30. internacionalni simpozijum skulpture, 01-31. jul 2011, Kikinda, Vojvodina, Srbija
30th international sculpture symposium, July 01st-31st, 2011,th Kikinda, Vojvodina, Serbia
31. Internacionalni simpozijum skulpture / 31 International Sculpture Symposium
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XXX
Isak
Aslani
Valentina
Dusavitskaya
Vladan
Martinović
Beáta
Rostás
Nada
Stojici
Yuri
XXXI Tkachenko
Simpozijum skulpture
Sculpture Symposium
tekst/text by: Radmila Savčić
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2012
Ako je do ovih godina Internacionalni simpozijum skulpture Terra bio jedna od najznačajnijih događaja ovakvog
oblika umetničkog delovanja, jasno je sada, da je predlog „od“ suvišan. Zato što je u kontinuitetu zadržao osnovne i prvobitne karakteristike, okupljanje umetnika iz
zemlje i inostranstva da realizuju dela u terakoti, a potom
se razvijao jednakim intezitetom kroz proces podizanja
tehničkog nivoa za rad umetnika i relizovanje ideja ka
originalnoj i institucionalnoj kulturnoj celini. Mogli smo
pratiti kako se kompleks starog pogona „Toze Marković“,
ruinirano zdanje pretvara u privlačan radni umetnički
prostor, kako se transformiše slika celokupnog ambijenta
u drugačiji vizuelni sadržaj ispunjen brojnim skulpturama, i kako se organizacioni i stručni tim širi, bez generacijskih lomova, jedinstven i svestan da je ovaj simpozijum
atraktivna umetnička destinacija u nas i u svetu. Zato što
se ovde može ukrotiti glina kao skulptorski materijal, sa
svojim specifičnim zakonomernostima, iako deluje lagano i neobavezno, nimalo nije naivno štivo. Tu je umetnikovo iskustvo, neposredni i taktilni doživljaj, beskrajne
mogućnosti oblikovanja, menjanja ideje tokom rada, impresije i promišljanja i na kraju toplina prirodnog kolorita. Cifre o broju umetnika, umetničkih dela, gledalaca
i posetilaca, napisanih reči, projekata i izložbi jesu impozantne, ali nisu adekvatna mera o ogromnoj umetničkoj
vrednosti, koje ima kolekcija skulptura, kao i o velikoj
ulozi u skulpturalnoj produkciji i njenoj promociji, potom
i pokazuje da je ova likovna disciplina živo originalnom
tkivo u umetnosti uopšte.
Deo tog tkiva su skulpture ovogodišnjeg Simpozijuma
različitog izraza i odraza pojedninačnih umetničkih percepcija. Ali u tome se mogu definisati neki zanimljivi detalji, koji su se pokazali i predhodnih godina. Više kontinentalna, a manje nacionalna različitost u tematskom i
stilskom sadržaju skulptorske materije. Tako se umetnici
iz azijskih prostora obraćaju figuraciji, monumentalnim
portretima svedenih oblika, za razliku od ostalih, naročito
iz evropskih zemalja, koji deluju slobodnije ističući svoje individulane karakteristike. Može biti da je to odraz
različitih načina obrazovanja, vizuelnog okuženja, kao i
socijalnih, društvenih i religijskih uticaja. Svakako to može
biti zanimljiv detalj i predmet ambicioznije teorijske studije. Kako se umetnici ovogodišnjeg simpozijuma obraćaju
figuraciji, te tipske karakteristike uslovno postoje.
Skulpturalni izraz Said Ahmadija prostire od monumentalnih portreta do kompozicija žanr scena. Monumentalni portreti su tek naglašenog volumena dopunjeni linearnim gestom, koji više objašnjavaju strukturu materije
nego karakteristiku lika. Iskustva spomničke plastike su
u njima vidljiva, ali i u kompozicijama. Za razliku od portreta ove kompozicije nisu monumentalnih dimenzija, ali
stilizacija figura i njihov međuosbni odnos unutar dela
definišu opšte pojmove karakteristično za spomenike.
Ipak preovladava individualni izraz kao odraz lokalnog
miljea sa prisutnom naracijom integrisanom u lirski i intimni doživljaj.
Jin Ksiaofeng iz Kine realizovao je dve skulpture različitih
skulpturalnih formi. Torzo putenih površina i volumena
izražajnih ženskih epiteta. Dok je ova skulptura statična
druga skulptura je reljef monumentalnih dimenzija,
različita i po estetskom prinscipu. Sadrži odnos dve
različite materije, po koloritu i po samoj strukturi površina.
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If up to these years the TERRA International sculpture
symposium has been one of the most significant events
of such artistic acting, it is now clear that the preposition
„of“ is redundant. This is because it has retained basic
and primary characteristics in continuity - the gathering
of artists from the country and abroad who have realized
their works of art in terracotta, while afterwards it has
been developing with equal intensity through the
process of increasing the technical level for the work of
artists and the realization of ideas towards an original and
institutional cultural entity. We were able to watch how the
complex of an old section of the „Toza Marković“ factory,
a ruined building, was turning into an attractive working
artistic space, how the picture of whole enviroment
was transorming into a different visual content filled
with numerous sculptures and how the organizational
and expert team was expanding without generational
breakages, unique and conscious that this symposium
is an attractive art destination here and in the world.
Because here, clay as sculptural material with its specific
regularities can be tamed, although it seems to be light
and casual, it certainly is not naive material. There is also
an artist’s experience, immediate and tactile experience,
infinite possibilities of shaping, changing of ideas during
the work, impressions and reflections and the wormth of
natural colority in the end. Figures refering to the number
of artists, works of art, spectators and visitors, written
words, projects and exhibitions are imposing but they
are not an adequate measure of enormous art value that
the collection of sculptures owns and of the great part
in sculptural production and its promotion; they however
reveal that this fine art discipline is alive original tissue in
art in general.
A part of the issue are this year’s Symposium sculptures
of variuos expressions and reflections of particular
artistic perceptions. Here some interesting details can
be defined which were already proved during previous
years. The dissimilarity in thematic and stylish content
of sculptural material is more continental than national.
Thus artists from Asian territory adress figuration through
monumental portraits of reduced forms unlike the rest,
particularly from European countries who act with more
freedom emphasizing their individual characteristics.
This may be the reflection of various ways of education,
visual environment and also of social and religious
influences. Anyhow, this can be an interesting detail and
the subject of a more ambitious theoretic study. As this
year’s Symposium participants adress figuration, these
standard characteristics conditionally exist.
Saeid Ahmedi’s sculptural expression extends from monumental portraits to the compositions of genre scenes.
The monumental portraits are of hardly emphasized volume complemented with a linear gest and they explain
more the structure of materia than the characteristic of
a face. The experiences of monumental plastics are visible both in the portraits and in the compositions. Unlike
the portraits, these compositions are not of monumental dimensions, however the sculptures’ stylization and
their interrelation within the work of art define general
concepts distinctive for monuments. Still an individual
expression prevails as the reflection of local milieu with
present naration integrated in a lyrical and intimate expression.
Glatke, koje definišu volumen figure i ekpresivni izraz kroz
talasastu definiciju draperije, čije površine imaju adekvatnu teksturu.
Amorfni saržaj u skulpturama Kim Hjeogsua pojavljuje
se funkcionalno i tematski. Fukcionalno se pojavljuje
kao pojedinačna predstava ili detalj uklopljen u masu
dela čineći ga estestki bogatijim. Tematsko uporište je u
prirodi. To se naročito vidi u skulpturi vertikalnog objekta
oblika stabla iz čije zrnaste mase izlaze ispupčene forme
sa pravilnim šupljinama.
Umetici s naših prostora za razliku od ostalih, su
ujednačenog likovnog izraza, što je posledica lakše komunikcije i opuštenije atosfere. Ove skulpture predstavljaju
individualni likovni jezik, umetnost trenutka i inspiracije.
Ekspresivan izraz Numan Huseinbegovića dosledan u
koncepciji skulpturalne forme. Dinamičan gest, urezima
i izrezima, utisnute brazde nejednakih oblika veličina,
promena ritma, stiskanje i gužvanje forme govore o
burnom temperamentu i snažnim emocijama. Umetnik
direktno komunicira sa svojim delom. Stoga je ono jedinstveno biće potpuna animacija umetnikovih osećanja.
Za razliku od njega ekspresivni izraz Zorana Maleša je
drugačijeg formata. Isto tako dinamično definiše formu
bogatim gestualnim rukopisom. Ali ova dela plastično i
rustično ilustruju temu. Kompozicije portreta, odnosno
likovi izranjaju iz mase, nemih krikova i zarobljenih izraza, snažnih i neizgovorenih emocija. Koncepcija ovih
portretskih kompozicija je dvodimenzionalna, te aplikuju na prikazivanje teme, a ne i nju samu. Kontroverzna
umetnička figura naše aktuelne likovne scene je Vojin
Rajović. Razuđenih tematika u oblasti konkretne umetnosti. Inspiriše se okruženjem i društvenim uticajem. Dela
su mu u skladu sa idejom različitog materijala i likovnog
koncepta. Terakotu doživljava eksplicitno, kao punu formu, predstavljenu u različitim zatvorenim objektima, posudama, kapsulama. Na njima tek po koji znak da zaintrigira i provocira ili skrene misao.
Ovogodišnji materijal, kao prilog kolekiji skuptura
Simpozijuma Tera je individulanih likovnih projekcija.
Pridružuje se kolekciji dela, zbirci skulptura interkontinetnatlnog značaja, internacionalnog obima i nacionalnog
obeležja. Naći će se u postavci budućeg muzeja Tera kao
deo ili tematske, specijalizovane i reprezentativne postavke, čije svetlo dana nestrpljivo očekujemo.
Yin Xiao Feng from China realized two sculptures of different sculptural forms. A torso of sensual spaces and a
volume of expressive female epithets. While this sculpture
is static, the other one is a relief of monumental dimensions, different also according to an aesthetic principle. It
contains the relation of two different materials in coloring
and in the structure of spaces. The smooth structures that
define the volume of a figure and an expression through
the wavy definition of a drapery, the spaces of which have
an adequate texture.
Amorphous content in the sculptures by Kim Hyeog Soo
appears both functionally and thematically. It appears
functionally as a single idea or a detail fit into mass of the
artwork making it aestheticly richer. The thematic base is
in nature. This is the most obvious in the sculpture of a
vertical object in the shape of a tree trunk from granual
mass of which bulging forms with symmetrical hollows
come out.
Unlike other artists, the ones from our areas are of equal
artistic expression which is a consequence of easier
communication and more relaxed atmosphere. These
sculptures represent an individual language of fine arts,
the art of a moment and inspiration. The expression by
Numan Huseinbegović is consistent in the perception
of sculptural form. A dymanic gesture, imprinted creases
with cuts and slits of unequal shapes and sizes, the
change of rhytm, squeezing and crumpling of the form
tell of a tumultuous temperament and strong emotions.
The artist directly communicates with his artwork. Thus it
represents a unique creature, the complete animation of
the artist’s feelings. In contrast to him, the expression by
Zoran Maleš is of a different format. In the same dynamic
way he defines the form rich with gestural manuscript.
However, these artworks illustrate the subject both in
plastic and rustic ways. The compositions of portraits,
that is, faces emerge from mass, with silent screams and
captivated expressions, with powerful and unspoken
emotions. The conception of these portait compositions
is two-dimensional, thus they apply to the presentation
of the subject and not to the subject itself. A controversial
artistic figure of actual art scene in our country is Vojin
Rajović. With indented thematics in the field of concrete
art. He is inspired by environment and social influence.
His artworks are in accordance with an idea of various
material and fine arts concept. Terracotta is understood
explicitly as a full form, presented in various closed
objects, dishes, capsules. There are only few signs on
them to interest and provoke or to call a thought to
something else.
This year’s material as a contribution to the sculpture collection of the Terra Symposium is of individual fine arts
projections. It joins the collection of artworks, the sculpture collection of intercontinental importance, of international volume and national characteristics. It will be a part
of thematic, specialized and representative display in the
future Terra museum, the opening of which we are impatiently awaiting.
Translated by Marta Buzulov
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Saeid Ahmadi
Yin Xiao Feng
Vojin Rajović
Kim Hyeog Soo
Numan Huseinbegović
Zoran Maleš
Saeid Ahmadi
31x25x13cm
28x19x9 cm
320x235x130 cm
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Yin Xiao Feng
41x24x7 cm
77x51x44 cm
315x160x45 cm
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11
Numan Huseinbegović
97x38x17 cm
110x17x16 cm
220x60x60 cm
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Kim Hyeog Soo
Connection 2012
50x37x14 cm
Seed 2012
67x38x38 cm
Image of Cell (Cellulation)
230x57x57 cm
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Zoran Maleš
45x22x18cm
65x57x30 cm
220x110x55 cm
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Vojin Rajović
63x37x35 cm
97x50x44 cm
232x100x100 cm
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31. Internacionalni simpozijum skulpture
31th International Sculpture Symposium
01 - 31. jul 2012 / July 01st - July 31st, 2012
Kikinda, Vojvodina, Srbija
Centar za likovnu i primenjenu umetnost
23300 Kikinda, Srbija
tel/fax: +381 (0)230 26508
e-mail: [email protected], [email protected]
web: www.terra.rs
Za izdavača / For publisher:
Slobodan Kojić
Tekst / Text
Radmila Savčić
Prevod na engleski / Translation on English
Marta Buzulov
Fotografije / Photos:
Foto studio Sretenović
Igor Grandić, Kim Hyeog Soo
Dizajn / Design:
Stevan Kojić
Štampa / Printing:
Štamparija Futura, Petrovaradin
Tiraž / Print run:
500 primeraka / 500 copies
Sponzori / Sponsors:
Pokrajinski sekretarijat
za kulturu
SO Kikinda
Ministarstvo kulture
Republike Srbije
Naftna industrija Srbije
Kompanija
Toza Marković
Banini AD, preduzeće za
proizvodnju konditorskih
proizvoda
CIP - Каталогизација у публикацији
Библиотека Матице српске, Нови Сад
730(100)”2013”(083.824)
061:73(497.113 Kikinda) “2013“ (083.824)
ИНTЕРНАЦИОНАЛНИ симпозијум скулптуре Terra (2013 ;
Kикинда)
Terra 2012. : 05.07. 2013. , Kikinda / Internacionalni
simpozijum skulpture Terra ; [tekst Radmila Savčić ;
fotografije Igor Grandić ; prevod na engleski jezik Marta
Buzulov]. - Kikinda : Centar za likovnu i primenjenu
umetnost Terra, 2013 (Novi Sad : Futura). - [24] str. :
ilustr. ; 30 cm
Tiraž 500
ISBN 978-86-85901-45-4
a) Интернационални симпозијум скулптуре Terra (2013 ;
Kикинда) - Изложбени каталози
COBISS.SR-ID 279525639
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01 - 31. jul 2012, Kikinda, Vojvodina, Srbija
July 01st - July 31st, 2012, Kikinda, Vojvodina, Serbia
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