разлога водећа транснационална корпорација, попут оне коју ја представљам, подржава даровите младе људе и њихове уметничке изразе, посебно у области савремене уметности и то на светском нивоу.

Таленту је потребна нега, потребна му је шанса, а пре свега подршка. 

Зато смо посвећени пружању подршке младим уметницима Србије и Балкана кроз Нишку уметничку фондацију.

Поздрављам педесеторо нових амбасадора уметности, њихов стваралачки напор и чврсто верујем у њихов допринос побољшању друштва коме припадамо.

Eugenio Sidoli

генерални директор

ДИН – Фабрика Дувана а.д. Ниш, у саставу Philip Morris International

Supporting the spirit of innovation…

April 2007, year two of the Nis Art Foundation.

Young talents from the Balkans are on stage again to charm all of us once more with their contemporary messages.

Energy on canvas, fifty emotions in color, fifty diverse forms of visual expression, fifty unlikely outlooks on our contemporary reality, fifty hopeful messages from young talents wishing to surprise and engage all those who trust that arts are a powerful form of expression, a language not made by words but capable to spread feelings, perceptions intuition …

Business and art, unlike many may think, have a lot to share; they both live out of the same individual energy; they both need freedom to express themselves; they both talk the language of the society they live in; they both live out of change and innovation; they both seek for visibility and for an appropriate space to get their message across…

In transitional environments like Serbia, changes in society, in economy, in lifestyles and in culture are the name of the game and art expressions uncover the invisible and voice the unspoken. Art is a creative effort; it anticipates trends in society and it tells us more about the environment we live in than any other form of conventional communication.

That’s why a leading trans-national corporation, like the one I am representing, is supporting talents and art expressions, especially contemporary arts, at a worldwide level.

Talent needs nurturing, it needs a chance and – most of all – it needs a supporter.

That’s why we are committed to supporting young contemporary artists in Serbia, and in the Balkans, through the Nis Art Foundation.

I welcome these fifty new ambassadors of arts, I commend their creative effort and I very much trust their constructive contribution to the betterment of the society we belong to.

Eugenio Sidoli

Managing Director

DIN – Fabrika Duvana a.d. Nis, an affiliate of Philip Morris International



Last Updated on Monday, 27 May 2013 22:05