Young 2006 Print
Wednesday, 28 February 2007 14:59

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


 

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


„MLADOST 2008“

Sa prolećem 2008. godine stigla je još jedna pregršt likovih dela mladih Srbije do 35 godina. Između dve hiljade radova žiri Niš Art Fondacije je izabrao oko pedeset radova četrdeset devetoro  umetnika koji će biti izložene u Nišu, Beogradu i Novom Sadu. Između njih troje umetnika dobiće prvu, drugu i treću nagradu kao najbolji.

Tri godine je u razvoju umetnosti kratak period. Ali ne i u životu mladih umetnika. Tako umetnici koji su prošle dve godine izlagali, a neki od njih dobili i nagrade,  ovoga puta su  ponudili  zrelije  radove, ne odričući se ni svojih tema, ni stila, ni  tehnike. Znači da im je uspeh bio podstrek za njihov napredak.

Iako nije lako uočavati tendencije u umetnosti u kraćim vremenskim periodima, dozvoliću sebi da napišem šta sam uočio gledajući dela ovogodišnje Izložbe mladih 2008.

Pre svega prisutne su najrazličitije tehnike, među kojima preovlađuju kombinovane tehnike, na primer vareno gvožđe i kamen, terakota i gvožđe,  digitalni  print na kamenu ili na drvetu...

Ukoliko je reč o klasičnoj tehnici, kao što je ulje na platnu, onda su slike svedenih boja, često samo sa jednom hromatskom bojom osim nehromatske crne i bele.

Ukoliko je reč o apstrakciji, ona je najčešće poetična, daleko od enformela 70-ih godina prošlog veka. Ako je pak reč o figuralnoj slici, ona je često umetnost o umetnosti, kao što je "Holivudski oltar" varijacija na temu čuvenog Ganskog oltara braće Van Ajk iz XIV  veka, ali gde su likovi svetitelja zamenjeni   licima iz istorije Holivuda od Merlin Monro do Breda Pita.

Ironičnost te varijacije je karakteristična za većinu radova mladih umetnika 2008. godine. Možda je ta ironija posredna reakcija na stvarnost u kojoj žive mladi. Prava su retkost direktni komentari naših mladih slikara na tešku društvenu stvarnost (kakvih je bilo u ekspresionista 20-tih godina XX  veka). Pa i u tom slučaju likovnost je primarna vrednost. Da li je možda ta uzdržanost u odnosu na stvarnost  prezir prema toj stvarnosti i stvaranje svog sopstvenog boljeg sveta.

Taj bolji svet nije dopadljiv u banalnom smislu reči, ali  je izrazito likovni i univerzalan. Verovatno većina naših mladih umetnika nemaju vize za slobodni ulazak u  Evropu, ali, svojim radovima oni su apsolutno na nivou svojih evropskih vršnaka. Znači da su  već uveliko u Evropi.

Jovan Ćirilov, mart 2008

„YOUNG 2008“

With the coming of spring 2008, another spectre of visual artworks of the young of Serbia up to 35 years of age arrived. The jury of Nis Art Foundation selected around fifty among two thousand works of forty nine artists, which will be exhibited in Nis, Belgrade and Novi Sad. The best three of these artists will be given the first, second and third prize.

In the development of art, three years is not a long time. But not so in the lives of young artists. Therefore, the artists who have exhibited during the last two years, some of who were even given awards, this time offered more mature works, not renouncing their themes, styles or techniques. This shows that success was a stimulus for their progress.

Although it is not easy to perceive tendencies in art in short time periods, I will allow myself to write down what I have noticed watching the works of this year’s Exhibition of the Youth 2008.

First of all, various techniques prevail, among which there are combined techniques, for example, welded iron and rock, terracotta and iron, digital print on the rock or wood etc.

If we consider classical technique, such as oil on canvas, then there are paintings of derived colours, often with one chromatic colour beside non-chromatic black and white.

If it is about abstraction, it is most often poetic, far away from the informell of the 70’s from the last century. Anyway, if we speak about a figural painting, it is quite often art about art, the way Hollywood Altar is a variation of the famous Ghent Altarpiece by brothers Van Eyck from the XIV century, but where the faces of the saints are replaced by characters from Hollywood history – from Marilyn Monroe to Brad Pitt.

The irony of that variation is characteristic of most works of young artists in 2008. Perhaps that irony is an indirect reaction to the reality they live in. It happens very rarely that our young painters make direct comments of harsh social reality (similar to those made by expressionists in the XX century). Even in that case, visual art is the primary value. Is that restraint towards reality actually disdain for it or a creation of their own new and better world?

This new world is not likable in the banal sense, but it is very artistic and universal. Probably most of our young artists do not have a visa for a free entrance in Europe, but, with their works, they are on absolutely the same level as their European age-fellows. It means they already are in Europe.

Jovan Cirilov, March 2008

Stvara se nova elita!

Sa dozom ponosa i tihe radosti svih nas u Niš Art Fondaciji počeli smo odbrojavanje u suprotnom pravcu od onih sudbonosnih, kosmičkih, nuklearnih, kada se počinje od deset i dolazi se do nule. Mi smo počeli od nule, a danas stižemo do broja tri.

U ovom vremenu, u ovim našim teškim godinama ništa nije lako, a evo, pred nama su opet slike, skulpture naših mladih. I šta nam kaže ova godina? Pokušavam da je sagledam u onom sjaju mladosti, mogućnosti i moći, koju oni pokušavaju da iskažu. Kao i uvek, a to moram da naglasim sada, pojavljuje se prizvuk sumnje u mogućnost intervencije roditelja, poznanstava, prijatelja, bilo koga, ali mogu vam dati svoju reč da je početak svakog žiriranja bio slika, skulptura, odnosno rad, čak ni ime ni prezime autora. Dešavalo se da prepoznamo one koji su već učestvovali i bili viđeni ranijih godina, i to opet samo i isključivo preko radova, koji nose njihov pečat, sa uočljivim napretkom. Sa radošću smo onda upoređivali imena od prethodne dve godine. Neki ipak ponavljaju učestvovanje i traže mogućnost za sebe, raduju i nas, zato što već počinje da se stvara određena kategorija onih koji misle na jedan poseban način i nas koji ih prepoznajemo. Širi se krug Niške Art fondacije. Ove godine smo konstatovali da u našem statutu ne postoji ograničenje u broju slika koje neko može da izloži, pa smo nekima dali  mogućnost da izlože više slika. Nama u žiriju se činilo kao da smo se odlučili oduvek da samo jedna slika predstavlja nekog autora. Ove godine smo konstatovali da to niko nije izgovorio i da smo to podrazumevali ali svako za sebe, niko nije postavljao pitanje više dela jednog autora. Ove godine se pokazala ta potreba jer su se ove godine neki autori potrudili malo više od ostalih i napravili svoje male opuse.

Šta nam nudi ova godina, šta su nam rekli mladi? Ono što sam konstatovala pri prvom gledanju je da ima više prisutnosti u sadašnjosti, u onome što nam nude mediji, kasni večernji programi na nekim televizijskim stanicama. Jedan od onih koje prepoznajemo od prošle godine je i Nikola Marković, sa ciklusom „Iz neverbalnog govora“, sa prstima, gde je sve bilo savršeno nacrtano a onda je to sve dorađeno ugljenom, koji je dodao slici jedan gest, nešto posebno, kao da je ugljenom doradio sliku. Tu je, posle prošlogodišnje kese sa šećerom, Srđan Arsić, sada sa mermernim predmetima svakodnevice, možda i slikarske svakodnevice, sa „Kanisterom“ i „Tubom od mermera“. Tu je Marija Falker, koja se posle prošlogodišnje „Simultanke sa starim majstorima“ pojavljuje sa „Udvajanjem“, gde se pojavljuju samo Kiš i Borhes. Tu je i Kristina Ristić sada sa triptihom, pa prošlogodišnja nagrađena Tijana Čakić, sada sa „Čekanjem“.

Tu su i novi autori, tu je jedan „Jež oklopni“ Tome Tomića, „Klupko“ Milene Stojanović, „breze“ slađane Đukanović. Impresivna je opomena „Ne hodajte izvan ovog prostora“, Ranke Marković, osim ako ne nosite „Baletske patike“ Andreje Prokopijevića, ako niste u „Holivudskom oltaru“ Nikole Stepanovića a po Van Ajku, ako sa sobom ne nosite „Crvenu gitaru“ Katarine Pešić, ako ne pevate u „Horu“ Smilje Ivetić, opominjućem, dramatičnom, da se pitamo kad sve može da se peva, u kojim situacijama, zašto se peva, tragično, opominjuće, ako ne trčite po Dini Belančić, ako niste na onom „Stadionu“ Aleksandra Dunčića, a stadioni su ove godine u modi, naročito onaj u Pekingu, zvani Gnezdo, ako niste na „Čekanju“, a čekanje se ponavlja na više mesta, u više poza, ali sa jednom istom određenom bojom, pratećom belom bojom, belo na čekanju, uz sivi „Srpski doručak“ Nilana Keleuve. Da li sve da završimo sa jednim opakim bubnjem iz veš mašine, koji, ako bi se uvećao na teritoriju jedne sobe bi mogao da sadrži jedan čitav život, bio bi skoro isto dobar kao izložba Cai Guo Qianga ovih dana u Gugenhajmu u Njujorku. Tu je i „Zid“ Dušice Vesnić, a na koliko načina nešto može da se kaže o zidu? Ima mršavih zidova, ima onih koji imaju puno značenja. Tu su i grafiti, jer život na zidu je ogoljen, sadržajan, vreo. Grafiti neutrališu zid. Cilj zida je ogroman.

U broju tri, odnosno u trećoj godini Niške Art fondacije imamo izložbu mladih, izložbu Olje Ivanjicki, izložbu Leonarda da Vinčija i konkurs za tri najuspelije jednočinke izvedene u Narodnom pozorištu u Nišu. Idemo ka broju četiri, a šta će biti u njemu? Iznenađenja su moguća.

Olja Ivanjicki, mart 2008.

New elite is being made!

With certain pride and silent joy of all of us in Nis Art Foundation, we started a countdown, opposite to the one in the faithful, cosmic, nuclear ones, when they start from ten to reach zero. We started from zero, and today we have reached number three.

Nowadays, in these harsh years, nothing is easy, and here we have again paintings, sculptures of our young artists. And what does this year say to us? I am trying to perceive it in the splendour of youth, opportunity and power which they are trying to express. As always, and I have to point it out now, there are seeds of doubt in the possibility of parent intervention, “friendly” or anybody else’s influence, but I can give you my word that the beginning of every jury session was a painting or a sculpture itself, and not even a name and surname of the author. It happened that we recognised some who have already taken part and were seen earlier, again, solely through their work, who bear their own mark, but with obvious improvement. It is with joy that we then compared names from the previous two years. Some of them, though, take part again seeking opportunity for themselves, which makes us happy, too, because a specific category is being created, a category of people who think in a special way and of us, who recognise them. The circle of Nis Art Foundation is spreading. This year we concluded that in our Statute there is no limit of the number of paintings a person can exhibit, so we gave some of them a chance to present more paintings. It seemed to us in the jury as if we made a decision from start that an author can be represented by only one painting. This year we came to a conclusion that nobody has said that and that we took it for granted, each one of us for themselves, and that no one ever posed a question of more than one work per author. This year there was a need for that because this year some authors made an effort and made their own small opera.

What does this year offer us? What did the young say? What I concluded on the first sight is that there is greater presence in the present, in what media, late night programmes on some TV channels offer us. One of those whom we recognised from last year is Nikola Markovic with the cycle From Non-Verbal Speech, with fingers, where everything was perfectly drawn and then redone with carbon, which gave the paining a gesture, something unique, as if he used carbon to finish the painting. There is, after last year’s Sugar-bag, Srdjan Arsic, with marble everyday objects, maybe objects from painter’s reality, with Jerry-can and Nude – tuba. There is Marija Falker, who, after last year’s Simultaneous Game with the Old Masters appears with Doubling, where only Kis and Borhes appear. There is also Kristina Ristic, now with a triptych, then the last year award winner Tijana Cakic, now with Waiting.

There are also new artists; there is Hedgehog, armoured by Toma Tomic, Bobbin by Milena Stojanovic, Birch trees by Sladjana Djukanovic. What is impressive is a warning Do not walk outside this area by Ranka Markovic unless you wear Ballet shoes by Andreja Prokopijevic, if you are not in the Hollywood Altar by Nikola Stepanovic and according to Van Eyck, if you do not have Red Guitar by Katarina Pesic with you, if you do not sing in the Choir by Smilja Ivetic, which is warning-like, dramatic, makes us ask ourselves when we can sing, in which situations we can sing, why we sing, tragic, warning-like, if you are not a Racer according to Dina Belancic, if you are not in that Stadium by Aleksandar Duncic, and stadiums are fashionable these days, especially the one in Beijing, so-called the Nest, if you are not Waiting, and waiting is repeated in numerous locations, in multiple positions, but with one and the same specific colour, accompanying white, waiting white, with the grey Serbian Breakfast by Milan Keleuva. Shall we finish all this with a fearsome drum from the washing machine, which, if enlarged to the territory of a room, could contain one whole life and would be almost equally good as the exhibition of Cai Guo-Qiang at the Guggenheim Museum in New York? There is also The Wall by Dusica Vesnic, and how many ways there are to say about a wall? There are thin walls, there are those with multiple meanings. There are also Grafitti, because life on the wall is bleak, meaningful, hot. Grafitti neutralize the wall. The aim of the wall is immense.

In number three, i.e. in the third year of Nis Art Foundation, we have an exhibition of the youth, an exhibition of Olja Ivanjicki,  an exhibition of Leonardo da Vinci and a competition for three most successful one-act plays performed in the National Theatre of Nis. We are mowing forward towards number four, and what will be in it? Surprises are possible.

Olja Ivanjicki, March 2008

NASTAVAK PODRŠKE DUHU INOVACIJE

April 2008, treća godina Niš Art Fondacije

"Talentu je potrebna nega, potrebna mu je šansa, a pre svega podrška", reči su koje je napisao moj prethodnik, Eugenio Sidoli, prethodni generalni direktor DIN „Fabrike duvana“ a.d., u sastavu Philip Morris International u katalogu druge po redu Izložbe Mladi aprila 2007. godine. Eugenio, Lale i Niš Art Fondacija bili su idejni tvorci ove izložbe i veoma mi je drago da njihova vizija živi već treću godinu za redom. Drago mi je da je ova izložba postala tradicionalni umetnički događaj u Nišu, Beogradu i Novom Sadu.

Ove godine, Niš Art Fondacija  ponovo pruža šansu mladim umetnicima iz cele Srbije da se njihov talenat prepozna i nagradi. U ovom katalogu predstavljeno je četrdeset devet najboljih radova mladih slikara, vajara i grafičara izabranih između 800 umetnika koji su poslali svoje radove na NAF-ov umetnički konkurs. Sam broj i kvalitet priloženih radova, što potvrđuju i poznavaoci likovne umetnosti, jasno pokazuju da  angažovanje organizacije kao što je NAF doprinosi poboljšanju umetničke scene u Nišu i Srbiji.

Takođe je značajno da se Niš Art Fondacija nije zaustavila na mladim likovnim umetnicima, već je organizovala konkurs za najbolju kratku dramu mladih dramskih pisaca do 35 godina. Zadata tema konkursa bila je prošlost, sadašnjost i budućnost Niša.  Poznato je da je najbolji dokaz uspeha konkursa u oblasti dramske književnosti ako dramski tekst urodi dobrom predstavom.  A to se nesumljivo desilo, što dokazuje i izuzetno velika pažnja medija i ovdašnje publike, sa predstavom "ОдабраNI и уNIŠтени", adaptacijom tri prvonagrađena dramska teksta trojice mladih dramatičara od kojih su dvojica iz Niša  (izabranih na anononimnom konkursu) u izvođenju Narodnog pozorišta u Nišu.

Nije od malog  značaja činjenica da je predstava koprodukcija jedne od najznačajnijih ustanova grada Niša - Narodnog pozorišta i same Fondacije.

Smatram da je to  dobar i ohrabrujući  primer  i drugim ustanovama Niša, za saradnju u oblasti kulture.

Uz našu podršku Niš Art Fondacija preuzima na sebe još jedan interesantan poduhvat -  izložbu posvećenu kodeksima i izumima Leonarda  Da Vinčija. Od maja do jula publika u Nišu i Beogradu  imaće priliku da vidi izuzetnu izložbu preko šezdeset modela izuma, napravljenih po originalnim crtežima ovog genija Renesanse. Modeli predstavljaju vizionarske zamisli budućih robota, letilica, automobila, katapultova i drugih genijalnih Leonardovih zamisli.   

Želeo bih da se zahvalim Niš Art Fondaciji na trudu koji ulaže u podsticanje angažmana mladih umetnika u različitim umetničkim disciplinama i nagrađivanje najkreativnih umetničkih izraza. Njihov trud inspiriše kulturnu kreativnost i spaja poznavaoce i ljubitelje umetnosti iz čitave Srbije da slave mlade talentovane umetnike ove zemlje   

Skip Bornhiter,  generalni direktor

DIN „Fabrika duvana“ a.d. Niš, u sastavu Philip Morris International

CONTINUATION OF SUPPORT TO THE SPIRIT OF INNOVATION

April 2008, year III - Niš Art Foundation

“Talent needs nurturing, it needs a chance and – most of all – it needs a supporter”. These are the words written by my predecessor Eugenio Sidoli, the former Managing Director of DIN “Fabrika duvana” a.d. Nis an affiliate of Philip Morris International, in the catalogue for the second consecutive exhibition--the Art of Young in April 2007.  Eugenio, Lale and the Nis Art Foundation were the leaders in creating the exhibition and I am pleased that their vision continues for a third consecutive year.  I am pleased that the exhibition is becoming a traditional art event in Nis, Belgrade and Novi Sad.

Again this year, the Nis Art Foundation has provided the young artists from all around Serbia with a chance to be heard, recognised and appreciated for their talents.  This catalogue presents the best forty-nine artworks of young painters, sculptors and graphic artists that were selected amongst 800 artists who submitted their work to the NAF Art Contest. The number and the quality of the submitted work, as testified by the art connoisseurs, clearly shows that the engagement of such an organisation as NAF has contributed to improving the art scene in Nis and Serbia.

It is also important that the Niš Art Foundation has not limited itself to fine arts, but it has organized a competition for the best short play written by young playwrights up to the age of 35.  The subject of the plays was the past, present and future of the city of Niš.  It is well known that the best proof of success of a drama related competition is if a play is materialized in a good theatrical performance. And that undoubtedly happened, through great media and public attention,  with the performance "ОдабраNI и уNIŠтени", an adaptation of the three awarded plays written by three young playwrights, two being from Niš (selected during the anonymus competition), starring the actors from the National Theater in Niš. It is of significant importance that this perfomance is a coproduction of one of the most important cultural insitutions in Niš – The National Theater and the Foundation itself. I believe that this sets a good example to other institutions in Niš to encourage cultural cooperation.

With our support, the Niš Art Foundation has another interesting undertaking this year, the Exhibition dedicated to Leonardo da Vinci’s codices and inventions.  From May through July, the public in Niš and Belgrade will have the opportunity to see an outstanding exhibition of more than sixty models and inventions, reproduced according to the original drawings of this Renaissance genius. The models represent visionary conceptions of future robots, hovercrafts, automobiles, catapults and some of Leonardo’s other ingenious inventions.

I would like to thank the Nis Art Foundation for their efforts to foster the engagement of young talents in art disciplines and to reward the most creative forms of expression.  Their efforts have helped inspire cultural creativity and brought together art experts and art lovers from all around Serbia to help celebrate the talented young artists of this country.

Skip Bornhuetter, Managing Director

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


 

Galerija, izraz vere u potencijale Niša

Niš je grad duge istorije, slavnih imena u dalekoj prošlosti, gde se u glavi vladara cara Konstantina i majke Jelene začela današnja evropska hrišćanska civilizacija.

Niš je danas grad mladih. Dovoljno je prošetati se njegovim ulicama koje vrve od energije mladosti. A gde je mladosti ima i dara. U to je poverovaoNišlija Radovan Lale Đuric, koji se odavno otisnuo od svoga rodnog grada i obreo u Njujorku. I gde je uspeo kao slikar. On nije žalio truda, rada i sredstava daosnuje Niš Art Foundation da se pomognu mladi darovi širom naše zemlje i da se napravi moderni galerijski prostor, najprostraniji, najlepši i najmoderniji u nas, gde će svake godine mladi slikari do 35 godina pokazati šta su stvorili tokom te godine.

Niš, drugi grad po veličini u našoj zemlji, može upravo preko te galerije postati mesto iz kojeg će isijavati nova energija, novo viđenje i novi doživljaj sveta. Galerija se nudi i kao alternativni prostor za nova viđenja scenske umetnosti.

Zahvaljujući donatoru DIN “Fabrika Duvana“ a.d. Niš, u sastavu Philip Morris International, sa već osvedočenim smislom za potencijale niške kulture, postoje svi uslovi da se ona razvije i da poduhvat sa galerijom prevaziđe lokalni okvir. Nije tajna da je u gradu Nišu zavladalo mrtvilo među onima koji bi trebalo da podstiču i održavaju nemalu kulturnu tradiciju ovog grada.

Energija koja će isijavati iz galerije kao mesta novih poduhvata, biće impuls i za druga događanja u gradu. Galerija, i vera u mladost onih koji su oko galerije, uliće novu nadu u umetničke potencijale Niša. Ja verujem u te potencijale i misiju Fondacije koja je za dobrobit darova mladih i osnovana.

Jovan Ćirilov

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

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

PODRŠKA KREATIVNOSTI KAO DOPRINOS RAZVOJU ZAJEDNICE

April 2009.

Već četvrtu godinu za redom, DIN Filip Moris pruža podršku Niškoj umetničkoj fondaciji i njenim inicijativama koje imaju za cilj pomoć mladim umetnicimaSrbije. Veoma mi je drago da je ova izložba postala tradicionalni umetnički događaj u Nišu, Beogradu i Novom Sadu i da Niška umetnička fondacija uspevada promoviše neke od vrednosti koje su veoma važne za razvoj zajednice – kreativnost, energiju i posvećenost darovitih pojedinaca.

U 2009. godini Niška umetnička fondacija ponovo pruža priliku mladim umetnicima iz cele Srbije da se njihov talenat prepozna i nagradi. Ovaj katalog prikazujenajbolje radove mladih slikara, vajara i grafičara odabranih među nekoliko stotina umetnika koji su poslali svoje radove na NAF-ov umetnički konkurs.Sam broj i kvalitet priloženih radova, što potvrđuju i poznavaoci likovne umetnosti, jasno pokazuju da rad organizacije kao što je NAF doprinosi poboljšanjuumetničke scene u Nišu i Srbiji.

Želeo bih da se zahvalim Niškoj umetničkoj fondaciji na trudu koji ulaže u podsticanje angažmana mladih umetnika u različitim umetničkim disciplinamai nagrađivanje najkreativnih umetničkih izraza. Njihov trud inspiriše kulturnu kreativnost i spaja poznavaoce i ljubitelje umetnosti iz čitave Srbije da slavemlade talentovane umetnike ove zemlje.

Iskreno se nadam da će umetnička dela iz ovog kataloga jasno pokazati da Niš samouvereno korača ka poziciji centra umetnosti i kreativnosti ne samo ujugodistočnoj Srbiji već i u celoj državi.

Skip Bornhiter, generalni direktor

DIN „Fabrika duvana“ a.d. Niš, u sastavu Philip Morris International

SUPPORTING CREATIVE SPIRIT AS PART OF CONTRIBUTION TO COMMUNITY DEVELOPMENT

April 2009

It is four year already, that DIN Philip Morris supports the Niš Art Foundation and its initiatives directed towards helping the young artists from Serbia. I ampleased that the exhibition is becoming a traditional art event in Niš, Belgrade and Novi Sad and they manage to promote some of the values that are importantdrivers of the community - the creativity, energy and commitment of talented individuals.

In 2009, the Niš Art Foundation has provided the young artists from all around Serbia with a chance to be heard, recognised and appreciated for their talents. This catalogue presents the best artworks of young painters, sculptors and graphic artists that were selected amongst hundreds of artists who submitted their work to the NAF Art Contest. The number and the quality of the submitted work, as testified by the art connoisseurs, clearly shows that the engagement of such an organisation as NAF has contributed to improving the art scene in Nis and Serbia.

I would like to thank the Niš Art Foundation for their efforts to foster the engagement of young talents in art disciplines and to reward the most creativeforms of expression. Their efforts have helped inspire cultural creativity and brought together art experts and art lovers from all around Serbia to help celebratethe talented young artists of this country.

I sincerely hope that the artwork collected in this catalogue will help you see that Niš is confidently stepping towards becoming a sovereign centre of arts and creativity not only in the South East region, but in the entire Serbia.

Skip Bornhuetter, Managing Director

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

Terapija usamljenosti

Nalazimo se pred četvrtom godinom postojanja Niš Art Fondacije i prisećam se kako sam za prvu izložbu 2006. godine pominjala mistične i važne datume u istoriji i trajanju Niša. Sada mi se opet nekako čini da Niš postaje važno mesto, pre svega zato što će obeležiti jednu od značajnih godišnjica Konstantina Velikog, a onda će proći i Južni tok. Mislim da će se život Niša da se promeni u pravcu u kome i mi priređujemo ove izložbe, a to je eksplozija mladosti.

Tokom žiriranja uvek imamo isti problem– približno isti broj radova i istu nedoumicu kako odabrati a ne pogrešiti, ili pogrešiti ali što manje. Postavlja se pitanje: kako to da pojedine mlade pratimo četiri godine, njihove napore, rezultate, veličine slika, nazive, teme i, naravno, uspehe.

Uvek sam se pitala gde je naše mesto u Novo doba. Čak sam i napisala pesmu o tome kako će tada sve biti odmah mogućno. Da li se bližimo tom raspletu? Da li se bližimo tom vremenu neograničenih mogućnosti? S jedne strane, mogućnosti tehnologije, brzine saznanja, prenošenja znanja, do onoga što je važno, a s druge strane nesavršenost tog istog sveta, sa slikama užasa, sa vihorom nemira na svim stranama, sa izraženim nezadovoljstvom, sa željom da bude bolje i, naravno, da li sve to vidimo na slikama mladosti koja je tu pred nama već četvrtu godinu. Kako ih shvatiti, odnosno kako oni danas shvataju svet?

Da li je to svet potpune usamljenosti bez mnogo ljudi, mada je sve više ljudi na planeti, ali nekako ih je na slikama sve manje ili su, čak, podeljeni na dva dela – samo polovina čoveka, kao kod Vanje Subotić na slici Kuda, ili kod Miroslave Trujkanović na slici Vreme masturbacije, ili je tu samo mnoštvo lica, ili samo tužna lica izgubljene dece. Ove godine nalazimo se Oči u oči sa Jelenom Trajković, koja otvara Pandorinu kutiju sjajnom instalacijom, a tu je ponovo i Marija Falker, sa skulpturom Arhiva, koja kao i sve arhive ovog sveta izazivaju pitanje šta je unutra - kao u živoj biblioteci podataka koja sadrži sve znanje na lestvici uma.

Međutim, još živimo u sadašnjosti. Mislim da mladi još žive u totalnoj sadašnjosti. Sadašnjost Radmile Matejević su kante u kojima se odlaže nešto od svakodnevice, napuštena skladišta. Da li da počnem s tim? Da li da počnem sa tom svakodnevicom, sa tim već po treći put njenim nepristajanjem na surovu stvarnost, a opet bez mogućnosti da se registruje nešto drugo, bolje, nego što upravo insistiranje na tome da je to tako svakog dana, sveprisutno i nekako, izgleda, neumoljivo stalno.

Pomenula sam odsustvo ljudi. Ima ih, kao na slici Swimming Pool Marjana Muškinje, neko ko je u vodi, kome je lepo, a dobro su naslikana i voda i naočare za vodu. To je jedna od onih slika koja bi možda trebalo da bude posvećena lepoti življenja, lepoti plivanja, jednom beskrajno opuštenom danu, sa čarolijom i vode, i sunca i nečega za šta bi vredelo, makar deset do petnaest dana godišnje, ne više od toga.

Kristina Ristić, jedna od učesnica svih ovih godina, bavi se crvenom bojom na način Maksa Ernsta, s naznakama Ernstovih čudovišta su crvenim odorama (slika Otimanje mlade, 1939), na način koji ukazuje na to da crveno nije strašno, nego je očaravajuće, puno boja, puno nabijenosti, do ispunjenosti celog platna. Tosu platna Susret, Glava koja duva, Strašilo.

Ako je voda grupna terapija, onda je za Tijanu Čakić i samoposluga Terapija. Sjajno izrađena slika koja sadrži prizvuk ovog vremena, ovih kolica za kupovinu, ove pomame i neumoljive potrebe za kupovinom, sa veoma dobro naslikanim nogicama tih kolica - kao da su tu baš pred nama. Uvek iznenađujuće izborom tema koje nam nudi i koje s pravom i ne primećujemo. To je terapija i za nas posmatrače, procenjivače: ništa ne postoji a da nije u domenu umetnosti i nečijih očiju.

Usamljenost je jedno od kapitalnih osećanja mladih. Od potresne slike izbeglica sa Kosova Milene Milosavljević, koja asocira na čuvene slike ( kao da su to isti ljudi a seobe neprestane), pa do brilijantno naslikanih uglova ulica i taksija Menhetna na slici Cab Sanje Milenković i Ground Zero Project-a Jovane Lubarde do Godine na margini Nataše Dimitrijević i Zida i Pretty Pillow Nataše Dragišić, gde je uneta čak i lepota i snaga grafita, pa sve do moćnih pejzaža visoke pikturalnosti Vladana Labovića.

Veliko nebo Ranka Markovića je nebo u koje bi rado da uđeš i skoro da ne izađeš iz njega. Uočava se usamljenost slika malih formata na tapetima soba, kao kod Bojana Radojčića na slici The Boy Who Was Trying to Kill the Fly, a nestala bela devojčica Milana Gložića je zaista nekako Nestala na fonu velikog grada.

Po četvrti put tu je i Nikola Marković čiji Izvodi iz neverbalnog govora nastavlja dijalog rukama, virtuozno nacrtanim. Još kad bismo rastumačili šta prsti govore? Možda će nam to reći na sledećoj izložbi.

Nabrajam imena jer svi oni zajedno čine grupnu terapiju usamljenosti. Skoro da nema ništa gde bi bio neko. Usamljenost visoke frekvencije najviše se oseća kao odjek bola u Prostoru Ivane Grubić, Fabrici Aleksandra Bunčića, Zemlji Ane Puljić i Zatvoru Predraga Čomagića. Mali izuzetak su Balerine Jovanke Mladenović, ima ih više, ali su veoma sićušne, skoro nevidljive.

Skulptura je ove godine manje zastupljena. Jedan od lepih primera mogućnosti, mišljenja, oblikovanja, igre formi i boja, međutim, jeste Ćaskanje Ivane Kostić. Tu je i skulptura Lazar Tanje Šajin, ljudska figura u čudnim metalnim pantalonama, koja deluje izazovno čak i pri dodiru. Mislim da pored ove skulpture ne bi trebalo da stoji upozorenje „ne dirati“. Posebno mesto na našim izložbama imaju točkovi. Jedan je bio posvećen Dišanu, a sad imamo ceo bicikl, sa jednim dodatkom koji ne bih da komentarišem, ali je među nama, pa i među nogama.

Opšti utisak o svim odabranim slikama i skulpturama jeste vladanje bojama, tehnikom i veštinom na pravom i visokom umetničkom nivou.

Predeli, pustoš, usamljenost, da li to čini našu trenutnu mladost i što je naš svet danas? Uvek sam imala nedoumicu i stalno o njoj govorim: da li umetnost utiče na događaje u svetu, na razvoj civilizacije, na poimanje, razumevanje i, na kraju, eventualno i na bunt, revoluciju. Da li umetnost ima tu ulogu? I uvek je to pitanje ostajalo negde na pola, više kao pitanje, manje kao odgovor, sve do sjajne izložbe koja se ovih dana održava u Londonu, u Modern Tate galeriji. Izložen je ruski konstruktivizam s početka XX veka – Rodčenko i Popova - sa slikama koje su intimnih dimenzija, ništa grandiozno, ali su drukčije u poimanju sveta, u njegovom predstavljanju – u geometrijskim formama, arhitekturi, crtežu i, na kraju, na slikama. Izložba je podeljena u dvanaest soba i svaka soba ima svoju temu: Odbrana konstruktivizma, Kandinski, Arhitektura, Objekti u prostoru, 5 x 5 = 25, Reklama, Grafički dizajn, Politička reklama i edukacija, Pozorište, Film, Ženski žurnalizam, Radnički klub. Iz ovoga se vidi da su umetnici napravili neshvatljiv uticaj na misao početka XX veka, sve do Ruske revolucije, pa i posle nje. Umetnost je napravila to – možda i glad i Prvi svetski rat, ali i slike. Slike su odjeknule kao nešto što do tada skoro nije ni postojalo. Postojale su konstatacije ratova, naknadne

proslave pobednika, priče o pobeđenima - od Napoleona, Svete Jelene, Vaterloa, Borodinske bitke - sve je došlo naknadno, slike su nastale posle bitke, posle ispričanih istorijskih događaja. Kad je reč o ruskoj avangardi – konstruktivizmu, slike su bile prethodile istoriji. Bile su glasnogovornici nekog novog vremena, velikog preokreta i, kad se preokret dogodio, one su uticale na sve – na police sa knjigama, na plakate, novinske izveštaje, naslovne strane novina i časopisa, dizajn bočica i upotrebnih predmeta. Sve je bilo prožeto tim prvim slikama Popove, od arhitekture, predstave novog čoveka, nove ideologije, pa sve do Lenjinove smrti . A onda nastaje jedna tamna slika. U predgovoru kataloga ove izložbe konstatuje se da nastaje drugi čovek, čovek socijalizma, čovek optimizma. Ono što je bitno jeste da sam dobila potvrdu, i to na ruskoj strani umetnosti, da slika utiče na događaje, da ona može da izazove nove događaje, nove situacije, pa čak i nove ljude. I to baš slika, ne toliko reči, zato što je slika sažeta situacija svega, uključujući i reči.

Bila sam presrećna što sam to doživela, kao činjenicu koja nam je sada data na uvid. To je mogućno i nema sumnje da će tako i biti. To upućujem i mladim umetnicima: ako imaju ideju. Naravno, to ne mora da bude revolucija, može da bude Novo doba koje podrazumeva sve mogućne promene:

Obraćam se Novom dobu

U kome će sve biti mogućno odmah,

Na nežni dodir,

Na mali znak pažnje,

Na otisak palca i zvuk imena,

Na jedva primetnu boru,

Na podrhtavanje zenica.

Obraćam se tvorcima čeličnih sistema,

Stratezima mira,

Generalima dogovaranja i razaranja,

Krojačima novih granica na starim mapama.

U Novo doba jedan će biti zamenjen mnoštvom.

Olja Ivanjicki, 6. marta. 2009.

The Therapy of Loneliness

As we embark on this fourth year of the Niš Art Foundation, I recall that, when we opened the first exhbition in 2006, I mentioned mystical and important dates in the history of Niš. Now, it seems, Niš is once again reclaiming its important place, first with its commemoration of Constantine the Great and also with its connection to the “southern route” international highway. Life in Niš is changing in the same way we defined this exhibition: an explosion of youth.

Judging these works also presents the same problem: we receive roughly the same number of submissions, and we are similarly apprehensive about how to select from among them and how not to err in our choices, or at least how to err as little as possible. There is also the question of how to follow over a four-year period the creative output of individual young artists, their artistic efforts and results, the size of their works, titles, subjects and, naturally, their successes.

I always wonder what our place is in this New Age. I even wrote a poem about a time when everything will be not just within our reach, but within our grasp. Are we getting closer to that day? Are we getting closer to a time of unlinited possibilities? On the one hand, we have what technology makes possible, the speed of communication, the transfer of knowledge; on the other hand, we have the failings of that same world, with its images of horror, gales of unrest blowing from all sides, clear dissatisfaction, yearning for things to be better than they are. Now, in our fourth year, we still see these things in the works young people submit to us. How should we interpret them? How can we understand how they see they world?

Is theirs a sparsely-populated world of utter loneliness? There are more and more people on the planet, but there are fewer and fewer people on these canvasses. Some of them are even split in half, or are just parts of persons, as in Vanja Subotić’s Kuda/Where, Miroslava Trujkanović’s Vreme masturbacije/Masturbation Time, or simply a mass of faces, or the sad faces of lost children.

This year we are Oči u oči/Eye-to-Eye with Jelena Trajković, who opens Pandorina kutija/Pandora’s Box with a wonderful installation. Marija Falker is here again, too, with her sculpture Arhiva/Archive that -- as does every archive -- raises the question of what is inside, as in a living library that contains all the knowledge on the shelves of the mind.

Nevertheless, we all do live in the present. Young people live in the present, perhaps even in the moment. Radmila Matejević’s present is made up of bins in which bits of everyday life are housed, abandoned storage containers. Should I start with them? Should I start with those bits of everyday life, with her refusal -- for the third time -- to accept cruel reality and her inability to register anything different or better, with her insistence that that’s the way it is, every day, all the time, immutably?

I mentioned the absence of people. There are a few, as in Marjan Muškinj’s Swimming Pool. Someone is in the water, and it’s quite pleasant there. The water and goggles are especially well painted. It is one of those paintings that perhaps should be dedicated to the beauty of living, the beauty of swimming on an endlessly relaxed day, with magic and water and sun and something to make it all worthwhile, at least 10-15 days a year, no more.

Kristina Ristić, who has participated in this competition every year since we began, deals with the color red much like Max Ernst, whose monsters wear red (The Robing of the Bride, 1939) in a way that is not terrifying, but enchanting, vivid with color, full and filling the canvas. She does this in Susret/Meeting, Glava koja duva/The Head That Blows, Strašilo/Scarecrow.

The supermarket is Terapija/Therapy to Tijana Čakić. The wonderfully-executed painting contains the clarion call of our time, the sound of shopping carts, the insatiable drive to shop. The legs of the cart are very well done, as if they are right in front of us. The selection of objects on offer is always surprising. It is therapy for us as observers and assessors: nothing exists that is not within the domain of art and someone’s eyes.

Loneliness is one of the defining feeling of young people. From the moving image of those fleeing Kosovo, by Milena Milosavljević, which brings to mind the famous painting in a way that suggests those people are perpetually in flight, to the brilliantly painted Manhattan street corners and taxis in Sanja Milenković’s Cab and Jovan Lurbarda’s Ground Zero Project to Nataša Dimitrijević’s Godine na margini/Years on the Edge and Zida/Walls and Pretty Pillow by Nataša Dragišić, where the force and beauty of graffiti emerge, to the powerful, highly pictural landscapes of Vladan Labović.

You want to enter Ranka Marković’s Veliko nebo/Big Sky and never leave. One feels the loneliness of small-scale paintings on the walls of the room in Bojan Radojčić’s The Boy Who Was Trying to Kill the Fly. The little girl in Milana Gložić’s painting has indeed Nestala/Disappeared in the big city.

Nikola Marković exhibits for the fourth year in a row, and his Izvodi iz neverbalnog govora/Excerpts from Nonverbal Speech continues the dialogue of hands, drawn with virtuoso skill. If only we could interpret what those fingers are saying! Perhaps, in the next exhibition...

I list these artists as a group because, taken together, they comprise a group therapy of loneliness. Their territory is uninhabited. High-frequency loneliness is felt most strongly as a stab of pain in Prostor/Space by Ivana Grubić, Fabrika/Factory by Aleksandar Bunčić, Zemlja/Country by Ana Puljić and Zatvor/Prison by Predrag Čomagić. Jovanka Mladenović’s Balerine/Ballerinas is a small exception: there are a few persons to be seen, but they are slight, almost invisible.

Sculpture is less represented this year than in the past. Ivan Kostić’s Ćaskanje/Chatting is a lovely example of possibilities, thought and shaping processes, play of form and color. Tanja Šajin’s Lazar, a human figure in unusual metal pants, is also inviting to the touch. I do not believe that the admonition “Do Not Touch” should be posted next to this sculpture. Wheels have a special place in our exhibitions. One was dedicated to Duchamp, and now we have a bicycle with an accoutrement I would prefer remain “between us,” so to speak.

The general impression presented by all the selected works is a high-level mastery of color, technique and skill.

Deserted landscapes, voids, loneliness -- is that what it means to be young today? Is that what defines our world? I have always wondered about this and often talk about it: does art have an effect on world events, on the development of civilization, on conceptualizing and understanding and, ultimately, on rebellion and revolution? Does art have that role?

That question continues to arise but has always remained unanswered -- until now, with the wonderful exhibit currently up at the Modern Tate in London. It is Russian Constructivism from the beginning of the 20th century – Rodchenko and Popova - with paintings of intimate dimension, nothing grandiose, but different in their conceptualization of the world and the way it is presented, in geometric forms, arhitecture, drawings and, ultimately, in paintings. The exhibition is divided into twenty rooms, each of which has a theme: Defense of Constructivism, Kandinsky, Architecture, Objects in Space, 5 x 5 = 25, Promotional Art, Graphic Design, Political Promotion and Education, Theater, Film, Women’s Journalism, Workers’ Clubs. We see how the artists had an immeasurable influence on thinking at the start of the 20th century, all the way to the Russian revolution and beyond. Art made that. So, too, perhaps hunger and World War I, but also paintings. Paintings resounded in a way like nothing before. There had been the conclusions drawn from wars, post factum celebrations of victors and tales of the vanquished -- Napoleon, St. Helena, Waterloo, Borodin -- but it was all post factum, and the paintings, too, came in the wake of the battles, after the storied historical events. With the Russian avant-garde, with Constructivism, the paintings preceded history. They were the bellwethers of a new era and great change and, when the change happened, they influenced everything: books, posters, newspaper report, the front pages of magazines and newspapers, the design of bottles and everyday objects. Up until Lenin’s death, everything -- architecture, presentation of the New Man, new ideology -- was imbued with those first paintings by Popova. Then the canvas goes dark. The introduction to the exhibition catalogue concludes that a a different man came into existence, the man of socialism, the man of optimism. What is important for me is that I found confirmation on the Russian shores of art that painting does affect events, that it can give rise to new events, new situations, even new human beings. Paintings can do that, images, not words, because a painting is the concise situation of everything, including words. That is a given, and I was very happy to have experienced it. It is within the realm of the possible and there is no doubt it will be that way again. This is my message to young artists with ideas. It doesn’t have to be revolution, but it can be a New Age, with all the changes that promises:

I call upon the New Age

When everything will be possible, immediately.

Within our grasp, gently,

At the smallest sign of attention,

At our fingertips,

With fingerprint and sound recognition,

With a barely perceptible wrinkle,

As a retina flickers.

I call upon the makers of systems of steel,

The strategists of peace,

The generals of deal-making and destruction,

The tailors of new borders on old maps.

In the New Age, one will be replaced by many.

Olja Ivanjicki, March 6, 2009

ŠTA MLADI ŽIVE, A ŠTA SLIKAJU

Svetom savremene umetnosti vlada toliko različitih estetika, pa me nijedna ne obavezuje da njome ocenjujem slike mladih koji ove godine učestvuju na konkursu Niš Art Fondacije. Zato mogu sebi dozvoliti da se zapitam šta to mladi umetnici u ovom trenutku vide i kako to što u sebi i oko sebe vide slikaju ili vajaju.

Očigledno je da mladi žive u veoma zaoštrenim društvenim okolnostima, da kriza više nije lokalna već globalna. I njihove slike su umetnost krize - materijalne, moralne, svekolike.

Neću ništa novo niti otkrivalački reći, ako kažem da im gama nije vedra, bez obzira na to da li je reč o apstraktnim ili o figuralnim slikama. Ali nije reč samo o gami, tamnoj, kestenjastoj (s malim izuzecima) tmastoj, već da su im motivi, kad je o figuralnom slikarstvu reč, napuštene fabrike, puste stanice, haotični supermarketi, pešačke zebre bez pešaka, bulevari zagušeni taksi vozilima, sve do izanđalih tapeta sa tragovima zločina.

U apstraktnim slikama, po prirodi stvari, teže je uočiti društveni aspekt njihove poruke, vezu okruženja u kome mladi slikari žive i stvaraju. Izvesno je da na njima nema ni tračka ohrabrenja, osim nekih belih leptira na jednom platnu.

Portreta je malo. A ono što ih ima, to zabrinuta, nevesela lica , čak i kad su na telu atletske građe. Kad su motiv ruke, a ne glava, onda su ispruženi kažiprsti znakovi neverbalnog govora, rekao bih uzaludni pokušaji sporazuma.

Predmeti i skulpture su posebna priča. Tu su knjige, ali u torziji pomoću nemilosrdne prese, ili arhiv predmeta zarobljenih u kvadratnim pregradama.

Sve to zabrinjava kao doživljaj sveta, ali bi još više zabrinjavalo kad naši mladi ne bi bili svesni sveta u kom žive i kad bi obmanjivali i sebe i nas bojama lažne vedrine.

Ono što ohrabruje jeste da naši mladi likovni umetnici to što stvaraju čine sa istinskim likovnim obrazovanjem i sa zavidnim profesionalnim nivoom, i, naravno, s nesumnjivim darom. Takođe ohrabruje i činjenica da svake sledeće godine očigledno sve bolje slikaju ili vajaju i da ih je sve više. Oni koji su nagrađeni, a i dalje učestvuju na konkursu, osetno su napredovali, a sve je više mladih umetnika koji ne žive u našim najvećem kulturnim centrima, kao što su Beograd, Niš i Novi Sad, već su iz ostalih malih gradova naše zemlje.

Nadam se da sam svojim komentarom blizak onom osećanju s kojim posetioci svih generacije doživljavaju ove radove i da Niš Art Fondacija, uz pomoć DIN Industrije duvana a.d. Niš u sastavu Philip Morris International-a, podstiče našu mladost da stvara autentičnu umetnost svog vremena.

Jovan Ćirilov, mart 2009

What young people experience -- and what they paint

Many different esthetics govern the world of contemporary art, yet no single one of them can define the way to assess the works of the young people who are participating in this year’s Niš Art Foundation competition. The diversity of these works leads us to wonder about the nature of the lives young people are living these days and how they paint and sculpt what they see in themselves and around them.

It is obvious that young people live in extremely heightened social circumstances, that the crisis is no longer local but global. Their paintings are the art of material, moral, all-encompassing crisis.

To say that the works do not convey a sense of “Blue skies, clear sailing ahead!” is not exactly a revelation on my part. It’s not just (with few exceptions) the chestnut, brooding darkness, but the motifs: abandoned factories, stations without passengers, chaotic supermarkets, crosswalks without pedestrians, streets clogged with taxicabs, crumbling walls that bear the traces of crimes. In the abstract works, as one would expect, it is hard to make out any social aspect or links to the environment in which young artists live and work. There are no specks of encouragement, except for a few white butterflies on one

canvas.

There are few portraits. Where we see faces, they are worried, unhappy, even when on a strong and athletic body. When the motif is hands, extended index fingers signal nonverbal speech, a futile attempt to reach agreement.

The objects and sculptures are a story in and of themselves. There are books skewed by a merciless press, or an archive of emprisoned, pigeonholed objects.

This is all worrisome as an experience of the world, but it would be even more troubling if our young people were not aware of the world in which they live and if they were to deceive themselves, and us, with false “blue skies” and rosy visions.

It is encouraging that our young artists demonstrate in their works genuine arts education, enviable professionalism and, naturally, unquestionable talent. It is also encouraging that every year they are painting and scuplting better and every year there are more young artists doing remarkable work. Those whose works have been recognized this year have noticeably progressed, and there are more young artists who live and work not just in our larger cultural centers - Belgrade, Niš, Novi Sad - but also in smaller towns.

I hope these comments reflect the sentiments of visitors of all ages who experience these works, and that like the Niš Art Foundation, with the help of DIN Industrija duvana a.d. Niš/Tobacco Industry Niš and Philip Morris International, they encourage our young people to create the authentic art of this age and time.

Jovan Cirilov, March 2009


 

Galerija, izraz vere u potencijale Niša

Niš je grad duge istorije, slavnih imena u dalekoj prošlosti, gde se u glavi vladara cara Konstantina i majke Jelene začela današnja evropska hrišćanska civilizacija.

Niš je danas grad mladih. Dovoljno je prošetati se njegovim ulicama koje vrve od energije mladosti. A gde je mladosti ima i dara. U to je poverovao Nišlija Radovan Lale Đuric, koji se odavno otisnuo od svoga rodnog grada i obreo u Njujorku. I gde je uspeo kao slikar. On nije žalio truda, rada i sredstava da osnuje Niš Art Foundation da se pomognu mladi darovi širom naše zemlje i da se napravi moderni galerijski prostor, najprostraniji, najlepši i najmoderniji u nas, gde će svake godine mladi slikari do 35 godina pokazati šta su stvorili tokom te godine.

Niš, drugi grad po veličini u našoj zemlji, može upravo preko te galerije postati mesto iz kojeg će isijavati nova energija, novo viđenje i novi doživljaj sveta. Galerija se nudi i kao alternativni prostor za nova viđenja scenske umetnosti.

Zahvaljujući donatoru DIN “Fabrika Duvana“ a.d. Niš, u sastavu Philip Morris International, sa već osvedočenim smislom za potencijale niške kulture, postoje svi uslovi da se ona razvije i da poduhvat sa galerijom prevaziđe lokalni okvir.

Nije tajna da je u gradu Nišu zavladalo mrtvilo među onima koji bi trebalo da podstiču i održavaju nemalu kulturnu tradiciju ovog grada.

Energija koja će isijavati iz galerije kao mesta novih poduhvata, biće impuls i za druga događanja u gradu. Galerija, i vera u mladost onih koji su oko galerije, uliće novu nadu u umetničke potencijale Niša. Ja verujem u te potencijale i misiju Fondacije koja je za dobrobit darova mladih i osnovana.

Jovan Ćirilov

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

 

MLADI SU RASTUĆA SNAGA ZAJEDNICE

April 2010. godine

Ovo je peta godina kako DIN Filip Moris podržava aktivnosti Niške umetničke fondacije u okviru kojih upravo godišnji konkurs za mlade umetnike iz Srbije predstavlja aktivnost koja je uspela da izgradi čvrste temelje za tradicionalnu kulturnu manifestaciju koja neguje nove kreativne snage Srbije.

Ovogodišnji konkurs je prvi konkurs bez Olje Ivanjicki, počasnog člana Niške umetničke fondacije, koja je preminula prošle godine, ali koja je u fondaciji ostavila značajan trag kao i neiscrpnu inspiraciju za nove generacije mladih umetnika.

Osim osnivača fondacije Radovana Laleta Đurića i člana Nede Arnerić, ovogodišnjem žiriju priključila se i slikarka Kristina Ristić, koja je do sada osvojila dve nagrade na konkursima fondacije. Zahvaljujući naporima Niške umetničke fondacije očigledno je stasala jedna nova generacija umetnika, koja postaje sastavni deo ove organizacije i srpske kulture uopšte.

Ova izložba predstavlja izbor najboljih radova prijavljenih na konkursu NAF-a 2010. godine. Kao i obično, konkurs je ukazao na neverovatan obim i veliku raznolikost umetničkih dela, što je sasvim izvesno odluku žirija učinilo još težom. Ipak, ponosan sam što izbor dela na ovoj izložbi predstavlja i promoviše veliki potencijal mladih umetnika u Srbiji.

Konkurs Niške umetničke fondacije je i dalje jedinstven nacionalni umetnički konkurs, koji podržava najbolje mlade slikare, vajare i grafičke umetnike. Jedinstvenost ovog konkursa je u tome što pored vrednih finansijskih nagrada za tri pobednika, Niška umetnička fondacija stvara posebne prilike kako bi i druge učesnike konkursa promovisla kroz izložbe „MLADI“, koje se organizuju u Nišu, Beogradu, i Novom Sadu.

Voleo bih da mladi umetnici i njihova dela, koje Niška umetnička fondacija promoviše sa tolikim entuzijazmom, postanu inspiracija za nove generacije srpskih umetnika kao jedne od najvećih vrednosti društva.

Skip Bornhiter

Regionalni direktor FMI-a za Južnu i Istočnu Evropu i

generalni direktor DIN-a

THE YOUNG ONES AS THE GROWING STRENGTH OF THE COMMUNITY

April 2010

This is the fifth year that DIN Philip Morris has supported the activities of the Niš Art Foundation and the annual Art Contest for young Serbian artists is probably the one that has managed to build solid grounds for a traditional cultural manifestation fostering the upcoming creative force of Serbia.

This year’s contest is the first one without Olja Ivanjicki, the honourable member of Nis Art Foundation who passed away last year, but has left behind her a significant legacy within the foundation and endless inspiration for the next generations of young artists.

Apart from NAF’s founder, Radovan Lale Djuric and its member Neda Arneric, this year’s jury was joined by the painter Kristina Ristic, who won two awards at the last years’ Art Contest. This is obvious proof that the new generation has grown through the efforts of the Nis Art Foundation and they are confidently becoming an integral part of the organisation and Serbia culture.

This exhibition brings the best pieces of artwork submitted to the NAF Art Contest 2010. As usual, the Contest has drawn an overwhelming quantity and a great variety of artwork which obviously made the selection process by the jury a difficult one. However, what makes me feel particularly proud, is that the collection selected for this exhibition demonstrates and promotes the great potential of Serbian young artists.

Niš Art Foundation’s Art Contest remains one of the unique national art contests in the country that aims at supporting the best young painters, sculptors and graphic artists. The uniqueness of this contest is conveyed in the fact that apart from selecting three winners of the valuable financial award, the Niš Art Foundation also provides a rather special opportunity to other contestants to be recognised and promoted through the exhibitions “YOUNG” organised in Nis, Belgrade and Novi Sad.

I wish that the young artists and their work that is so enthusiastically being promoted by Nis Art Foundation will become an inspiration for the new generations of Serbian artists as one of the greatest assets of our society.

Skip Bornhuetter

Area Director PMI for South East Europe and

Managing Director of DIN “Fabrika duvana“

Naši životi nisu crno-beli, kao ni ova izložba

Već je peta godina, kako Niš Art Fondacija, organizuje godišnju izložbu mladih likovnih umetnika. Pokušavamo da im utremo put, da ih podstaknemo i ohrabrimo, a pre svega da ih u velelepnim galerijama NAF-a u Nišu i Beogradu, kao i u uglednoj galeriji Matice srpske u Novom Sadu, predstavimo publici. Ovoga puta, nažalost, radovi su odabrani, bez naše Olje Ivanjicki, koja je svojom energijom, iskustvom i širinom bila duhovni vođa našeg malog tima.

Kao i prethodnih godina stigle su prijave više od 700 autora sa preko 2 500 radova.

Svaki put ista nedoumica, isto pitanje: kako selektovati, a potom i odabrati nagrađene, tolike nečije napore, nade, vere u sebe. Uteha mi je što je vrednovanje i nagrađivanje neminovnost koja postoji odvajkada, kao sastavni deo civilizacije, a koja je davno zagospodarila našom planetom. Selekcije unapređuju čovečanstvo, sprečavaju haos. Pravde i nepravde su neminovne.

Među mladim umetnicima koji nisu prošli selekciju sigurno ima talenata koji su uložili veliki trud, znanje, upornost i entuzijazam. Ne bi trebalo da se ljute, već da nastave i pokušaju da uvek budu objektivni i kritični prema samom sebi. Nikako ne bi smeli odustajati, već još više prionuti radu na svojoj umetnosti. Bez potpune posvećenosti nema prave umetnosti.

Šta nas je rukovodilo prilikom ove selekcije? Osim neospornog talenta, bez kojeg se u svet umetnosti ne može uploviti, bila je to ličnost, jedinstvenost, ogledalo duše svakog ponaosob. Lični doživljaj sveta u kome žive. Unutrašnja snaga kojom kičicom, špahtlom, olovkom, keramikom ili poliesterom pokušavaju da prodru do naših duša. Umetnost može biti i dekorativno samodopadljiva. Ako nas, međutim, ne uzbudi, ne pokrene, ne zapita, ostaće na margini i brzo ćemo je zaboraviti. Naravno, da bi umetničko delo imalo takvu moć, potrebno je mnogo rada, samoodricanja, učenja ili samoukog usavršavanja. Talent bez znanja i veštine eksperimentisanja, ponekad može da zaintrigira, ali teško da će preživeti.

Umetničko delo, bar na svom početku, može najjednostavnije da opstane u simbiozi sa publikom kojoj je , hteli to neki umetnici da priznaju ili ne, ta umetnost I namenjena. Mogu ta dela i sama da žive – u nekom skladištu, podrumu, fioci ili pod krevetom. Ali dokle? Dok ih neko ne ugleda. Otuda želja NAF-a da im pomogne mladim umetnicima, da im otvori vrata životu, da učini da ta dela žive kroz radoznale poglede, različite ukuse i shvatanja ljudi kojima je namenjena. Da naglas progovore, da opomenu, razgale ili nešto upitaju sami sebe.

Ohrabrujuća činjenica koja prati našu Petu izložbu jeste što je sve manje ”školskih” radova, sve manje oslanjanja na razne trendove ili pomodarstvo, na razne ”izme”.

Mnoge od izloženih umetnika pratimo od naše prve izložbe održane 2006. godine. S ponosom i tihim zadovoljstvom naslućujemo da su krenuli hrabro svojim putem, da su umetnički sve slobodniji, drskiji, sigurniji u sebe i ono sto rade. Likovno sve veštiji, zasuli su nas svojim intimnim pričama ili komentarima spoljašnjeg, ali i unutrašnjeg, sveta koji njihovu mladost najviše i dotiče. Opominju na nasilje, mržnju, haos, beznađe, brzinu življenja, usamljenost. Ima i onih koji su se okrenuli sebi, imajući više optimizma i nade u bolje sutra. Uznemirujući, često ironični odnos gnevnih, kao da je kod tih drugih okrenuo leđa stvarnosti i zatvorio se u neko bolje unutrašnje ja. Svaki umetnik nosi u sebi svoj svet. Svet koji ga nekad tišti, nekad raduje, nekad i zasmejava. Ako je iskren, teško je pogrešiti.

I zato nasi životi nisu crno-beli, već su šareni, kao i ova izložba.

Marta, 2010. Neda Arnerić

Our lives are not black and white, neither is this exhibition

It is the fifth year that Nis Art Foundation organises the annual exhibition of young artists. We are trying to set them on the right track, to motivate and encourage them, and, most of all, to present them to the audience in outstanding galleries of NAF in Nis and Belgrade, and the renowned gallery of Matica srpska in Novi Sad. This time, unfortunately, works have been chosen without our Olja Ivanjicki, who was the spiritual leader of our small team, with her energy, experience and broad mind,

Just like in the past years, we have received applications of 700 authors with over 2500 works.

Every time the same dilemma, the same question: how to make the selection among so many efforts, hopes and believes , and then to choose the rewarded ones. It comforts me that evaluation and rewarding is a necessity which has existed since the beginning of time as a part of civilisation, and which prevailed on our planet a long time ago. Selections make mankind better, they prevent chaos. Justice and injustice is inevitable.

Among these young artists who haven’t passed the selection there are undoubtedly those who made great effort, knowledge, persistence and enthusiasm. They shouldn’t be upset, but should continue and try to always be objective and critical towards themselves. By no means should they give up, on the contrary, they should get down to work on their art. Without utmost devotion there is no real art.

What guided us throughout this selection? Beside the incontestable talent, without which the world of art cannot be entered, it was personality, uniqueness, insight into the soul of every single one of them. It was the personal experience of the world they live in. The inner strength with which they try to reach our souls using a brush, a trowel, a pencil, ceramics or polyester. Art can also be ornamentally self-appealing. If, however, it doesn’t excite us, doesn’t move us, doesn’t make us wonder, it will be on the margin forever and will be quickly forgotten. Certainly, in order for a work of art to have such a power, it takes a lot of work, self-denial, learning or self-taught improvement. Talent without knowledge and experimenting skills can sometimes intrigue, but hardly will it survive. A work of art, in the beginning at least, can most easily live in symbiosis with the audience which this art is intended to, whether the artists want to admit it or not. Works can also live on their own – in a storage, basement, drawer or under the bed. But until when? Until someone sees them. Hence the desire of NAF to help these young artists, to open the door to life for them, to make these works live through curious looks, various tastes and apprehension of people they are intended to. To speak out loud, to forewarn, to open or to ask themselves a question.

It is very encouraging that in this Fifth exhibition there are less “school” works, less relying on various trends or fashion, on various “-isms”.

We have been following some of the presented artists since our first exhibition in 2006. Proudly and with silent satisfaction we see that they have bravely taken their way, that they are more daring in the artistic sense, bolder, more self-confident and certain of their work. All the more skilful, they have overwhelmed us with their intimate stories or comments of the outer and the inner world which touches their youth the most. They warn us of violence, hatred, chaos, hopelessness, fast way of living, loneliness. There are also those who turned towards themselves, with more optimism and hope in better days to come. Disturbing, often ironic relation among the angry, seems as if it has turned its back to reality and locked up in a better inner being. Each artist treasures their worlds within. It is the world that sometimes ails, sometimes delights, and sometimes even makes us laugh. It he is honest, it is difficult to make a mistake.

That is why our lives are not black and white, but colourful, just like this exhibition.

March, 2010. Neda Arneric

Mladi ispovedno - peti put

Verovatno zato što nisam likovni kritičar, nego pisac, ja na slici pre svega vidim motiv, a zatim formu. Formu doživljavam intuitivno, a temu literarno.

O platnima i crtežima mladih slikara i ove godine razmišljam na osnovu izabranih i izloženih dela, a ne na osnovu 2500 radova 700 autora koji su stigli na adresu Niš Art Fondacije. Jer, kao ni prethodnih godina, ni ove godine nisam učestvovao ni u predselekciji ni selekciji, Ove 2010. godine većina mladih slikara tretiraju su za svoje teme odabrali čovekovu ličnost, i to najčešće portret, zatim ljudsko telo i, najzad, čoveka u društvenomkontekstu. Ove godine znatno je manje slika koje pripadaju nekom od pravaca apstraktne umetnosti, a najmanje je crteža koji se bave što prepoznatljivim znacima što dekorativnim elementima bliskih apstrakciji.

Među portretima preovlađuju oni sa gustim pastoznim nanosima - pre svega hladnih boja, na kojima katkad ima i tragova krvi - ili fovistički tretiranih boja, koje, iako hromatske, žive, čak jarke, nimalo ne odišu radošću. Lica su katkada deformisana, ali ne kao kod Bekona ili Olbrajta, već na neki novi način.

Tretiranje ljudskog tela kao celine nije nimalo svetlije nego kad je reč o portretu. Iste tmaste boje, nekakve muke sa svojim i tuđim telom, čak i kad je u pitanju zagrljaj, jer deluje kao da je u grču.

A ljudska bića naslikana u društvenom kontekstu kao da otkrivaju poreklo slikarskih trauma kako pomenutih mladih portretista tako i slikara ljudskog tela. Na slikama mladih slikara ljudi su čas mučitelji čas žrtve, zatvorenici, prodavačice svojih tela ili muškarci koji nekuda beznadežno hrle ili od nečega beže. Jedan usamljenik kao da je ostavio trag svojih ruku naslonjenih na zid prilikom hapšenja ili su te ruke bespomoćno okrenute ka nama.

Mladi apstraktni slikari nisu u nimalo u boljem raspoloženju ni bojom, ni potezom, ni aluzijom. Jedino njihovi crteži odišu željom da se bar malo poigraju, našale, razgale.

Ali, da li ipak ima nade?

Ima je, i to u snazi njihovih slika, u iskrenosti njihovih vizuelnih ispovesti i u darovitom vladanju zanatom. Kao da već znaju sve tajne svoje umetnosti, a slikaju, a šta bi drugo nego ono što osećaju i ono što žive.

Marta, 2010. Jovan Ćirilov

Confessions of the young – for the fifth time

Probably because I am not an arts critic but a writer, but I first see a motive in a picture, and then the form. I experience form intuitively, and theme - literary.

This year I have been considering young artists’ canvases and drawings based on the selected and exhibited works, and not based on 2500 works of 700 authors which were submitted to Nis Art Foundation, because, just like previous years, this year I have not participated neither in the preselection, nor in the selection.

In this year of 2010, most young painters have chosen personality, most often the portrait, then the human body, and, finally, man as a social being. This year there is a considerably smaller number of paintings belonging to abstract movements, and the least are the drawings dealing with either recognisable signs or with decorative elements close to abstraction.

The technique dominating among portraits is “fat over lean”, mainly in cold colours, containing traces of blood here and there, or “fauvistically” treated colours, which, although chromatic, live, vivid even, don’t reveal joy. Faces are sometimes deformed, but not like Bacon’s or Albright’s, but differently, originally.

Dealing with a human body as a whole is not in the least brighter than with portraits. The same thematic colours, apparent troubles with their own or somebody else’s body, even when hugging, because it seems spasmatic.

People presented in a social context seemingly reveal the origin of painter’s traumas, the ones of the young portraitists, as well as of painters of a human body.

People in the paintings of the young artists are either torturers or victims, prisoners, sellers of their own bodies or men hopelessly swarming somewhere or away from something. It appears as if a recluse left a trace of his hands leant to the wall during the arrest or that these same hands are helplessly turned towards us.

Neither are young abstract painters in a better mood in colour, paint brush stroke or allusion. It is only their drawings that reveal the desire to play a little, to joke, or brighten.

Yet, is there hope whatsoever?

Yes, there is, in the strength of their paintings, in honesty of their visual confessions and in the gifted art. It is as if they already know all the secrets of their arts, and they paint, what else than what they feel and live.

March, 2010. Jovan Cirilov

Realizam realniji od realnosti

Svaki konkurs Niš Art Fondacije raduje me više nego prethodni. Istrajavanje ove izložbe i nagrade, koje same po sebi mnogo znače u vreme sveopšte krize, učvršćuju nas u uverenju da je rad Niš Art Fondacije primer podsticanja boljeg života, tako potreban u našoj namučenoj sredini.

Peti konkurs Niš Art Fondacije sadrži značajnu novinu uvođenjem u rad žirija i umetnike koji su i sami nekad učestvovali na konkursu i izložbi. Čast koja mi je ukazana da ove godine učestvujem u radu žirija nameće mi neke specifične izazove, kao što je otklon prema mlađim kolegama. Kako nas od pre nekoliko meseci razdvaja administrativna granica mladosti, našla sam se u neobičnoj situaciji da vrednujem radove vršnjaka - radove koji često imaju vanvremenske kvalitete. Veliko mi je zadovoljstvo što te kvalitete često imaju i radovi bitno mlađih kolega.

Iskustvo i neiskustvo se prepliću na izložbi, namećući potrebu uvođenja ravnopravnosti formiranih i neformiranih mladih likovnih stvaralaca. Ravnopravnost i ove godine okuplja različite likovne izraze, raznovrsne teme i mnogobrojne poetike. Realizam, često realniji od realnosti, ove godine je zastupljeniji od apstrakcije. Slično društvu u celini, i mlado likovno stvaralaštvo smešta težište svojih tema i preokupacija smešta u lično i intimno, češće nego u zajedničko, bez obzira na to da li je re reč o problemima ili radosti življenja. Ravnopravnost je podređena pojedinačnim dometima radova, tako da mnogi od njih plene nezamenljivim posvećenjem, dok neki tek najavljuju uzbudljive izložbe. Istančanost izraza, izgrađenost stava, maštovitost kombinovanja, prefinjenost poteza, suptilnost ovovremenosti, autentičnost nevinosti, i, pre svega, promišljenost rada u celini, čine neka od dela pristiglih na konkurs istinski velikim delima. Ljubav prema likovnom izražavanju, osim mladosti, drži na okupu tu zbrku različitosti. Obaveza nagrade Niš Art Fondacije je da podstakne i one koji se odlučuju na prve korake, kao i one koji su odavno opredeljeni. Ova nagrada podrazumeva da mogućnost bude izjednačena sa izvesnošću, jer je podrška takopotrebna i formiranim i neformiranim mladim stvaraocima, posebno u vreme planetarne relativizacije značaja umetnosti i kulture. Samim tim, postojanje i opstajanje takvog podstreka mladima, posebno je značajno u zajednici koja tako malo ulaže i brine o umetnosti i kulturi, a tako mnogo dobija zauzvrat.

Katalozi izložbi Niš Art Fondacije, uz odgovarajuću vremensku distancu, biće svedočanstvo o menjanju naše likovne scene i društva u celini, i pre svega, prepoznavanje pozitivnog uticaja na pojedinačne karijere likovnih umetnika. Moje lično iskustvo, kao slikara i laureata nagrade Niš Art Fondacije, jeste da su mi njihove i izložbe i nagrade omogućile veću posvećenost radu i, sam tim, bolji rad. Verujem da ce ovogodišnji učesnici i nagrađeni imati jos bolje uslove, a da će uspešnim trajanjem ovaj konkurs nastaviti da oživljava našu sredinu, na radost i umetnika i publike.

Peti konkurs Niš Art Fondacije omogućio je uzbudljivu izložbu radova koji nesebično pružaju užitak za oči, postavljaju pitanja i, istovremeno, doprinose izazivaju drugačijim sagledavanjima sveta u kojem živimo.

Marta, 2010. Kristina Ristić

Realism more real than reality

Every open competition of Nis Art Foundation makes me more happy than the previous one. Perseverance of this exhibition, and rewards, which mean a lot on their own in this time of all out crisis, firm the belief that the work of Nis Art Foundation represents an example of embracing a better life, much needed in this environment which has suffered so much.

The fifth open competition of Nis Art Foundation has a significant innovation, artists who have participated in the competition and exhibition themselves have been included in the work of the jury. The honour that I was given to participate in the work of the jury this year imposes numerous specific challenges, such as dismissing younger colleagues. As we have been separated by the administrative border of youth since a few months ago, I found myself in an unusual situation to evaluate the works of my peers – works that often have timeless qualities. It is a great pleasure of mine that these qualities often belong to

the works of significantly younger colleagues.

Experience and inexperience often interlace at the exhibition, imposing the need to introduce equality of accomplished and rising young artists. Equality this year also gathers various artistic expressions, various themes and numerous poetics. Realism, often more real than reality, is more dominant than abstraction this year. Similarly to the society as a whole, the artistic creation of the young puts the centre of their themes and preoccupations into the personal and intimate, more often than into the collective, whether these are problems or joys of living. Equality is subdued by individual ranges of works, so that many works astonish with irreplaceable devotion, whereas some announce exciting exhibitions to come. Refined expression, firm attitude, imaginative combinations, delicate movement, contemporary subtleness, authenticity of innocence, and, above all, contemplation of the work as a whole, make certain works the authors applied with for the competition truly grand.

Love of the artistic expression, beside youth, is what makes this mess of differences together. Obligation of the reward given by Nis Art Foundation is to motivate both those who are taking their first steps and those who have long chosen their affiliation. This reward means that possibility is equal with predictability, because support is much needed both to the accomplished and to the rising young artists, especially in the time of planetary relativisation of the meaning of arts and culture. Therefore, the existence and perseverance of such a driving force for the young is especially important in a community which invests and cares so little about art and culture, and yet gets so much in return.

Nis Art Foundation exhibition catalogues will, from certain time distance, provide a testimony of the change of our artistic scene and society as a whole, and, above all, recognition of a positive impact on individual artist careers. My personal experience, being a painter and a laureate of a Nis Art Foundation reward, is that their exhibitions and rewards have made it possible for me to dedicate myself more to my work, thus making it better. I believe that this year’s contestants and rewarded artists will be offered even better conditions, and that, if we make this competition last, it will continue to revive our environment, to the joy of both artists and the audience.

The fifth open competition of Nis Art Foundation represents an exciting exhibition of works which selflessly provide delight to the eyes, ask questions and, simultaneously, dare us with different perspective of the world we live in.

March, 2010. Kristina Ristic


 

Galerija, izraz vere u potencijale Niša

Niš je grad duge istorije, slavnih imena u dalekoj prošlosti, gde se u glavi vladara cara Konstantina i majke Jelene začela današnja evropska hrišćanska

civilizacija.

Niš je danas grad mladih. Dovoljno je prošetati se njegovim ulicama koje vrve od energije mladosti. A gde je mladosti ima i dara. U to je poverovao

Nišlija Radovan Lale Đuric, koji se odavno otisnuo od svoga rodnog grada i obreo u Njujorku. I gde je uspeo kao slikar. On nije žalio truda, rada i sredstava da

osnuje Niš Art Foundation da se pomognu mladi darovi širom naše zemlje i da se napravi moderni galerijski prostor, najprostraniji, najlepši i najmoderniji u

nas, gde će svake godine mladi slikari do 35 godina pokazati šta su stvorili tokom te godine.

Niš, drugi grad po veličini u našoj zemlji, može upravo preko te galerije postati mesto iz kojeg će isijavati nova energija, novo viđenje i novi doživljaj

sveta. Galerija se nudi i kao alternativni prostor za nova viđenja scenske umetnosti.

Zahvaljujući donatoru DIN “Fabrika Duvana“ a.d. Niš, u sastavu Philip Morris International, sa već osvedočenim smislom za potencijale niške kulture,

postoje svi uslovi da se ona razvije i da poduhvat sa galerijom prevaziđe lokalni okvir.

Nije tajna da je u gradu Nišu zavladalo mrtvilo među onima koji bi trebalo da podstiču i održavaju nemalu kulturnu tradiciju ovog grada.

Energija koja će isijavati iz galerije kao mesta novih poduhvata, biće impuls i za druga događanja u gradu. Galerija, i vera u mladost onih koji su oko

galerije, uliće novu nadu u umetničke potencijale Niša. Ja verujem u te potencijale i misiju Fondacije koja je za dobrobit darova mladih i osnovana.

Jovan Ćirilov

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

MLADI 2011

Niš Art Fondacija je još jednom pokazala inicijativu da podrži mlade umetnike širom Srbije. Izložba je i dalje priznata zbog najvećih talenata koje privlači, a sa izložbama u Nišu, Beogradu i Novom Sadu, ona otvara vrata mnogim ljudima da vide i uživaju u talentovanim mladim umetnicima koje imamo u ovoj zemlji.

Niš Art Fondacija pruža mogućnost mladim umetnicima da ih čuju, cene i priznaju upravo zbog njihovog talenta. Kao i naš posao ovde, u Srbiji, kompanija Philip Morris teži istom cilju, dajući ljudima u našoj organizaciji mogućnost da razvijaju i unapređuju svoje karijere koliko god je to moguće. Kao što možete videti u ovom katalogu, kvalitet umetničkih radova koji će biti prikazan ove godine je na zapanjujućem nivou i nadam se da će ova izložba pružiti ovim mladim umetnicima mogućnost da razviju svoje karijere i iskoriste svoj talenat na najbolji način, na čemu su toliko naporno radili.

Od svojih početaka, kompanija Philip Morris podržava Niš Art Fondaciju i ponosna je što je ovakvim događajem otvoren put najboljim mladim srpskim umetnicima da pokažu šta umeju. Uživajte u ovogodišnjoj izložbi i odvojite vreme da se divite najboljim od najboljih mladih umetnika koje Srbija može da ponudi!

S’ poštovanjem,

Paul Riley

Generalni direktor kompanije Philip Morris Srbija

THE YOUNG 2011

The Nis Art foundation once again has delivered on its initiative to support young artists throughout Serbia. The exhibition continues to be re-cognized for the top talent that it attracts and with exhibitions in Nis, Belgrade and Novi Sad it opens the door for many people to enjoy and witness the talented young artists that we have in this country.

The Nis Art Foundation provides an opportunity for young artists to be heard, appreciated and importantly recognized for their Talent. Likewise our business here in Serbia, Philip Morris aims to do exactly the same thing, giving people in our organization the opportunity to grow and prosper whilst developing their careers to the full extent of their potential. As you will see in this catalogue the quality of artwork that will be exhibited this year is at an amazing standard and I hope that in some small way this exhibition can assist these young fine artists the opportunity to also develop their careers and make the most of the talent that they have worked so hard for.

Since its commencement, Philip Morris has been a supporter of the Nis Art Foundation and it is proud that through this event an avenue has been created for talented Serbian artists to show what they can do. Enjoy this year’s exhibition and take the time to admire the best of the best young artist that Serbia has to ofer!

Best Regards

Paul Riley

Managing Director Philip Morris Serbia.

MALO O UMETNOSTI

Razmišljanje jednog člana žirija Svet u kojem živimo je jedna velika konstantna PROMENA. Tako ga je osmislio ONAJ-ONO što ga je sačinilo. Da nije tako, ne bismo napredovali, šta god to kome značilo. Život bi stao.

U prirodi su te promene dovedene do savršenstva. Čoveku, kao delu tog savrsenstva, data je  moć  da utiče na promene.  Nekad ih ometajući, nekad usavršavajući.

Priroda je davno učinila svoje. Čovek je počeo da čini  svoje kad je osvestio datu mu moć. Delao je i fzicki i duhovno. Duhovnošću je otkrio svet etike, morala, filosofije, umetnosti.

Stvoritelj je i tu uveo red. Kao što svako ne ume da pravi cipele ili kuće ili da dokuči  tajne fizike ili mtematike, tako ni umetnosću ne mogu da se bave svi.

Umetnost je tesko definisati. Tanana, neuhvatljiva a tako moćna!

Pokret, rec, zvuk, boja …

Neki umetnici je dosegnu razumom, upornosću, veštinom.

Neki dosegnu umetnost talentom, urodjenom predodredjenošću.

Ali u svakom umetniku mora da postji  inicijalna kapisla, unutrasnji impuls! Čist i iskren. To je polazište.  Vremenom se uplete spoljašnji svet, upletu se drugi umetnici ili učitelji, uplete se publika . Do cilja se stigne brže ili sporije.  To zavisi od energije, upornosti, znanja ,  strpljenja. Umetnik se preispituje, traga, menja, koriguje.  Sve dok sam ne oseti da je dosegao svoj lični vrhunac.

Danas, na ovoj izložbi,  posmatrate  44  dela iz oblasti likovne umetnosti.

Veština vladanja izražajnim sredstvima se ravnopravno takmiči sa temom i idejom. Kod nekih umetnika prevagne jedno, kod nekih drugo. Važno je da iinicijalna kapisla postoji kod svakoga. Njome se deluje na emociju posmatrača. To je ishodište.  Bez nje  ostaje ravnodušnost. Ravnodušnost koja je najveći neprijatelj umetnosti! Nadamo se da je vi nećete osetiti. Da će radost i optimizam, koji je pratio stvaranje ove izlozbe, preći i  na vas!

Neda Arnerić, Marta, 2011.

SOMETHING ABOUT ART

Thoughts of a jury member The world we live in is a big, constant CHANGE. It was thus intended by WHOEVER/WHATEVER created it. If it were di   erent, we wouldn’t have made any progress, whatever it means. Life would have come to an end.

In nature, these changes are made perfect. A man, as a part of that perfection, is given power to a ect these changes, sometimes disturbing, sometimes improving them.

Nature has taken its course long ago. The man started his mission the moment he rationalized the power he was given. He acted physically and spiritually. Spiritually, he covered the world of ethics, moral, philosophy, art.

The Creator imposed order in that sphere as well. Not everyone can make shoes or build houses, or see through the secrets of physics or mathematics, Art is difine cult to define. Tenuous, elusive, and yet so powerful!

A movement, a word, a sound, a color...

Some artists reach it with reason, some with persistence, skill.

Some reach art with their talent, with inborn predestination.

But what all artists must have in themselves is the initial capsule, the inner impulse! Pure and honest. That’s the starting point. In time the outer world merges into it, other artists or teachers merge, the audience merges. The goal is reached faster or slower.  It depends on the energy, persistence, knowledge, patience. The artists re-examine themselves, they search, change, improve.  Until they feel for themselves that they have reached their apogee. Today, at this exhibition, you are watching 44 works of visual art.

The skill of using the means of expression equally competes with the subject and idea. With some artists the former prevails, with others – the latter. What matters is that the initial capsule exists within each one of them. It a         ects the emotion of the observer. That’s the bottom line.  Without it, there’s indifference.

Indifference is the greatest enemy of art! Let’s hope you won’t feel it. Let’s hope that joy and optimism, which accompanied the creation of this exhibition, will penetrate you, too.

March, 2011. Neda Arneric

DILEMA NA ISTOM ZADATKU

U naslovu ovog mog napisa povodom Šeste izložbe mladih poigrao sam se nazivima dve slike sa ovogodišnje  izložbe – jedna je Dilema, a druga Na istom zadatku. I ovog proleca hrupilo je medi nas pleme mladih, obrvano istim stavom – dilemom. Na istom su zadatku - slikaju, a  kao da se pitaju da li je to njihov put, da li je to tema, da li su to sredstva...

 Po priroda svoga životnog opredeljenja sklon sam racionalnosti i sistematizaciji, a još roden u znaku Device, svaki put u ovo vreme pred radovima izbranih mladih slikara, tražim njihov zajednicki imenitelj. Nije to nimalo lak zadatak u vreme kada u vizuelnim umetnostima, kako odraslih i davno formiranih, tako i mladih, još, cvetaju svi modernisticki i postmodernisticki cvetovi.

Pa ipak, cini mi se, da ove godine, pored sve vec pomenute stvaralacke dileme,  u velikoj meri prevladava figuralno slikarstvo, i to sa ljudskom figurom. Tek dva-tri mlada slikara opredelila su se za apstraktni prizor, u cijim slikama se ipak katkada nazire trag neke jedva primetne figuralnosti.

Ono što je karakteristicno to je traganje za neobicnim, bilo likovim rukopisom, bilo izborom motiva u odnosu na ljudsko telo ili njegov lik. U tom smislu karakteristicno je ono platno sa donjim delom tela sa dugom senkom koja dominira slikom. Takode su  karakteristicne slike u kojima je prisutan odnos medu ljudima, ljubavni, erotski i prijateljski, ili kolektivno prisustvo u  nekoj prilici,  što mi u pozorištu zovemo masovkom.

Iako mladim slikarima nije ni ove godine stran društveni angažman, za ovogodišnju „žetvu“ karakteristicna je zaokupljenost likovnošcu kao posebnom vrednošcu. Kao da su se umorili od vanslikarskog angažmana ili više  u njega ne veruju. Oni na svojim slikama ne ulepšavaju stvarnost, ali usavršavaju svoje slikarstvo. Možda je  to dovoljno.

Marta, 2011. Jovan Cirilov

DILEMMA ON THE SAME MISSION

In the title of this writing of mine for the purpose of the Sixth exhibition of the young, I used a word play with the names of two paintings from this year’s exhibition – one is Dilemma, and the other is On the same Mission. This spring yet another tribe of the young dashed into us, overwhelmed with the same attitude – a dilemma. They are all on the same mission – to paint, but they seem to wonder if this really is their way, if this is the theme, if these are the means...

 By the nature of my life orientation, I am apt for rationality and systematization, and, being born under the sign of Virgo, each time I stand before the works of the chosen young painters, I look for their common denominator. It is not a simple task in the time when visual arts of both the adult and long formed, and the young, still bloom with all modernist and post-modernist flowers.

It seems to me, however, that this year, beside the dilemma I have already mentioned, what prevails is figural art, the one with a human figure. It’s only two or three young painters who have chosen the abstract, with a trace of barely noticeable figurality, however.

What is characteristic is the search of the uncommon, either in the artistic writing, or in the choice of motives in relation to a human body or appearance. In that sense, what’s characteristic is the canvas with the lower part of the body with a long reflection which dominates the painting. Furthermore, there are characteristic paintings with inter-human relations, such as love, erotic, friendly, or collective presence at an event, which we call “masovka” (a mass effect scene) in theatre.

Although this year the young artists are also familiar with social engagement, this year’s “harvest” is characterized with artistic preoccupation as a special value. It seems as if they got tired of their non-artistic engagement, or, even more, as if they stopped believing in it. They don’t embellish the world in their paintings, but they prefect their art. Perhaps that is enough.

March, 2011. Jovan Cirilov

Last Updated on Monday, 27 May 2013 22:05