tag:blogger.com,1999:blog-1946304407515918672024-03-21T17:19:30.292-07:00NotesGradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.comBlogger600125tag:blogger.com,1999:blog-194630440751591867.post-5022413140103591352011-11-10T08:48:00.000-08:002011-11-10T08:48:42.851-08:00Srpske freske u Firenci, Novosti<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: inherit;"><span class="author" style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #666666; line-height: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 4px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">D. MATOVIĆ</span><span class="Apple-style-span" style="background-color: white; color: #666666; line-height: 13px;"> | 09. novembar 2011</span></span><br />
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<span class="Apple-style-span" style="background-color: white; font-weight: bold; line-height: 22px;"><span class="Apple-style-span" style="font-family: inherit;">Ekskluzivno: Stalna postavka kopija naših fresaka otvara se 29. novembra u bazilici Santa Kroče. Ideja nastala usled velikog interesovanja za izložbu „Srbija, zemlja fresaka“</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0m9Eud9XqAeZiy7__7ns2HtmmV5Vhz8lEpBPk6OhZxzULlFa6Eg0elQkIDBRjBpF3ne6tD1Q7ZhbDqC2mb31bNxGEfKriT5nDigSq5MYRFtfBzGDEV7KCrcVhI_dvt5vaIXRRTYbJZk/s1600/kul-ikone-SPAJANJE-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0m9Eud9XqAeZiy7__7ns2HtmmV5Vhz8lEpBPk6OhZxzULlFa6Eg0elQkIDBRjBpF3ne6tD1Q7ZhbDqC2mb31bNxGEfKriT5nDigSq5MYRFtfBzGDEV7KCrcVhI_dvt5vaIXRRTYbJZk/s640/kul-ikone-SPAJANJE-1.jpg" width="640" /></a></div>
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<div style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #333333; line-height: 22px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">SRPSKE freske imaće svoje stalno mesto u najvećoj franjevačkoj crkvi u svetu! U bazilici Santa Kroče u Firenci 29. novembra biće otvorena stalna postavka kopija nekih od najboljih i najpoznatijih fresaka iz srpskih srednjovekovnih manastira Mileševe, Sopoćana i Gračanice.</span></div>
<div style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #333333; line-height: 22px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ideja da one budu trajno u jednom od najvećih italijanskih hramova fresaka nastala je spontano, usled velikog interesovanja za izložbu „Srbija, zemlja fresaka“, koja je bila postavljena u bazilici Santa Kroče. Tokom aprila i maja videlo ju je 30.000 ljudi. Oduševljeni Firentinci su još tada poželeli da naprave malu galeriju fresaka i... U sali pored starog klaustora bazilike sada će trajno biti izložene kopije fresaka „Bogorodica iz Blagovesti“ i „Mironosica na grobu Hristovom“ („Beli anđeo“) iz Mileševe, dva motiva sa „Rođenja Hristovog“ („Pastiri“ i „Kupanje mladenca“) i „Oplakivanje Ane Dondolo“ iz Sopoćana, kao i portreti Milutina i Simonide iz Gračanice.</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Pozajmili smo kopije fresaka na neodređeno vreme. Vodili smo računa da to budu one kojih imamo najviše u depou - kaže mr Bojan Popović, upravnik Galerije fresaka i autor izložbe „Srbija, zemlja fresaka“. - Većinu kopija uradili su Zdenka Živković i Časlav Colić, samo je „Oplakivanje Ane Dandolo“, na kojoj se vide međudinastičke veze naših zemalja, radio tim francuskih kopista, kojim je rukovodio Andre Ruo.</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Pored Popovića, važnu ulogu da se srpske freske nađu u Firenci imala je Paola Vojinović, profesor renesansne umetnosti na tamošnjem univerzitetu.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Izložba „Srbija, zemlja fresaka“ ukazala je na snažne zajedničke korene i podudarnosti Italije i Srbije tokom poznog srednjeg veka - ističe Popović. - Srpske i italijanske freske snažno ukazuju na novu duhovnost kroz koju je odnegovana umetnost fresaka, kao i na uspon Evrope u svim segmentima društva. Ta prožimanja nastavljena su i u današnje vreme. Posle Drugog svetskog rata, italijanski stručnjaci dolazili su na molbu srpskih vlasti kako bi pomogli oko restauracije ratom oštećenih hramova, kao što su i srpski stručnjaci pristigli u Firencu da pomognu posle poplave Arna.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">„<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Srbija, zemlja fresaka“ prvi put je realizovana 2007. u Strazburu, a zatim u Klagenfurtu i Ljubljani. Tokom 2010. gostovala je u Parizu i u Briselu, a tokom ove godine bila je i u Rimu, gde ju je obišlo desetak hiljada posetilaca.</span></span></span></div>
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<b><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><img src="http://www.novosti.rs/upload/images/2011//11/0911n/KUL-IKONE-MALA.jpg" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-top-width: 0px; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span></b></div>
<b><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">ZEMLJA FRESAKA</span></b><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- SRBIJA je poznata kao zemlja fresaka - ističe mr Bojan Popović. - Slikarstvo Mileševe je jedno od poslednjih u kojima je primenjena modelacija nastala na osnovu izrade portreta u poznom rimskom carstvu. U Sopoćanima je naglašena trodimenzionalnost preko strukture scene. Jedinstveno je „Oplakivanje kraljice Ane Dandolo“, majke Stefana Uroša I. Upotrebljena je šema „Uspenja Bogorodice“, Anu okružuje porodica odevena po modi vizantijskog dvora, ističu se veze sa Venecijom, ali i Anžujcima i Kurtenejima, preko lika kraljice Jelene, prikazane tik do odra. U DžIV veku nastaje novi stil, koji je nazvan narativnim ili ilustrativnim. Primer takvog slikarstva su freske iz Gračanice.</span></div>
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<b><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">ITALIJANSKO-SRPSKE VEZE</span></b></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- ITALIJANSKE ikone čuvaju se u riznici manastira Hilandar na Svetoj gori, gde figurira venecijanski diptih sa predstavom dvanaest velikih praznika - podseća Popović. </span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- S druge strane, kao vredne i poštovane relikvije, papa Pije II nabavio je iz Srbije i Bosne (koje su u to vreme pale pod vlast Turaka Osmanlija) krst „prvog arhiepiskopa Save Srpskog“ za katedralu grada koji je on osnovao, Pijencu. Papa je otkupio i desnicu Jovana Preteče, relikviju na čijem okovu je takođe natpis u kome se spominje „prvi arhiepiskop Sava Srpski“.</span></div>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com2tag:blogger.com,1999:blog-194630440751591867.post-75033037142179569122011-11-09T04:00:00.000-08:002011-11-09T04:00:06.299-08:00"Energija plus" u MSUV, B92<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5bQyWyEbmCW5XpPg1Mk2_ne6hs1NE9osiS-XWWJ8AnX6J8sx1_hyvxcB4BwHbVXlcR5ioIeUETBxiYXwpUfC2UdBqQtOQlcaNAuHSmqBNhHuZMDZvKnAZ6nXHcrxtjW4JG2YDLYS5S4/s1600/13621019014eb94349eb99a438745355_orig+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5bQyWyEbmCW5XpPg1Mk2_ne6hs1NE9osiS-XWWJ8AnX6J8sx1_hyvxcB4BwHbVXlcR5ioIeUETBxiYXwpUfC2UdBqQtOQlcaNAuHSmqBNhHuZMDZvKnAZ6nXHcrxtjW4JG2YDLYS5S4/s320/13621019014eb94349eb99a438745355_orig+%25281%2529.jpg" width="320" /></a></div>
<span class="article-info2" style="background-color: white; font-size: 10px; line-height: 22px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-transform: uppercase;"><span class="Apple-style-span" style="font-family: inherit;">IZVOR: PR</span></span><br />
<div style="background-color: white; font-size: 15px; line-height: 22px; margin-bottom: 10px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="font-family: inherit;">U četvrtak 10. novembra u organizaciji Novosadskog Otvorenog Univerziteta biće otvorena jubilarna četrdeseta izložba Novosadskog salona, "Energija plus", u izložbenim prostorijama Muzeja savremene umetnosti Vojvodine.</span></em></div>
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<em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-style: normal;">Savet Novosadskog salona pozvao je istoričarku umetnosti Sanju Kojić Mladenov da načini adekvatan izbor (bez lokalnih sužavanja) savremene umetničke scene. </span><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><span class="Apple-style-span" style="font-style: normal;">Jubilarni Novosadski salon usmeren je ka posmatranju i istraživanju umetničke prakse svog pokretača Boska Petrovića (1922-1982) u kontekstu savremenih umetničkih i društveno-političkih prilika, a predstavljenih delima aktuelnih umetnika, navodi se u saopštenjeu organizatora. </span><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><span class="Apple-style-span" style="font-style: normal;">Bosko Petrović je tokom svog četrdesetogodišnjeg kreativnog rada ostao prepoznatljiv po inovativnom pristupu umetnosti, želji za eksperimentom sa različitim medijima i materijalima, kao i po svojim društvenim inicijativama i angažovanjima, a mnogi pricipi njegovog rada su i danas prisutni i aktuelni. </span><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><span class="Apple-style-span" style="font-style: normal;">Na izložbi 40. Novosadskog salona učestvovaće: </span><strong style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Silard Antal, Aleksandar Dimitrijević, Andrea Ivanović Jakšić, Bojana Knežević, Andrea Palasti, Zoran Todorović, Miloš Vujanović, Turbo Comix – Krekhaus, Igor Hofbauer i grupa Fanzin Ceger.</strong><span class="Apple-style-span" style="font-style: normal;"> U okviru radionica, filmskog programa i razgovora Salona ucestvuju: </span><strong style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Hibrid media kamp, Miroslav Jović, Nenad Mikalački, Grafička radionica za decu Dragana Jajića, Centar za grafiku i UA Zrenjanin. </strong><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><span class="Apple-style-span" style="font-style: normal;">Tokom otvaranja Fanzin Ceger i Fijuk mreža izvešće akciju sito štampe strip motiva na odevne predmete gostiju, a u pratećem programu, tokom trajanja izložbe, 14. novembra (10-13h), biće upriličena dečija grafička radionica “Predgrafičke i grafičke tehnike” koju će voditi grafičar Dragan Jajić. </span><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="font-style: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><span class="Apple-style-span" style="font-style: normal;">Za 18. novembar (19h), zakazana je projekcija filmova Silard Antala, Nenada Mikalačkog i Miroslava Jovića.</span></span></em></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-36615337439092163522011-11-09T03:57:00.000-08:002011-11-09T03:57:49.059-08:00Tesline linije pored pejzaža, Politika<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEf671U23mubTfCKgcDwt__R12C2r9nN5zQeE7ykP3-xZf8Rzsmw701raBwAVmsH_SUuKgz5LAj8FIie5XWk6k8W1FLmKci1EypYBOGWzY9Q1LZzhQ5cUADSQTtxwX_GpcddSTZY5dJhw/s1600/Torta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEf671U23mubTfCKgcDwt__R12C2r9nN5zQeE7ykP3-xZf8Rzsmw701raBwAVmsH_SUuKgz5LAj8FIie5XWk6k8W1FLmKci1EypYBOGWzY9Q1LZzhQ5cUADSQTtxwX_GpcddSTZY5dJhw/s400/Torta.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="background-color: white; line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;">Dijalog je oslobađanje od ega. Onaj ko je spreman da prihvati tuđe mišljenje može da se podigne na viši nivo, kaže Branislav Nikolić, pred otvaranje izložbe u KC Grad</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Kada se dva savremena umetnika, različitih poetika a istog godišta (1970), nađu u dijalogu na zajedničkoj izložbi,šanse su velike da postavka bude interesantna. Branislav Nikolić i Selman Trtovac, o kojima je reč, izabrali su KC Grad, gde večeras u 20 sati otvaraju izložbu pod neobičnim nazivom „...Tvoji crteži su kao one Tesline linije pored mog pejzaža!”</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Upravo ta rečenica, koja se, kažu, iako preglomazna, odlično uklapa u ideju „razgovora između skulpturno-pejzažneinstalacije i hibridnih crteža velikog formata” koju predstavljaju publici, rodila se tokom četovanja na Internetu, u trenucima rasprave o nazivu izložbe. Preciznije, njen autor je Branislav Nikolić.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Prvo su nam padali na pamet neki ozbiljni naslovi kojima bi objedinili naše radove ali su bili previše dosadni. Onda sam ja rekao tu rečenicu kojom sam i sebi i njemu želeo da objasnim kako će to u stvari da izgleda kada sve bude postavljeno. Selman je onda rekao: „Eto, imamo ga, to je naziv izložbe”, objašnjava Nikolić.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U dijalogu koji pominju, a u kojem učestvuju Nikolićeva instalacija i crteži njegovog kolege, postavlja se pitanje odnosa dve veoma različite umetničke pozicije i pitanje razumevanja umetničkog rada onog drugog umetnika. „Svaki umetnik kreće se po određenoj energetskoj orbitali. Da bi se izmestio iz takvog kretanja, u prenesenom smislu reči, neophodan je uticaj spolja, potrebna je nekakva sila, neko iskustvo koje će mu dati energiju da pređe na neku drugu energetsku orbitalu”, piše Trtovac. A Nikolić dodaje:</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">–Fascinirala nas je činjenica da o mnogim stvarima imamo iste stavove, iako se do sada nismo poznavali i stvaramo na različit način. Pokušali smo da napravimo izložbu nakojoj će ljudi moći da vide šta je to što nas spaja ili baš nasuprot, razdvaja. Uz to, dijalog je oslobađanje od sujete, od ega. Onaj ko je spreman da prihvati tuđe mišljenje, ko je spreman da kaže u pravu si, pogrešio sam, ko je spreman da učini ustupak, on može da se podigne na viši nivo.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Nikolić u poslednje vreme najviše stvara skulpture ili instalacije. Sviđa mu se fizički kontakt sa materijalom i činjenica da i gledalac takođe fizički oseća njihovoprisustvo. Onesutu pored, konkurišutelu u prostoru,dok slika može da ostane na nivou vizuelne informacije. Posebno mu je uzbudljiva skulptura u javnom prostoru.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Radio sam letos u Slovačkoj uradionici koja se zove „Landscape Revisited”. Zanimljivo mesto koje je vodio mladi meksički kustos i umetnik Karlos Karmonamedina, pokušavajući da pruži novi pogled na lend art. Stvaraosam crtež na polju velikom 250 puta 100 metara uz pomoć ogromnog kombajna. To je površina ravna površini pet fudbalskih terena. Nacrtao sam gigantsku vatru na tom polju i ljudi iz grada i okolnih sela su dolazili da je vide, slikaju se ispred nje i zatim su, naravno, kačili te slike na „Fejsbuk”. Stvar se totalno otrgla kontroli!</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U pauzi između dva takva projekta naš sagovornik slika i pravi kolaže. To je mnogo intimniji proces i svaki ima svoje draži. Stigne da ode i u pozorište, pa čak i da jedan svoj rad pokloni ove godine kao dar koji se dodeljuje najboljem mladom glumcu na 16. jugoslovenskom pozorišnom festivalu u Užicu. Reč je o delu „Torta”, akril na platnu.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Volim da idem u pozorište, mada sam ranije imao mnogo više vremena za to. Volim dobru komediju. Najčešće idem u Atelje 212, JDP, Beogradsko dramsko... Uglavnom proverene stvari. Mislim da je gluma jedna od najtežih profesija uopšte. Pogotovu je teško mladim glumcima koji imaju taj imperativ da moraju što pre da se nametnu. Rado sam, stoga, prihvatio ponudu da poklonim sliku.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">objavljeno: 09.11.2011</span></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-8965834155360402442011-11-09T03:54:00.000-08:002011-11-09T03:55:17.534-08:00Betoven je bio ljut na Napoleona, Blic<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzZ_2o0sZJrK4dohp2L7bY-ZSyAECZbSg4A4_vEvn7Gh09tHt4fdVD4sjUNShnqNOT8sbGZdvSyprJZqT__5I07FVcJ4zjwDHYL_VC46joKv_PfSSEhBjufAwyg-DOjiL-8kKpxFWwDU/s1600/beethovenl.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzZ_2o0sZJrK4dohp2L7bY-ZSyAECZbSg4A4_vEvn7Gh09tHt4fdVD4sjUNShnqNOT8sbGZdvSyprJZqT__5I07FVcJ4zjwDHYL_VC46joKv_PfSSEhBjufAwyg-DOjiL-8kKpxFWwDU/s1600/beethovenl.jpg" /></a></div>
<span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="font-family: inherit;">Britanski javni servis BBC odlučio je da 250 godina dugu tradiciju simfonije po prvi put stavi u kontekst kakav zaslužuje. Glumac Sajmon Rasel i ser Mark Elder, jedan od vodećih britanskih dirigenata, pokazaće uz pomoć više od 60 orkestarskih izvedbi, širokom TV auditorijumu kako su simfonije bile jednako važan deo kulturne istorije kao i roman.</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">„Veza između komponovanja ovako kompleksnog dela i događaja koji su se zbili u određenom društvu je nešto što mora da se istraži i otvori za široku publiku”, kaže Elder, muzički direktor obnovljenog Hallé orkestra iz Mančestera.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Najupečatljiviji primer za to je Betovenova Treća simfonija koju je kompozitor napisao u čast Napoleonovih osvajanja.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Danas poznata kao Eroika, prvobitno je nosila ime Buonaparte, sve dok se kompozitor nije predomislio, veruje se, kada se Napoleon proglasio carem. Betovenov učenik i pomoćnik, Ferdinand Ris, seća se kako je Betoven bio van sebe od besa.</span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;"><img alt="" height="200" m_ext="hs" m_id="190025" src="http://www.blic.rs/data/images/2011-11-08/190025_kumendelson_hs.jpg?ver=1320788308" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="245" /></span><br />
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">Feliks Mendelson (1809 - 1847)</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">„Ja sam mu prvi saopštio vesti da se Bonaparta krunisao za cara, na šta je on pobesneo i uzviknuo:</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">‘Pa on nijie ništa više od običnog smrtnika! Sada će i on da sprovodi svoju ambiciju tlačenjem drugih; misliće da je iznad svih, postaće tiranin!’</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Betoven je otišao do stola, uzeo prvu stranu simfonije, pocepao je i bacio na pod.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Tek tada je simfonija dobila novi naslov, Sinfonia Eroica. Baš kao što je Betoven bio dirnut Bonapartinim pobedama, tako je 130 godina kasnije Šostakovič dobio želju da komponuje Lenjingradsku simfoniju 1941. kao odgovor na otpor nacističkoj invaziji SSSR-a. </span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;"><img alt="" height="200" m_ext="hs" m_id="190026" src="http://www.blic.rs/data/images/2011-11-08/190026_kumocart_hs.jpg?ver=1320788639" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="245" /></span><br />
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">Volfgang Amadeus Mocart (1756 - 1791.)</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Postaće to elegija za 25 miliona Sovjeta poginulih u Drugom svetskom ratu. Međutim, kao što kaže muzička kritičarka „Obzervera”, Fiona Madoks, nije svaka simfonija vredna pomena inspirisana mračnom stranom istorijskog perioda.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Dok je Šostakovičeva simfonija bila reakcija na tragediju rata, Dvoržakova Simfonija Novog sveta i Mendelsonova Italijanska simfonija napisane su u slavu otkrivanja novih zemalja i oduševljenja erom putovanja.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Tokom Mendelsonove velike turneje po Evropi između 1829. i 1831. pisao je roditeljima: „Ovo je Italija! Počelo je ono što sam oduvek smatrao vrhunskom radosti života. I uživam u tome”.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U središtu Bi-Bi-Sijeve muzičke sezone je serija na kanalu BBC 4 „Simfonija” koja proučava društvene i lične priče iza odabranih remek-dela klasike kroz četiri dela: Postanje i genije, Betoven i posle, Nove nacije i novi svetovi i Revolucija i preporod.</span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;"><img alt="" height="200" m_ext="hs" m_id="190031" src="http://www.blic.rs/data/images/2011-11-08/190031_kuhajdn1111_hs.jpg?ver=1320788709" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="245" /></span><br />
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">Jozef Hajdn (1732 - 1809.)</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Ona će objasniti kako je simfonija postala simbol slobode ali i sredstvo totalitarnih režima. Koristeći privatna pisma i delove iz dnevnika, serija će proučiti živote velikih kompozitora od Hajdna - prvog koji je razvio simfoniju - preko Mocarta,</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Berlioza, Šuberta, Bramsa, Bruknera, Dvoržaka,</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Čajkovskog, Malera, Sibelijusa, Koplanda, Stravinskog i Šostakoviča.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U središtu priče nalazi se Betoven, koji je sa svojih devet simfonijskih dela dao najveći doprinos uobličavanju forme.</span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;"><strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: inherit; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Kad je nastala simfonija</strong><br />Termin simfonija nastao je od grčkih reči „syn” (zajedno) i „phone” (zvuk) i prvi put je upotrebljen u Italiji u 16. veku kada je venecijanski kompozior Đovani Gabrijeli komponovao delo za glasove i instrumente nazvano Sacrae Symphoniae. Do 18.veka kompozitori su „simfonijom” nazivali uvertire za opere i oratorijume. Oni su se najčešće sastojali od tri celine: dve živahne sekcije koje su opkoljavale treću, nešto sporiju.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Vremenom simfonije su počele da se izvode samostalno na koncertima i kompizitori su počeli da ih pišu kao nezavisna dela.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U početku su izvođene za bogatu klijentelu, ali vremenom su stekle ogromni uticaj na javnost.„Orkestarska muzika razvijala se na dvorovima, oko evropskog plemstva”, kaže ser Mark Elder, „a ideja da bi grupa</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">muzičara zajedno, u jednom komadu, mogla da ispriča priču prvi put je rođena u glavi Hajdna.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Njegova dela su i danas neverovatno popularna, što mu je i bila namera kad ih pisao”.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Jozef Hajdn (1732-1809) napisao je 104 simfonije, uglavnom iz 4 stava: veličanstven uvod, pa spori deo praćen menuetom i gromoglasnom završnicom.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Dužina simfonije može da varira od 15 minuta do preko jednog sata.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U 18. veku orkestar se sastojao od gudača, dve oboe, flaute, klarineta, dve horne i ponekad truba i bubnjeva.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U naredna dva veka njegova veličina se umnogostručila.</span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;"><img alt="" height="200" m_ext="hs" m_id="190030" src="http://www.blic.rs/data/images/2011-11-08/190030_kucajkovski111_hs.jpg?ver=1320789578" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="245" /></span><br />
<div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 245px;">
<span class="Apple-style-span" style="font-family: inherit; font-size: small;">Petar Iljič Čajkovski (1840 - 1893.)</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Naročito je „nabujala” duvačka sekcija uz pikolo, engleski rog, bas klarinet i kontrafagot, dok su limeni duvači bili zastupljeni i sa po osam</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">horni, pet truba, četiri trombona i tubom, da ne spominjemo mnoštvo perkusija i posebni dodatak u vidu orgulja.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Iako je moćni utisak snage zvuka koji stvaraju ovi instrumenti danas zamenjen elektronskim pojačalima, Elder smatra da je budućnost ove grandiozne muzičke forme i dalje ružičasta.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">„Sve dok simfonijski orkestar može da svira zajedno i ima pordšku publike, verujem da će simfonija zadržati svoju poziciju u samom središtu muzičkog repertoara”, kaže Elder. „Verujem da će program na Bi-Bi-Siju smekšati neke granice koje, izgleda, postoje kod onih koji misle da ne poznaju dovoljno ovu vrstu muzike da bi u njoj uživali. Ljude bi trebalo ohrabrivati da od muzike uzmu tačno ono što žele a ne ono što im nameće društvo”.</span></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-23825688869310983142011-11-08T04:36:00.000-08:002011-11-08T04:36:03.078-08:00Two Painters: So Alike, So Different, The New York Times<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 19px;">Peripatetic museumgoers visiting both the Frans Hals show at the Metropolitan Museum of Art, which closed last month, and “Caravaggio and His Followers in Rome,” which opened on Oct. 16 at the Kimbell Art Museum in Fort Worth (after a run this summer at the National Gallery of Canada, in Ottawa), have a rare chance not just to see 13 Halses and 10 Caravaggios but also to compare these substantial bodies of work by two near-contemporaries: celebrated figure painters who might at first seem an unlikely pairing, but who turn out to share surprising affinities.</span><em style="background-color: white; color: #333333; line-height: 19px;">— LEE ROSENBAUm</em></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5QZTKm5zLUaUFH5Z01QYBEN43Lh2rHaEtL37yQNNQrb-ThTgob4N_QfOJSyh-mOc1bkHwNHCuLGhopx3XazhQPG58iJH5wOYkEUctCY1SW9F7aP3CeofBcMfphy2dNXaKkXafrhjL1Ys/s1600/hals_boy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5QZTKm5zLUaUFH5Z01QYBEN43Lh2rHaEtL37yQNNQrb-ThTgob4N_QfOJSyh-mOc1bkHwNHCuLGhopx3XazhQPG58iJH5wOYkEUctCY1SW9F7aP3CeofBcMfphy2dNXaKkXafrhjL1Ys/s320/hals_boy.jpg" width="260" /></span></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjutPIDGH57brD6xS0doZ313MBePvI5jgst16PsGIhcV0ZluOuzt18rTyLhh7YVMgGvqzMaMojyUPwfg9Up6OoaJrudgb8ZJhKBcKyYuR5oeWoc7T7vpPlLIROkiqT0hVSZQ7Xm8E5TRJg/s1600/caravaggio_boy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjutPIDGH57brD6xS0doZ313MBePvI5jgst16PsGIhcV0ZluOuzt18rTyLhh7YVMgGvqzMaMojyUPwfg9Up6OoaJrudgb8ZJhKBcKyYuR5oeWoc7T7vpPlLIROkiqT0hVSZQ7Xm8E5TRJg/s320/caravaggio_boy.jpg" width="241" /></span></a><br />
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<ol class="pictureLabels" style="background-color: white; color: #333333; line-height: 15px; list-style-type: upper-alpha; margin-bottom: 5px; margin-left: 18px; margin-right: 0px; margin-top: 0px; padding-left: 0px; position: absolute; right: 105px; width: 405px;">
<li class="" id="boy_a3" style="font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 0px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">The subtly delineated focus of the action in each picture is a red drop of liquid (unseen but implied) at the tip of one finger. In Caravaggio’s “Boy Bitten by a Lizard” that liquid is blood from a finger of the boy’s right hand that has wounded by a black that shoots out hat camouflaged) from the dark still life at the bottom of the composition. In "Boy With a Lute” a drop of red wine has just been spilled by the boy on his left thumbnail, “signaling to the waiter that the needs refilling and to the viewer that life is running out,” as Walter Liedtke, a Met curator said. Unfortunately that wine drop is now hard to discern: a misguided past restorer painted a lute string over the left thumb, believing that the boy was intended to be strumming.</span></span></li>
<li class="selected" id="boy_b3" style="background-color: #d4e3e7; font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 5px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">The poses of the two youths are strikingly similar, as noted by Mr. Liedtke in the exhibition label for “Lute.” Their faces, gazing directly at the viewer, are tilted at similar angles (with left cheeks in shadow, red lips parted). But the emotional impact of their expressions couldn’t be more dissimilar. The “Lizard” lad’s contorted features are not just pained but angrily accusatory — possibly a shocked, hostile response to an unwelcome sexual advance, as suggested by both the undercurrent of homoeroticism that pervades Caravaggio’s oeuvre and the unambiguously phallic image of the reptile. The “Lute” youth, with unfurrowed brow, regards us expectantly and invitingly, desiring only a quick refill.</span></span></li>
<li class="" id="boy_c3" style="font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 5px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">The boys’ fingers are expressive and prominent in both pictures: gnarly in Caravaggio, delicately graceful in Hals. The “Lizard” boy’s toga-like garment provocatively bares his sharply jutting, brightly lighted right shoulder, while the “Lute” boy’s dark-clothed shoulder is elevated by the soft puffiness of the ample fabric of his proper Dutch garb.</span></span></li>
<li class="" id="boy_d3" style="font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 5px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">On the right side of the pictures the rounded face of Hals’s lute roughly corresponds to the round shape of Caravaggio’s glass vase. Hals could be referring to Caravaggio’s well known paintings of androgynous boys strumming lutes. The reflection in the vase, as described by David Franklin, co-curator of the Caravaggio exhibition (now director of the Cleveland Museum of Art), shows “a window full of sunlight and Roman warmth,” giving a hint of the bright world beyond the confines of this dark drama.</span></span></li>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">Caravaggio's 'Cardsharps' vs. Frans Hals's 'Merrymakers at Shrovetide'</span></h3>
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<ol class="pictureLabels" style="background-color: white; color: #333333; line-height: 15px; list-style-type: upper-alpha; margin-bottom: 5px; margin-left: 18px; margin-right: 0px; margin-top: 0px; padding-left: 0px; position: absolute; right: 105px; width: 405px;">
<li class="selected" id="card_a3" style="background-color: #d4e3e7; font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 0px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">Key protagonists in either of these action-packed scenes — the ruddy-faced, bulbous-nosed seducer in “Merrymakers at Shrovetide” and the young card cheat in “Cardsharps” — are recognizable as stock characters from the commedia dell’arte, the crowd-pleasing theatrical entertainments of the day. The primary participant in Hals’s Mardi Gras carnival debauchery is recognizable (as Mr. Liedtke, the curator, noted) to commedia cognoscenti as Pekelharing (Pickled Herring), signified by the two golden fish dangling from his right shoulder. Caravaggio’s young cheat at the game of primero (an antecedent of poker), with a couple of useful cards tucked behind him, is a familiar commedia ruffian known as a bravo, carrying a “menacing and often outlawed” dagger (as noted by Nancy Edwards, the Kimbell Art Museum’s European art curator, in her catalog essay for the show).</span></span></li>
<li class="" id="card_b3" style="font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 5px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">Caravaggio’s painting is in sharp focus, reflecting the intense concentration at the card table. Even the feather in the cheat’s hat is rendered in meticulous detail. Hals’s depiction of carousing carnival celebrants (particularly those in the background) is as blurry as their own vision.</span></span></li>
<li class="" id="card_c3" style="font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 5px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">Secretive, menacing hand gestures, behind the backs of the dupes, figure prominently in both dramas. Behind the left shoulder of the cardsharps’ prey, the accomplice glares down at the victim’s hand and signals which card to play. In “Merrymakers,” another stock commedia character, Hans Worst (signified by the wursts dangling from his hat), gazes down upon his sexually ambiguous prey from behind “her” back, making an obscene hand gesture, now visible after having previously been “painted out,” according to Mr. Liedtke (presumably by a bluenose restorer).</span></span></li>
<li class="" id="card_d3" style="font-weight: bold; line-height: 17px; margin-bottom: 0px; padding-bottom: 5px; padding-left: 5px; padding-right: 2px; padding-top: 5px;"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: inherit;">“Merrymakers” is packed with phallic symbols — most notably the grossly suggestive sausages, nestled near the lusty “woman’s” lap, and the deflated bagpipe at the lower left, which “may be read as estimates of Pekelharing’s amorous potential,” in Mr. Liedtke’s words. In “Cardsharps” the handle of the cheat’s dagger juts, phallus-like, toward the dupe and also pokes into a gap between his accomplice’s two gloved fingers resting on the table. This imagery suggests that the androgynous-looking, innocent youth may be about to lose more than his money.</span></span></li>
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<span class="Apple-style-span" style="font-family: inherit;">Hals’s earliest known work dates from 1611, when he was about 29, a year after Caravaggio’s death at 38. Hals, a high-spirited Dutchman, and Caravaggio, a tempestuous Italian, each found inspiration among the tipplers, seducers and tricksters of their era’s demimondes, though with decidedly different results. Caravaggio’s sinners are as intense and disturbing as Hals’s revelers are ebullient and untroubled. Still, as illustrated by the two sets of paired paintings above, some works by these two artists resonate strongly with each other.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Despite the geographic and temperamental distance between them, this congruity is more than coincidence. The enormously talented Michelangelo Merisi da Caravaggio quickly acquired not only prestigious commissions but also a coterie of followers and imitators; 44 of their works flesh out the Fort Worth exhibition. The ranks of the Caravaggisti included the Dutch painter Gerrit van Honthorst, who spent considerable time in Rome and spread the Italian master’s influence to the Netherlands.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Nowhere are the similarities (and the contrasts) between Caravaggio and Hals more strikingly apparent than in the first pairing here — Caravaggio’s “Boy Bitten by a Lizard,” 1594-96, and Hals’s “Boy With a Lute,” about 1625 — with close parallels in composition and pictorial elements. Hals’s portrayal of a cheerful musician whose only worry is his temporarily empty glass seems a playful parody of Caravaggio’s wounded youth, whose face is contorted with a pain that seems deeper than a nip on the tip of a finger would inflict.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">In the second pairing — “Cardsharps” by Caravaggio, about 1595, and Hals’s “Merrymakers at Shrovetide,” about 1616 — dupes are menaced by seedy ne’er-do-wells. The game of deception (with possible sexual overtones) seems eerily sinister in Caravaggio’s scene of a pretty-boy gambler being fleeced by a cheat and his older accomplice, while the sexual mischief in Hals’s “Merrymakers,” his earliest known genre scene (painted before Honthorst is believed to have returned to the Netherlands), is rambunctiously hilarious. The joke is on everyone, including the would-be seducers crowding around an oversize blonde who seems ready to play. This ostentatiously garbed, bull-necked “Flemish floozy” (as described by the Met’s Dutch paintings curator, Walter Liedtke) is likely, in the curator’s view, to be a cross-dressing man. The lascivious tricksters are perhaps themselves being fooled.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">But it’s the broodingly serious Caravaggio, not the lighthearted Hals, who has the last laugh: Caravaggio’s imperiled souls — dramatically lighted and caught off guard at critical moments — continue to haunt the viewer long after the considerable but relatively shallow pleasures afforded by Hals’s deftly rendered revelers fade from our thoughts.</span></div>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-69958457001938345972011-11-08T03:58:00.000-08:002011-11-08T03:59:01.041-08:00'Leonardo' portrait that didn't make the National Gallery show, The Telegraph<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga1ZlCutiWE_cFqxAzbuuReQE8WRO-q8MNpFwZNdX0v18G3QbMRhO5XCNMZqdw59TEI6x0i47klp91p_5GbOzMUDKSMCr5lfySv8EUWlKTPcNL6w8EFcbH6J9Y1ygdoB07gG2PXDSBTcM/s1600/Bianca-Sforza-Sans_2048863a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga1ZlCutiWE_cFqxAzbuuReQE8WRO-q8MNpFwZNdX0v18G3QbMRhO5XCNMZqdw59TEI6x0i47klp91p_5GbOzMUDKSMCr5lfySv8EUWlKTPcNL6w8EFcbH6J9Y1ygdoB07gG2PXDSBTcM/s320/Bianca-Sforza-Sans_2048863a.jpg" width="230" /></a></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">A Leonardo da Vinci expert stands by his attribution but the National Gallery could not be pursuaded to show this chalk drawing.</span></h2>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; color: #3f3f3f; font-weight: bold; line-height: 18px;">By </span><span rel="author" style="background-color: white; color: #3f3f3f; font-weight: bold; line-height: 18px; text-align: -webkit-auto;">Colin Gleadell</span></span></div>
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One painting that will not be included in the National Gallery’s Leonardo exhibition is a chalk on vellum portrait known as La Bella Principessa that was recently attributed to Leonardo by the Oxford scholar and Leonardo expert, Martin Kemp.</div>
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The painting was bought by its current owner, Peter Silverman, for $20,000 in 2007 from New York dealer, Kate Ganz, who believed it to be 19th century. She had acquired it at auction from Christie’s.</div>
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Silverman has shown the painting to restorers who, like Kemp, believe it to be 16th century. But a number of other scholars and critics, including the Telegraph’s Richard Dorment, are not persuaded.</div>
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Silverman says that most of them have not even seen the painting - only photographs of it - and tried in vain to persuade the National Gallery to exhibit the work so that scholars could see it. Now he is negotiating to exhibit the work in Europe early next year when he is publishing a book and National Geographic are releasing a documentary about it.</div>
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Curiously, regarding the other rediscovered ’Leonardo’, which has been included in the exhibition, no pre restoration colour photographs of the painting have been released, adding to the mystery which surrounds it.</div>
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<strong>The power of the internet was confirmed when </strong>a long lost painting by the Camden Town Group artist, Charles Ginner, surfaced for sale in an online auction at Canada’s Heffel auctioneers. ’Le Quai Duquesne, Dieppe’ was painted in 1913 and bought soon after in London for 3 pounds, 13 shillings and sixpence by Canadian collector, Ernest E Poole, whose family was now selling. But Poole never exhibited it, and art historian, Wendy Baron, listed it as ’present whereabouts unknown’ in her 1979 book on the artist.</div>
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Heffel’s estimated the painting would fetch between 15,000 and 20,000 Canadian dollars, and bidding started tentatively at 8,000 dollars. Then, on the day the sale was due to close, bids rose from 37,500 dollars to 180,000 dollars, selling with commission for 210,600 Canadian dollars, or £129,400 - a new record for the artist. It is not known whether the buyer, described as a British private collector, had seen the actual painting.</div>
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<strong>Private sales by the big auction houses are accounting </strong>for larger and larger proportions of the business they do. Last year, Sotheby’s and Christie’s sold $1 billion of art privately, rather than at auction, approximately 10 percent of their total sales volume.</div>
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This year, Christie’s increased its private sales in the first six months by 57 per cent to $467 million. Some sellers prefer to keep things quiet this way, and saleroom staff, who in the past were judged on what they could bring to auction, are incentivised with commission payments on the private sales they conduct, like any dealer. Although details of these sales are rarely published, Sotheby’s confirmed last week that it had sold four huge Matisse bronzes of a woman’s back on behalf of the Burnett Foundation in Texas.</div>
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The price has not been disclosed, but Christie’s sold a single bronze from this series last year for $48 million. Allowing for a bulk purchase and a softening of the market, a price of $120 million is rumoured amongst dealers.</div>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-15513199649258352972011-11-08T03:56:00.000-08:002011-11-08T03:56:02.876-08:00Did Leonardo da Vinci paint the Salvator Mundi?, The Telegraph<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">The Salvator Mundi was named an original Leonardo only earlier this year but, as the painting is included in the National Gallery’s new retrospective, mystery still surrounds the work.</span></h2>
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<strong><span class="Apple-style-span" style="font-family: inherit;">In its favour...</span></strong></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>...there are 20 known versions of this composition of the Salvator Mundi, with Christ facing forward with his right hand raised in blessing but this is by far the most accomplished and sophisticated</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>The quality of certain details of the painting including the complex design of Christ’s tunic, the bubbles in the crystal orb and the ringlets of his hair attest to the hand of a true master</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>Two autographed drawings in the Royal collection and held at Windsor contain similar details</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>Leonardo’s Salvator Mundi was documented in a 17th century etching “after Leonardo” by Wenceslaus Hollar, who likely had access to the original in Charles I’s collection. It is strikingly similar in composition</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>Studies of the planning beneath the paintwork have revealed that the artist made compositional changes, notably in the positioning of the thumb, which are not reflected in any other copies. This suggests that Christ’s pose was originally composed on this board</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>A panel of scholars who have studied the painting first-hand after its first conservation in 2007 have unanimously agreed that the work is an original</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>Pigments correspond to those known to have been used by the artist</span></div>
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<strong><span class="Apple-style-span" style="font-family: inherit;">But...</span></strong></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>...the painting doesn’t resemble Leonardo’s other portraits. “The hypnotic head and upper torso fill the panel edge to edge like an icon, whereas Leonardo’s figures move, torque, and engage with the atmosphere around them,” writes Richard Dorment.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>It was reportedly bought at an estate sale in the United States about six or seven years ago, and fell into the hands of a consortium of dealers, including Robert Simon. In July Simon declined to comment about the painting, the price, or the location of the auction. "I've been asked not to discuss it," he said.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><strong>• </strong>No pre restoration colour photographs of the painting have been released, adding to the mystery which surrounds it.</span></div>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-5740444221554098142011-11-08T03:46:00.000-08:002011-11-08T03:46:06.806-08:00Leonardo da Vinci: Painter at the Court of Milan, National Gallery in London<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: inherit; font-size: large;">Leonardo da Vinci: Painter at the Court of Milan, National Gallery in London: review</span></h1>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">The Leonardo da Vinci exhibition opening this week is a great coup for the National Gallery, which has managed to gather under one roof the most stunning portraiture and sacred art by the world’s original Renaissance Man, writes Richard Dorment.</span></h2>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; color: #3f3f3f; font-weight: bold; line-height: 18px;">By </span><a href="http://www.telegraph.co.uk/culture/culturecritics/richarddorment/" rel="author" style="background-color: white; border-bottom-color: rgb(18, 40, 66); border-bottom-style: dotted; border-bottom-width: 1px; color: #122842; font-weight: bold; line-height: 18px; outline-color: initial; outline-style: initial; outline-width: 0px; text-align: -webkit-auto; text-decoration: none;" title="Richard Dorment">Richard Dorment</a></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">You should probably be reading this review to the sound of a drum roll. The National Gallery’s <a href="http://www.telegraph.co.uk/culture/art/leonardo-da-vinci/" style="color: #234b7b; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><strong>Leonardo Da Vinci: Painter at the Court of Milan</strong></a> is the most eagerly awaited exhibition in living memory. The rarity and fragility of Leonardo’s paintings, combined with the pressure on the institutions that own them not to let them out of the country, make it nearly impossible to pull off a Leonardo show of any size. But persistence, diplomacy, and the regard in which the National Gallery and its curators are held in the museum and gallery world has made it happen. On Wednesday the public will have its first chance to see galleries hung with darkly atmospheric masterpieces of portraiture and sacred <a href="http://www.telegraph.co.uk/culture/art/" style="color: #234b7b; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><strong>art</strong></a> supplemented by about 50 drawings by one of the most complex artists who ever lived. From now until February 5 it’s the hottest ticket in town.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><a href="http://www.telegraph.co.uk/culture/art/leonardo-da-vinci/" style="color: #234b7b; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><strong>Leonardo da Vinci</strong></a> spent nearly 20 years in Milan, arriving at the court of Ludovico Maria Sforza in 1482 and skedaddling as soon as his patron was deposed in 1499. A despot’s court was obviously the perfect environment for the original Renaissance Man. In the free market system he was used to in Florence, Leonardo had to compete with other artists for commissions. But the Florentine virtuoso’s mere presence at Ludovico’s court conferred prestige on a ruler anxious to establish his princely credentials; and once on the Sforza payroll, Leonardo was assured of financial security whether or not he finished the projects or pictures he started.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">At the National Gallery we can see all seven of the paintings that survive from those years, plus a newly attributed eighth picture which probably dates from a few years after his departure. An early copy by his pupil Giampietrino of the famous Last Supper Leonardo painted for the refectory of Santa Maria delle Grazie is on view in the Sunley Room upstairs. That may not sound like many, but it is almost half of Leonardo’s 15 surviving paintings (and almost a third of the 20 he painted during his entire career).</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">And even with this relatively small number of works the curator, Luke Syson, is able to trace Leonardo’s development as he gradually discarded the influence of his master Verrocchio to paint in a way that no one else had painted before. We move from the abrupt transitions between light and shade in his Portrait of a Young Man (The Musician) of the mid-1480s to the soft veils of subdued tints used to create the sensuous face of Christ as Salvator Mundi more than 20 years later. To achieve the effects we see in the later pictures, Leonardo painted in oils, working over a dark “ground” or underpaint with colour so diluted it was almost transparent. Laying one monochromatic layer of paint over another he slowly built up form through infinitely subtle gradations in tone.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Such is the intensity of Leonardo’s portraits that each one sucks the air out of the space around it. As the youthful musician turns to speak, for example, his alert and intelligent eyes focus on his unseen interlocutor rather than staring vacantly into space, as in most Milanese portraiture of the period.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">And in the famous portrait known as the Lady with the Ermine, Cecilia Gallerani swivels her head to look at someone beside her, her slight smile and flirtatious glance suggesting that the person who has attracted her attention might be her lover, Ludovico Sforza himself. What Leonardo is doing in these portraits is utterly new – and not just in Milanese art but in the whole history of painting. He is showing people who think and feel and respond to the world around them.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">This sense of interaction is palpable too in the National Gallery’s version of the Virgin of the Rocks, which until its recent cleaning was considered to be a slightly inferior version of an altarpiece in the Louvre. But when it emerged last year from the studio of Larry Keith, the National Gallery’s director of conservation, the refinement of the detail, depth of field and exquisitely calibrated tonal harmonies made it apparent that only Leonardo could have painted it, with little or no intervention from his studio assistants.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Thanks to the important exhibitions of works on paper at the Hayward Gallery, Victoria and Albert Museum and Queen’s Gallery in this country we are more familiar with Leonardo’s secular and scientific interests than we are with his art. This show reminds us that he was primarily a painter, and that many of his most heartfelt and beautiful works were intended for religious devotion. No one could have painted the National Gallery’s Virgin of the Rocks without a profound grasp of Marian theology and a deep reverence for the doctrine it illustrates.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">When <a href="http://www.telegraph.co.uk/news/worldnews/europe/italy/" style="color: #234b7b; outline-color: initial; outline-style: initial; outline-width: 0px; text-decoration: none;"><strong>Italian</strong></a> artists of the quattrocento painted the Virgin Mary, they simply depicted a beautiful woman in a more or less naturalistic setting. Leonardo goes much further, conceiving of her physical beauty as the external expression of her interior, spiritual perfection. He does this by showing her interacting through her serene gaze and beautiful gestures with the two children at her feet. With one arm enfolding St John the Baptist in her cloak, she extends the other, palm open and facing downwards, over the head of the infant Jesus. The Virgin is herself rock-like in her stability. Her extended arms form two sides of a monumental triangle, the lines of which are reinforced by the adoring gaze each figure directs at one of the others.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Both the first and the second versions of the Virgin of the Rocks were commissioned altarpieces intended for the chapel of a religious brotherhood or confraternity devoted to good works – which explains why the Virgin opens her cloak to shelter St John, an act of charity she is often shown performing in altarpieces commissioned by such confraternities, as for example in Piero Della Francesca’s famous polyptych for the confraternity of the Misericordia in San Sepulchro.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">The confraternity that commissioned the Virgin of the Rocks was dedicated to the Immaculate Conception of the Virgin Mary – the belief that she alone of all humankind was born without original sin inherited from Adam and Eve. To emphasise her crucial role in God’s plan for man’s salvation, Leonardo shows Mary in a grotto, surrounded by a canopy of naturalistically painted rock formations against a distant landscape of blue lakes and mountains – in other words, a world before time began, where distance is immeasurable and space fathomless.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Unearthly light and soft shadow define forms and create volumes, unifying and harmonising the whole without suppressing minutely observed details such as the wild flowers at the Virgin’s feet.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Sadly, one of the reasons for doing this show in the first place – the chance to compare the Paris version of the Virgin of the Rocks alongside ours – turns out to have been a pointless exercise. The blotchy varnish that covers the Louvre picture makes it impossible to light and therefore difficult to see clearly. Instead of hanging the pictures side by side, they are facing each other and some distance apart. I found myself dutifully trotting between the two pictures until it occurred to me that I couldn’t make out more than broad dark masses in the Louvre version anyway, and gave up.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">The last picture in the show is a newly attributed Christ as the Saviour of the World. In reproduction, it looks like the kind of creepy 19th-century symbolist picture that would have interested Madame Blavatsky. But seen face to face, the miraculous handling of the hand raised in blessing, the rock crystal orb, and hair all add up to convincing arguments in favour of Leonardo’s authorship. Still, it looks like nothing else in the show. The hypnotic head and upper torso fill the panel edge to edge like an icon, whereas Leonardo’s figures move, torque, and engage with the atmosphere around them. Perhaps its strangeness can be accounted for by the commission. Was it meant to be seen from afar, or to be carried in a procession like a banner? Certainly it is related to the image of Christ’s face imprinted on the Sudarium, or veil of Veronica, which was venerated as one of the most famous relics in Christendom. All I can say is that if Leonardo did paint it then I’ll bet a fiver he’s also the joker behind the Turin Shroud.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">I don’t have space to discuss the many beautiful drawings here, no fewer than 33 of which are on loan from the Royal Collection. But I do want to comment briefly on the show’s one major flaw – the unnecessary and distracting inclusion of 25 paintings and drawings by Leonardo’s assistants and followers, including Marco d’Oggiono and Giovanni Antonio Boltraffio. As with the followers of Michelangelo and Picasso, no artist who moved in Leonardo’s orbit could hope to produce more than feeble imitations of his work.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">After seeing a masterpiece like La Belle Ferronniere, which Syson believes may be a portrait of Ludovico’s wife Beatrice d’Este, what purpose is served by spending time in front of Boltraffio’s second-rate Portrait of a Young Woman as Artemisia? A few such loans would have usefully demonstrated the difference between genius and its simulation, but the show would have been even more powerful without them. You can’t have everything, however. The superbly produced catalogue by Luke Syson and Larry Keith is as measured, thoughtful, and original as any I’ve read. In terms of art history, their understanding of Leonardo is the new gold standard.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><i>• Richard Dorment’s verdict: ****</i><br /><i>'Leonardo da Vinci: Painter at the Court of Milan' opens on Wednesday until 5 February 2012</i></span></div>
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<a href="http://www.telegraph.co.uk/culture/culturepicturegalleries/8839055/Leonardo-da-Vinci-at-the-National-Gallery.html"><span class="Apple-style-span" style="font-family: inherit;">http://www.telegraph.co.uk/culture/culturepicturegalleries/8839055/Leonardo-da-Vinci-at-the-National-Gallery.html</span></a></div>
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<a href="http://www.telegraph.co.uk/culture/art/leonardo-da-vinci/8875234/Alastair-Sookes-tour-around-Leonardo-da-Vinci-Painter-at-the-Court-of-Milan-at-the-National-Gallery.html"><span class="Apple-style-span" style="font-family: inherit;">http://www.telegraph.co.uk/culture/art/leonardo-da-vinci/8875234/Alastair-Sookes-tour-around-Leonardo-da-Vinci-Painter-at-the-Court-of-Milan-at-the-National-Gallery.html</span></a></div>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-22487352841452261802011-11-08T03:30:00.000-08:002011-11-08T03:30:02.384-08:00I nacionalno i avangardno, Politika<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="background-color: white; line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;">Stvaralaštvo između dva svetska rata na izložbi „Primenjena umetnost i Beograd 1918.–1941.” u Muzeju primenjene umetnosti</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Tradicija i avangarda, društvena angažovanost i potrošački mentalitet, ručni i mašinski rad, unikatno i serijski umnoženo delo, elitizam i populizam, vrhunska estetika i otužni kič – svi oni sinkretički čine blistavu epohu u istoriji primenjene umetnosti između dva svetska rata. Upravo taj bogat period stvaralaštva biće predstavljen na izložbi „Primenjena umetnost i Beograd 1918.–1941.”, koja se u Muzeju primenjene umetnosti otvara večeras u 19 sati.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Oko 190 dela naših autora, iz muzejskih kolekcija i privatnog vlasništva, kao i dokumentarni materijal iz oblasti dekorativne skulpture i slikarstva, enterijera i nameštaja, keramike, tekstila, srebra i grafičkog dizajna čini ovu postavku, koju pratiinaučna studijamr Bojane Popović, autorke izložbe i muzejske savetnice.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Ona za „Politiku” govori o odnosu društva toga doba prema primenjenoj umetnosti, opredrasudama, čežnji za stvaranjem nacionalnog stila kao i smelom, spremnom prihvatanju evropskih modernih tendencija.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">–Prisutnost primenjene umetnosti u savremenom životu bila je tolika da je ona postala deo svakodnevice i u sredinama koje ranije nisu imale razvijenu svest o njenom značaju. Tako je bilo i u Beogradu, nekada okupiranoj i razorenoj varoši,a tada centru novostvorene Kraljevine Srba, Hrvata i Slovenaca. Za njegove građane, uglavnom one imućnije, postaju važna sledeća pitanja: koga angažovati za izradu reljefa na fasadi kuće, koga za vitraž u holu, a koga za fresku u trpezariji, kome se obratiti za reklamiranje firme ili s kojom lepo ilustrovanom knjigom i časopisom ugodno provesti vreme, priča naša sagovornica.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Velika Međunarodna izložba dekorativnih i indrustrijskih umetnosti, održana u Parizu 1925. bila je jedan od najposećenijih događaja ikada toga vremena. I bila je prekretnica, posle koje primenjena umetnost beleži svoj uspon i prestaje, naročito kod nas, da biva drugorazredna stvaralačka disciplina svojstvena zanatu i umeću ženskih ruku. Legitiman deo velike Jesenje izložbe (po značaju slična današnjem Oktobarskom salonu) postala je 1933., a dve godine kasnijei grafičke izložbe u Beogradu. Prvu Školu za primenjenu umetnost glavni grad dobija 1937.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Možemo razlikovati tri pravca koja su delovala u našim okvirima. Prvi, koji je negovao nacionalnekarakteristike, čiji je najpoznatiji predstavnik Dragutin Inkiostri Medenjak, koji je počeo kao dekorativni slikar, projektovao je potom i namaštaj. Dobar primer njegovog rada jeste „Srpska soba”, koju je 1931./32.uradio za kuću Đorđa Genčića, danas Muzej Nikole Tesle. Drugu struju čine ljudi koji su se školovali ili usavršavali u inostranstvu i koji su poželeli da avangardne tokove uvedu i u svojoj sredini. Tu se ističe Miloš Babić, slikar i grafički dizajner, zaposlen u firmi „Futur”, poznat po radovima za filmske kuće i reklamne agencije, čiji su se radovi nalazili na kalkanima mnogih zgrada. Treći pravac, mešavinu pomenuta dva, koji karakteriše ideja da nacionalnu umetnost treba uključiti u svetske tokove, dobro predstavlja Dušan Janković, takođe dizajner, inače francuski đak, koji je za kuću Jovana Cvijića uradio nacrt za „Balkansku sobu”, inače izloženu na postavci.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Poseban kuriozitet ovog doba predstavlja i pojava naših umetnica, obrazovanih u Evropi, koje su želele da se bave primenjenom umetnošću kao svojom profesijom. Bilo je, kaže Bojana Popović, izuzetno uspešnih dama, poput kostimografa Milice Babić, svestrane vajarke Margite–Gite Predić ili Vukosave–Vuke Velimirović. Poslednja pomenuta ostala je poznata kao jedina žena autor skulptura na jednoj beogradskoj fasadi – tadašnjoj Vračarskoj banci porodice Veljković, sada Ambasadi Turske.</span></div>
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<b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="font-family: inherit;">M. Dimitrijević</span></b></div>
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<span class="Apple-style-span" style="font-family: inherit;">objavljeno: 06.11.2011</span></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-54105031916884393812011-11-08T03:26:00.000-08:002011-11-08T03:26:38.573-08:00Izložba skulptura Svetomira Arsića, Novosti<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQk-mhyphenhyphenL20GSm9S_AA5KC44LOZI-zUD9bmhuOz27vxo_J7ejr5ekUJddvulw-_FQR9_jyFOlq2kT39kr0Y7aKZeiMfXGgGDmOFqAUia0Io6U8JvPtupjKVTL0cLPGI8BhCqryALBfn054/s1600/kul-basara-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQk-mhyphenhyphenL20GSm9S_AA5KC44LOZI-zUD9bmhuOz27vxo_J7ejr5ekUJddvulw-_FQR9_jyFOlq2kT39kr0Y7aKZeiMfXGgGDmOFqAUia0Io6U8JvPtupjKVTL0cLPGI8BhCqryALBfn054/s400/kul-basara-1.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="background-color: white; font-weight: bold; line-height: 22px;"><span class="Apple-style-span" style="font-family: inherit;">Izložba koja će biti otvorena u četvrtak u Galeriji RTS obuhvata 22 skulpture, nastale u periodu između 1961. i 2009. godine</span></span><br />
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">IZLOŽBA skulptura akademika Svetomira Arsića Basare koja će biti otvorena u četvrtak u Galeriji RTS, obuhvata 22 skulpture, nastale u periodu između 1961. i 2009. godine. Većinom su ostvarene u kombinaciji drveta i metala.</span></span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Autor postavke je istoričar umetnosti Nađa Ivanji Švab, dok je autor teksta u katalogu istoričar umetnosti dr Srđan Marković.</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ukazujući na Basarinu “duboku i oporu vezu sa bićem zavičaja i zemljom iz koje je uvek crpio podsticaje za svoju umetnost”, Marković napominje da umetnik postavlja i pitanje (sluteći odgovor) o sudbini čoveka, njegovim korenima, poreklu, etničkom i egzistencijalnom udesu.</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">U stvaralaštvu koje traje bezmalo šest decenija Basara je prešao dug put, ostvarivši pri tom obiman opus. Autor je brojnih monumentalnih spomenika. Održao je niz samostalnih izložbi i učestvovao na brojnim grupnim izložbama kod nas i u svetu.</span></span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Basarino stvaralaštvo se može podeliti u nekoliko celina, od asocijativne apstrakcije plastične elaboracije dramatičnog sveta oblika proizašlog iz suštinskog dodirivanja sa bićem i sudbinom Kosova kao zavičaja koju počinje da stvara početkom osamdesetih godina i radi do danas - ističe Marković. - Taj deo bismo mogli nazvati Basarinim angažovanim ciklusom. Ciklusom koji svoju hronološko-tematsku okosnicu ima u Prvom svetskom ratu, Prvom srpskom ustanku, kosovskim pripovedanjima, da bi ga sledeći prirodu stvari zaokružio temom o uništavanju Srbije tokom 1999. godine. </span></span></span></div>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-18891762110900227402011-11-08T03:21:00.000-08:002011-11-08T03:22:00.875-08:00Grad spasava atelje Olje Ivanjicki, Novosti<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj6DWN2A_Ks7oUWvrw0-a7V68Ii1pe0Ew1AYL8T_Qu-rKThcvvoqZw5fwKURvMu3j8GZ5lhaF2x7KwwNPbZCHsjCda9JVkqdG_mD6s3qPvFggX9RRpm0KsSq28sUut3ly_72GtVZ8TIS8/s1600/kul-atelje-olje-ivanjicki.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj6DWN2A_Ks7oUWvrw0-a7V68Ii1pe0Ew1AYL8T_Qu-rKThcvvoqZw5fwKURvMu3j8GZ5lhaF2x7KwwNPbZCHsjCda9JVkqdG_mD6s3qPvFggX9RRpm0KsSq28sUut3ly_72GtVZ8TIS8/s320/kul-atelje-olje-ivanjicki.jpg" width="240" /></a></div>
<span class="Apple-style-span" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-weight: bold; line-height: 22px;">Beograd će, kako stvari stoje, ipak, dobiti spomen-atelje Olje Ivanjicki. Njen stan na Kosančićevom vencu biće adaptiran i otvoriće vrata publici</span><br />
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<div style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 22px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">BEOGRAD će, kako stvari stoje, ipak, dobiti spomen-atelje Olje Ivanjicki. Njen stan na Kosančićevom vencu biće adaptiran i kada se reše imovinsko-pravne procedure, otvoriće vrata publici.</span></div>
<div style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 22px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Tužno je da Oljin atelje propada - kaže Nataša Milićević, pravnica Istorijskog muzeja Srbije, koji je privremeni staralac nad imovinom naše ugledne slikarke.</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Drago mi je što su gradski čelnici odmah reagovali na vest da Oljinu zaostavštinu zbog loših uslova moramo da preselimo u naše depoe. U četvrtak smo zajedno obišli atelje. Nisu pokazali samo dobru volju da se prostor sredi, već i obećali da će uraditi šta treba da dalje ne bi propadao. Sa nestrpljenjem iščekujemo da stručnjaci iz Saobraćajnog instituta CIP urade elaborat postojećeg stanja kako bi se stan što pre adaptirao i spomen-atelje stavio u funkciju.</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Oljine slike, crteži i knjige će tokom naredne dve nedelje, ipak, biti privremeno prenete u depo Istorijskog muzeja Srbije. Nameštaj će tokom adaptacije najverovatnije ostati u stanu.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Pokušaćemo da iselimo slike i crteže dok je još lepo vreme kako bismo oslobodili prostor za radove. Očigledno je da grad hoće da pomogne da se realizuju želje Olje Ivanjicki o otvaranju spomen-ateljea i izgradnji muzeja, ali teško da može nešto da uradi dok se ne okonča ostavinski spor između države i fonda “Olga Olja Ivanjicki”.</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Predsednik upravnog odbora fonda “Olga Olja Ivanjicki” Mirko Mrkšić Ostoroški takođe smatra da treba hitno reagovati.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Za srpsku kulturu bila bi šteta da se uništi atelje Olje Ivanjicki - kaže on. - Fond se zalaže da atelje bude mesto koje će živeti, gde će se okupljati umetnici. Kosančićev venac zamire, osim jedne galerije ničega više nema. Otvaranje spomen-ateljea puno bi značilo za turističku razglednicu grada, a i Olja je to zaslužila.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Podsetimo, Olja Ivanjicki je izabrana za najboljeg slikara dvadesetog veka u Jugoslaviji i dobitnica je najvećih priznanja u zemlji i inostranstvu. Međunarodni biografski centar iz Kembridža i Američki biografski institut uvrstili su je među “Vodećih 500 lidera od uticaja”, 2000. je izabrana za “Međunarodnu ženu godine” (IBC, Kembridž).</span></div>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-5349232892331585372011-11-08T03:18:00.000-08:002011-11-08T03:18:38.658-08:00Beograd rame uz rame s Parizom, Blic<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="background-color: white; color: #222222; font-family: 'trebuchet MS'; font-size: 11px; line-height: 15px;">Milena Marjanović | </span><span style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #666666; font-family: 'trebuchet MS'; font-size: 11px; line-height: 15px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;">05. 11. 2011.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="background-color: white; color: #777777; font-family: 'Lucida Sans Unicode', 'Lucida Grande', vedrana; font-size: 11px; line-height: 16px;">Mladen Josić, freska Dogradnja palate Hipotekarne banke, danas Narodni muzej</span></td></tr>
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<span style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #666666; font-family: 'trebuchet MS'; font-size: 11px; line-height: 15px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Georgia; font-size: 16px; line-height: 24px;"><br /></span></span><br />
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<span style="background-color: white; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #666666; font-family: 'trebuchet MS'; line-height: 15px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Georgia; line-height: 24px;">Posle izložbe o građanskom modernizmu i pop kulturi između dva rata, priređenoj u Galeriji Matice srpske, u Muzeju primenjene umetnosti, 6. novembra na Dan ove ustanove, biće otvorena izložba “Primenjena umetnost i Beograd 1918-1941” čiji je autor mr Bojana Popović.</span></span><br />
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Na postavci je 190 eksponata: nameštaj, reljefi, keramoskulpture, servisi, omoti, fotografije...</div>
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<img alt="" height="360" m_ext="hf" m_id="189163" src="http://www.blic.rs/data/images/2011-11-04/189163_kumuzej1_hf.jpg?ver=1320430997" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-family: inherit; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="240" /><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-family: inherit; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 240px;">
Ivan Tabaković, “Keramoskulptura”</div>
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- Od 1918. kada srpska prestonica postaje centar novostvorene Kraljevine Srba, Hrvata i Slovenaca, grad se toliko menja da su ga starosedeoci jedva prepoznavali. Tada je i primenjena umetnost, ranije smatrana za privilegiju bogatih društava, ali i za drugorazrednu stvaralačku disciplinu svojstvenu zanatu i umeću ženskih ruku osvojila prostor. Uspon je započet nakon Međunarodne izložbe modernih dekorativnih i industrijskih umetnosti u Parizu 1925. koja je podstakla negovanje primenjene umetnosti i posedovanje kako njenih luksuznih unikata tako i produkta “industrijske umetnosti”. Godinu-dve kasnije, primenjena umetnost stidljivo kreće u osvajanje beogradskih izložbenih prostora - počinje priču o izložbi Bojana Popović, koja je napisala i katalošku studiju na ovu temu, prvu nakon “Primenjene umetnosti u Srbiji: 1900-1978; prolegomena za istoriju primenjenih umetnosti kod nas” iz pera prof. Pavla Vasića, objavljene 1981.<br /> </div>
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<img alt="" height="377" m_ext="hf" m_id="189168" src="http://www.blic.rs/data/images/2011-11-04/189168_kumuzej6_hf.jpg?ver=1320431138" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-family: inherit; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="240" /><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-family: inherit; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 240px;">
Miloš Babić, nacrt za plakat</div>
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- Novost predstavlja i pojava umetnica, obrazovanih u Evropi, koje su želele da se bave primenjenom umetnošću kao svojom profesijom. U tome su retko uspevale, kao kostimografkinja Milica Babić (kasnije supruga Ive Andrića). Njihov značaj je mnogo veći u popularizaciji ove umetnosti. Svestrana Margita - Gita Predić vodila je Školu za primenu dekorativne umetnosti koja je bila kultno mesto dobrostojećih Beograđanki gde nisu samo učile kako da izrade lepe i korisne predmete nego su dobijale i medijsku pažnju i divljene za svoj rad izlagan na školskim i reprezentativnim Jesenjim izložbama - napominje Popovićeva.</div>
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<br />Umetnik čiji je doprinos svestran i presudan svakako je Dragutin Inkiostri Medenjak koji je nastojao da stvori nacionalni umetnički stil, zasnovan na proučavanju slovenske, posebno srpske narodne tradicije, i približi ga eliti zaokupljenoj državnim identitetom.</div>
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<img alt="" height="270" m_ext="f" m_id="189166" src="http://www.blic.rs/data/images/2011-11-04/189166_kumuzej4_f.jpg?ver=1320431188" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-family: inherit; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="470" /><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-family: inherit; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 470px;">
Ilija Kolarović, fasadni reljef na zgradi u Ulici kneginje Ljubice 7</div>
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Na razvoj primenjene umetnosti u Beogradu između dva rata najviše je uticalo osnivanje (1937) prve Škole za primenjenu umetnost na kojoj su predavali Ivan Tabaković, Mihailo Tomić, Dušan Jovanović Đukin, Dragutin Inkiostri Medenjak i zagrebački umetnici Đorđe Krekić, Iva Vranjanin, Adela Kras i Vojta Braniš.<br /> </div>
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<img alt="" height="200" m_ext="hs" m_id="189167" orig="/data/images/2011-11-04/189167_kumuzej5_origh.jpg?ver=1320431250.jpg" src="http://www.blic.rs/data/images/2011-11-04/189167_kumuzej5_hs.jpg?ver=1320431250" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-family: inherit; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="245" /><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-family: inherit; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 245px;">
Dragoslav Stojanović, naslovna strana časopisa “Žena i svet” (klikni za uvećanje)</div>
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- Škola je imala odeljenja za dekorativno slikarstvo i skulpturu i dvogodišnje kurseve za opremu i povez knjiga, tipografiju i kaligrafiju, ilustraciju, reklamne crteže i plakate. Dve godine kasnije otvoreno je i odeljenje za projektovanje nameštaja, pokreniti su kursevi keramike, tkanja i rada u kamenu i drvetu. Pre osnivanja škole veštine nužne za bavljenje primenjenim umetnostima sticane su u Kraljevskoj umetničkoj školi, kao i na arhitektonskom odseku Tehničkog fakulteta - kaže autor izložbe.</div>
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<br />Bitno za utemeljenje primenjene umetnosti u nas je školovanje umetnika u Parizu, Beču, Pragu, Rimu, Londonu i to u vreme kada je težnja ka objedinjavanju arhitekture, skulpture, slikarstva i primenjene umetnosti bila sveprisutna.<br /> </div>
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<img alt="" height="200" m_ext="hs" m_id="189165" orig="/data/images/2011-11-04/189165_kumuzej3_origh.jpg?ver=1320431419.jpg" src="http://www.blic.rs/data/images/2011-11-04/189165_kumuzej3_hs.jpg?ver=1320431419" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-family: inherit; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="245" /><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-family: inherit; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 245px;">
Dragutin Inkiostri Medenjak, polufotelja (klikni za uvećanje)</div>
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- Uzlet grafičkog dizajna doveo je u Beogradu do formiranja kruga specijalista koji su se uspešno bavili novinskom i knjižnom opremom i ilustracijom, plakatima, oglasima... Izdvajaju se Dragoslav Stojanović i Dušan Janković koji su još u svojim pariskim danima radili za ugledne izdavače, filmske kuće i reklamne agencije.</div>
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<br />Slici Beograda između dva rata dodajemo par podataka: broj stanovnika u prestonici skočio je sa 111.000 (1921), na 240.000 (1932); profesori Univerziteta osnivaju Francuski institut da bi se širio francuski jezik i kultura; uspostavljena je (1923) avionska veza ka Parizu, Bukureštu i Istanbulu; Krista Đorđević (udata za osnivača i profesora medicinskog fakulteta Đuricu Đorđevića), čiji je otac bio političar i bankar Svetislav Šumanović (stric slikara Save Šumanovića) ne samo pomaže umetnike već (1936) učestvuje u izgradnji Umetničkog paviljona “Cvijeta Zuzorić” na Kalemegdanu.</div>
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<strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-style: inherit; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Najbitniji poduhvati</strong></div>
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<li style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-style: inherit; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Opremanje Narodne skupštine (1936-1941) delima Dragomira Arambašića, Franca Goršea, Đorđa Jovanovića, Tineta Kosa, Frana Kršinića, Petra Palavičinija, Vanje Radauša, Tome Rosandića, Ivana Zajeca...</li>
<li style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-style: inherit; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Moderno dizajnirani nameštaj postaje deo luksuznih enterijera Belog dvora (1934-1937), a ubrzo i mnogih topčiderskih i dedinjskih vila.</li>
<li style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-style: inherit; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Svetomir Lazić osniva Atelje za unutrašnju arhitekturu (1929-1933).</li>
<li style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-style: inherit; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Đorđe Andrejević Kun izrađuje (1931) novi gradski grb koji, uz poneku izmenu, i danas predstavlja grad Beograd.</li>
<li style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: inherit; font-style: inherit; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Od 1935. godine uvode se nagrade za opremu i ilustrovanje knjiga, kao i za komercijalni dizajn.</li>
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</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-41894329239118003672011-11-08T03:13:00.000-08:002011-11-08T03:13:57.564-08:00Lik đavola pronađen na Đotovoj fresci u Asiziju, Blic<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg_dpvxQmM4NKTMJSQZuMlEmz1a5BJoJbXSME7dK9l77lJzZR5ZLpfsxnE6xgYUnaOKgs5J1koIA7uhoIMIWpPMKj7VaNoIFQC0iyP_IeRLHARWnKyHa5lh7SVopieMeOIJg1oP8eK-IE/s1600/189279_mdf05654_ff.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg_dpvxQmM4NKTMJSQZuMlEmz1a5BJoJbXSME7dK9l77lJzZR5ZLpfsxnE6xgYUnaOKgs5J1koIA7uhoIMIWpPMKj7VaNoIFQC0iyP_IeRLHARWnKyHa5lh7SVopieMeOIJg1oP8eK-IE/s400/189279_mdf05654_ff.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Restauratori su otkrili figuru đavola skrivenu u oblacima na najpoznatijoj Đotovoj fresci u crkvi Svetog Franje u Asiziju (Italija), saopštili su danas crkveni zvaničnici.</span></span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;"><img alt="" height="268" m_ext="ff" m_id="189278" orig="/data/images/2011-11-05/189278_mdf05653_origh.jpg?ver=1320500450.jpg" src="http://www.blic.rs/data/images/2011-11-05/189278_mdf05653_ff.jpg?ver=1320500450" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="400" /></span><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 470px;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;"> Detalj freske u kojem je vidljiv lik đavola (kliknite na sliku za uvećanje) </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Predstava đavola sakrivena je u detaljima oblaka u gornjem delu freske broj 20 u ciklusu scena iz života i smrti Svetog Franje, koji je naslikao Đoto u 13. veku.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br />Figuru je otkrila istoričar umetnosti Kijara Frugone, a pokazuje profil sa kukastim nosem, lukavim osmehom i tamnim rogovima skrivenim među oblacima u okviru scene koja prikazuje smrt Svetog Franje, preneo je Rojters.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Figuru je teško videti sa poda crkve, ali se jasno vidi na fotografiji u krupnom planu.</span></div>
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Glavni restaurator Serđo Fuseti izjavio je da Đoto verovatno nije želeo da predstava đavola bude centralni deo freske i nacrtao ga je među oblacima "radi malo zabave".<br /> </div>
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Đoto je možda naslikao taj detalj u inat nekome koga je poznavao, predstavljajući ga kao đavola, dodao je Fuseti.<br /> </div>
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Zidno slikarstvo u bazilici, gde je Sveti Franjo sahranjen, poslednji put je restaurirano posle oštećenja u zemljotresu 1997. godine.</div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-58798827358235489082011-10-21T03:49:00.000-07:002011-10-21T03:49:18.772-07:00Izložba stećaka u Narodnom muzeju, Blic<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="font-family: inherit;">U atrijumu Narodnog muzeja (Trg Republike 1a, ulaz iz Vasine) otvorena je izložba srednjovekovnih nadgrobnih spomenika – stećaka “Srbija: U zagrljaju civilizacija”.</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Izložba stećaka je otvorena povodom 66. godišnjice Ujedinjenih nacija, a organizatori su UN u Srbiji u saradnji sa Vladom Republike Srbije, Alijansom civilizacija UN i Nacionalnom komisijom za saradnju sa Uneskom Republike Srbije.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br />Četiri države iz regiona – BiH, Crna Gora, Hrvatska i Srbija, predložile su da srednjovekovni nadgrobni spomenici, zvani ‘stećci’, budu upisani na Uneskovu ‘Listu svetske baštine’, kao serijska nominacija. Projekat je podržala kancelarija Uneska u Venenciji – Regionalni biro za nauku i kulturu u Evropi.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Izložba će biti otvorena istog dana u sve četiri zemlje, kako bi se stanovništvo regiona upoznalo sa ovim važnim delom kulturnog nasleđa.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br />Stećci su srednjovekovni nadgrobni spomenici jedinstvene pojavnosti, kažu stručnjaci, kakvih nema nigde u Evropi, a nastajali su između 11. i 15.veka. Srbija, Bosna i Hercegovina, Crna Gora i Hrvatska potpisale su 2009.godine zajednički projekat za kandidaturu stećaka i upisivanje na Listu svetske baštine UNESKO.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Stećak je termin usvojen u nauci, dok je u narodu poznat kao kamen, beleg, a najčešće mramor. Stećci ili mramorje su srednjovekovni nadgrobni spomenici u obliku monolitnog velikog kamenja, ponekad ukrašeni elementima arhitekture, bordurama, krstovima, biljnim, geometrijskom ili astralnim motivima, oružjem i oruđem, ljudskim i životinjskim predstavama, različitim scenama iz života.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Ukrasi vrlo često nisu kanonizovani ili striktno vezani za hrišćansku simboliku. Mogu biti u formi ploče, usadnika, krsta, sanduka, sa i bez postolja. Najviše stećaka ima u Bosni i Hercegovini, nešto manje u Srbiji, Crnoj Gori i Hrvatskoj.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Stećci se, po jednoj od teorija, vezuju za bogumile, srednjovekovnu bosansku sektu i mahom su nastajali pre dolaska Turaka. U Srbiji ih najviše ima u predelima uz reku Drinu.</span></div>
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U severozapadnoj Srbiji nekada je bilo registrovano oko 200 stećaka, sada ih je duplo manje. Od propadanja nisu sačuvani ni stećci u drugim zemljama bivše Jugoslavije, pa je njihovo upisivanje na Listu svetske baštine, način da se očuvaju i zaštite.</div>
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<span class="Apple-style-span" style="font-family: inherit;"><br />Na teritoriji severozapadne Srbije registrovano je više od 120 lokaliteta sa mramorjem i oko 1000 pojedinačnih spomenika. Neki su ukrašeni zanimljivim predstavama i natpisima, ali, ipak, većina stećaka u našim krajevima je skromne izrade.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Nedavno je na lokalitetu Mramorje u Perućcu, kod Bajine Bašte, u saradnji sa stručnjacima Narodnog muzeja u Beogradu počelo arheološko istraživanje srednjovekovne nekropole za koju kažu da je najznačajnija u Srbiji, a krajem prošlog veka proglašena je za kulturno dobro od izuzetnog značaja.<br /> </span></div>
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<span class="Apple-style-span" style="font-family: inherit;">To je jedna od tri nekropole koje je Srbija izabrala za Listu UNESCO. Druga je sedam kilometara istočno od Perućca, u selu Rastištu, u okviru Nacionalnog parka Tara, dok se treća nominovana nekropola nalazi na teritoriji opštine Prijepolje, u selu Hrte.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">U severozapadnoj Srbiji nekada je bilo registrovano oko 200 stećaka, sada ih je duplo manje. Od propadanja nisu sačuvani ni stećci u drugim zemljama bivše Jugoslavije, pa je njihovo upisivanje na Listu svetske baštine, način da se očuvaju i zaštite.</span></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-76209088226698285412011-10-21T03:46:00.000-07:002011-10-21T03:46:01.273-07:00Veliko interesovanje za Silvi Gilem, B92<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 15px; line-height: 22px;"><span class="article-info2" style="font-size: 10px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-transform: uppercase;">IZVOR: PR</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGox7DmzTb2ICm9rZp5v7T4gLqaGMlrRwIUTkmEKDIi-tPb18PEkIzZpJpk1dXqvt5K3453xoo0L4Di2FObebYCAxv2mx5A6m_FZOm-bGR44RcCF2J26Vmz8Ke5BSI_5MaRlY_iY-kwk/s1600/599939034ea03c08d06cf813272986_orig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGox7DmzTb2ICm9rZp5v7T4gLqaGMlrRwIUTkmEKDIi-tPb18PEkIzZpJpk1dXqvt5K3453xoo0L4Di2FObebYCAxv2mx5A6m_FZOm-bGR44RcCF2J26Vmz8Ke5BSI_5MaRlY_iY-kwk/s400/599939034ea03c08d06cf813272986_orig.jpg" width="400" /></a></div>
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<em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="font-family: inherit;">Francuska baletska zvezda Silvi Gilem nastupiće krajem marta u Beogradu, pre zvaničnog otvaranja 9. Beogradskog festivala igre, zajedno sa koreografom i igračem Akramom Kanom.</span></em></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; line-height: 22px;">Gilem će nastupiti u kultnoj produkciji <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"Sveta čudovišta" Teatra Sadlers Vels</strong> iz Londona. List "Sandej tajms" napisao je da je ovo delo "inventivno, zahtevno, spakovano sa svim emotivnim različitostima". </span><span class="Apple-style-span" style="background-color: white; line-height: 22px;">Termin <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"Sveta čudovišta"</strong> (sakralni monstrumi) pojavio se u Francuskoj u XIX veku, kao nadimak za velike pozorišne zvezde poput <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Sare Bernar</strong>. Njime se označavala pozicija kakvu su imale ikone tadašnjeg umetničkog sveta, kojima bi publika i štampa dodelili božanski status. </span><span class="Apple-style-span" style="background-color: white; line-height: 22px;">Kako za njen nastup <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">28. i 29. marta u Madlenianumu</strong> vlada interesovanje ne samo domaće, već i publike iz regiona, ograničen broj karata pušten je u pretprodaju već 6. oktobra. Direktorka Beogradskog festivala igre<strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"> Aja Jung</strong> saopštila je da su karte za predstave u prodaji po ceni od <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">1.900 i 2.200 dinara</strong> na blagajni Madlenianuma u Zemunu. </span></span><br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/3D5L8QN_ES0" width="640"></iframe></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-46148210952483665722011-10-21T03:42:00.000-07:002011-10-21T03:42:33.516-07:00Otvoren 52. Oktobarski salon, B92<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJTZWQt-5N-9PiUG53YX8PnHih0859jp1_nIcUl-EjfiD5cGpBKzcz7cHhhbRyliL11BZkbyXZPpOvUeUruQpyfcFdbio5GdtKUcVcm8F0n1BJlrg4rw6A3qs4ha6uzrTXWW00dn8mWA/s1600/17703189734ea1157ec6f49836145729_orig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJTZWQt-5N-9PiUG53YX8PnHih0859jp1_nIcUl-EjfiD5cGpBKzcz7cHhhbRyliL11BZkbyXZPpOvUeUruQpyfcFdbio5GdtKUcVcm8F0n1BJlrg4rw6A3qs4ha6uzrTXWW00dn8mWA/s400/17703189734ea1157ec6f49836145729_orig.jpg" width="400" /></a></div>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; line-height: 22px;"><span class="article-info2" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-transform: uppercase;"><br /></span></span></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; line-height: 22px;"><span class="article-info2" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-transform: uppercase;"><span class="Apple-style-span" style="font-size: x-small;">IZVOR: TANJUG</span></span></span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;"><em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">U Muzeju istorije Jugoslavije svečano je otvoren 52. Oktobarski salon, postavkom pod nazivom '<strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">'Vreme je da se upoznamo'</strong>'. Na izložbi, čija je tema odgovornost, prikazano je oko 30 radova savremenih umetnika i umetničkih grupa, a izbor su napravile kustoskinje Galit Eilat iz Izraela i Alenka Gregorič iz Slovenije.</em></span></div>
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Izložbu je otvorila direktorka <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Kulturnog centra Beograd Mia David</strong> koja je istakla da je naslov izložbe ''<strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Vreme je da se upoznamo</strong>'', jer se izložba bavi ''<em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">odgovornošću</em>'' i da je to ''<em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">tema koja je važna ne samo ovde nego svuda</em>'' i da je to upravo razlog zbog čega su se Galit Eilat i Alenka Gregorič bavile njom. <br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">''Ono što je ovogodišnja ''posebost'' je odgovornost i želja da se pokaže neka demokratičnost, a Galit i Alenka su pored umetnika koji su same izabrale pozvale i naše umetnike da daju predloge za projekte i od 20-ak projekata koji su stigli čak 15-ak je uvršteno u program'', </em>rekla je David. <br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Ona je dodala da je jedan od umetnika <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Jan Fabr</strong> donirao jedan od svojih radova Oktobarskom salonu što će biti povod za pravljenje kolekcije Salona. <br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Za ispitivanje ključnog pojma odgovornosti kustoskinje koriste tri metode - simulaciju, eksperiment i ponovno odigravanje događaja, verujući da su mnogi umetnici danas prihvatili te metode kao glavne umetničke alatke, posebno u umetnosti performansa, instalacija, filma, videa i fotografije. Akcenat je na razvoju onih umetničkih inicijativa i projekata tokom poslednjih par godina koji se okreću od globalnog ka lokalnom i specifičnom. <br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><em style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">''Napravili smo vodič tako da će posetioci moći lakše da razumeju izložene radove i naše odluke zašto su ti radovi na izložbi i kako ih mi interpretiramo'',</em> rekla je na otvaranju Gregorič, napomenuvši da će 10. novembra biti otvorena izložba u gradskoj galeriji u Ljubljani, koja je povezana sa <strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.oktobarskisalon.org/" style="color: #333366; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Oktobarskim salonom</a></strong> i da će neki od radova koji su predstavljeni na 52. salonu biti izloženi i u Ljubljani.</div>
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<img align="center" alt="BETAPHOTO/MILAN OBRADOVIC/AV" border="1" height="417" hspace="0" src="http://www.b92.net/news/pics/2011/10/1240884334ea11754d4287612151360_orig.jpg" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" vspace="3" width="640" /></div>
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BETAPHOTO/MILAN OBRADOVIC/AV</div>
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Tokom trajanja Salona biće organizovan intenzivan program posvećen edukaciji i radu sa mladima, u kojem će svoje projekte predstaviti i realizovati Muzej savremene umetnosti Beograd, Remont, NVO Blokovi, Balkanski centar za Bliski Istok, Ana Nedeljković, Stefan Arsenijević i Srđan Vučinić... <br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Izložbu prate i drugi sadržaji: vođenja kroz izložbu sa kustosima Salona, sa umetnicima koji izlažu, kao i sa poznatim ličnostima iz sveta kulture. <br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Ovogodišnji Salon je propraćen i publikacijom tačnije tekstovima i esejima i studijama koje potpisuje osmoro autora koji kroz sadržaje koji se bave istorijom kulturnih institucija u odnosu prema prošlosti, o metodama koje koriste filozofiju, psihoanalizu i umetnost u odnosu prema militarizovanim kulturama, o posledicama žestokih, ratnih sukoba kroz intervjue ratnih veterana ili o poslušnosti i neposlušnosti u vojnim akcijama iz lične perspective obrađuju teme ovogodišnjeg Salona. <br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />Sav prihod od prodatih ulaznica za Oktobarski salon, koji će trajati do 4. decembra, biće doniran akciji ''<a href="http://www.bitkazabebe.rs/" style="color: #333366; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;"><strong style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Bitka za bebe</strong></a>'', za kupovinu inkubatora. </div>
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<span class="Apple-style-span" style="font-size: large;">Protestni rad Jana Fabra na "Oktobarcu", Blic</span></h1>
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Deo rada jana fabra u prvom planu</div>
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Nadomak rada Jana Fabra majstori završavaju montiranje drugih radova. Fabrova instalacija je,pak, već postavljena. Koja reč o njoj i umetniku.<br /> </div>
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Jan Fabr je rođen 1958. u Аntvеrpеnu, gde i živi. Nama je posebno zanimljiv jer smo njegove radove već imali prriliku da vidimo, npr. u našem Muzeju savremene umetnosti pre nego što je zatvoren.</div>
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<br />Fabrov izloženi rad "I let myself drain (dwarf)!", potiče iz 2007. i umalo da figuru ispred njega pobrkamo sa nekim stvarnim likom, ili prolaznikom na izložbi koji lupa glavom o sliku kao o zid.</div>
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Zanimljivo je i čija je slika (koja je stvarno okačena na zid). Reč je o slici Jovana Popovića "Portret sa fesom, iz 1945, ulju na platnu u vlasništvu Narodnog muzeja u Beogradu.</div>
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U sliku velikog majstora licem je zarivena voštana muška skulptura u prirodnoj veličini. Kip predstavlјa Fabrov alter ego, umetnika u ulozi mučenika, poraženog od predaka i pomirenog sa činjenicom da nikad neće biti jednak starim majstorima, i da nikad neće doživeti njihovu slavu.</div>
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Rad aludira na bolna pitanja instuticionalne i kulturne politike Srbije. Već skoro deset godina zatvoren Narodni muzej (koji nam je za potrebe izložbe lјubazno pozajmio sliku Јоvаnа Pоpоvićа, Portret čoveka sa fesom, 1845) je činjenica s kojom se bori Fabrova figura.</div>
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Fabrova instalacija na "Oktobarcu", dakle, sadrži Popovićevu sliku i odlivenu figuru ispred nje, a izrađemna je od čelika, poliuretanske pene, silikona, lјudske kose, stakla, tkanine, veštačke krvi i odeće.</div>
</span></span></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-86659268656588124352011-10-21T03:37:00.000-07:002011-10-21T03:37:44.092-07:00Intervju: Dejan Tiago Stanković, pisac i prevodilac Lisabon, junak moje priče, Politika<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="background-color: white; line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;">Poznajete li onaj osećaj kada se probudite ujutru, pogledate kroz prozor i kažete: „Kako je ovo lepo!” Meni se to događa svakodnevno</span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Knjiga priča neobičnog naslova „Odakle sam bila, više nisam” („Geopoetika”) prvo je pripovedno delo našeg poznatog prevodioca sa portugalskog Dejana Tiaga Stankovića, koji živi u Lisabonu, i koji će na ovom Međunarodnom beogradskom sajmu knjiga nastupiti kao autor na štandu „Geopoetike”, u petak 28. oktobra, od 18.30. časova. Tiago Stanković će zatim biti deo ekipe autora i na štandu zemalja portugalskog govornog područja, koje su počasni gosti Sajma knjiga. Za naš list kaže da je priča njegov omiljeni literarni žanr, da ih smišlja oduvek, ali da ništa nije beležio do pre nekoliko godina, kada je počeo da piše na blogu B 92. „Čar blogovanja je u tome što objaviš tekst i istog časa ga neko negde čita. I odmah se javljaju. Ovaj se nasmejao, ona pustila suzu. Jednom me je neko prozivao kao bezbožnika i pretio mi kaznom Božjom. Tako sam stekao svest da moja reč uspeva da izazove emocije kakve, dok nisam pisao, nisam mogao ni da naslutim. Izazivati osećanja kod ljudi koje nikada nisi upoznao je moć, pravi smisao umetnosti”, dodaje Stanković.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Već po vašem imenu možemo da naslutimo da ste i iz Portugala i iz „ovih naših krajeva”. Kako ste dobili srednje ime Tiago?</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Nisam ga dobio. Ukrao sam ga od sopstvenih sinova. U Portugalu svako ima po najmanje dva prezimena, jedno po majci i jedno po ocu. Aristokrate ih nose i po desetak, da se zna s kim su sve u srodstvu. Mojoj deci je rođenjem pripalo prezime Tiago Stanković. Kada su me jednom pri pasoškoj kontroli preslišavali zašto sinovi imaju prezime različito od mog, shvatio sam da bi to trebalo regulisati. No motivacija mi je, iskreno, bila druga – dojadilo mi je da me mešaju s mojim uspešnijim imenjakom, fudbalerom. Zamislite da se neko nekada zainteresuje za moj rad i „izgugla” ime Dejan Stanković, kad ono hiljade i hiljade članaka o prelaznim rokovima i golovima. Tiago je, dakle, u mom imenu višestruko koristan uljez.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Iz vaše knjige vidi se da mnogo volite Lisabon...</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Lisabon je, kako bi rekli klinci „skroz gotivan”. Poznajete li onaj osećaj kada se probudite ujutru, pogledate kroz prozor, i kažete: „Kako je ovo lepo!” Meni se to u Lisabonu događa svakodnevno. Ovih dana negde sam uočio najavu za svoju knjigu – „Odakle sam bila, više nisam” – roman o Lisabonu. Dopalo mi se. U neku ruku, nisu ni pogrešili baš tako strašno. To jesu tematski i stilski krajnje raznoliki komadi proze, ali kad se pažljivo nanižu, bude jasno da su svi povezani. Ako ništa drugo, kroz sve se provlači jedan junak – Lisabon.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Da li </b><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">portugalski</b><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">,</b><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"> na kojem ravnopravno pišete</b><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">,</b><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"> vidite kao svoj drugi maternji jezik?</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Drugi jezik jeste. Da bi postao maternji morao bih da se rodim ponovo od druge majke. Kada su Danila Kiša pitali zašto ne piše na francuskom odgovorio je da je na svom jeziku sposoban da osetidelikatnu razliku između „tamne” i „tavne” noći, a na francuskom takve nijanse ume da prečuje. Ja portugalski neću nikada znati kao srpski. Verovatno će mi uvek nedostajati sluha za poneku finesu. I svestan svega toga, opet sam pisao na portugalskom. Nemoguće je priču o kralju, čije je ime Sua Majestade El-Rei Dom Manuel I, o Venturoso, i čija se titula sastoji od 30 reči, pisati na bilo kom jeziku osim na portugalskom, baroknijem od svih jezika.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Neke priče u ovoj knjizi napisali ste na portugalskom, pa ste ih preveli na srpski?</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Prevoditi svoju prozu posebno je iskustvo, veoma nalik stvaranju. Tada imam najširu moguću autonomiju, to znači da mogu da se igram do mile volje i da se ni o koga ne ogrešim. To je krajnje izazovno. Pre neki dan sam završio dve portugalske verzije knjige, evropsku i brazilsku, i obe su pre prepev nego prevod, čak i međusobno.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Kako je bilo kada ste prevodili nobelovce, Andrića na portugalski i Žozea Saramaga na srpski?</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Kod prevođenja tuđeg dela morate paziti da u prevod ne unesete ništa svoje jer biste time povredili tuđe autorstvo. Kad prevodite velikane, kapitalna dela, to je kao da prevodite tekst uklesan u kamen. Krajnje ozbiljna rabota. Ono što je dobro kod velikana je da su oni, većinom, veoma pismeni ljudi, u klasičnom smislu te reči, a što je tekst napisan bolje i rigoroznije, to se lakše prevodi. Teško je prevoditi aljkavo sklepane tekstove.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Poznavali ste Saramaga. Ukratko, kao u nekoj od vaših priča, dočarajte nam velikog pisca.</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Prepiska je išla preko njegove žene Pilar. Uživo smo se sreli više puta, jednom da bi mi dao intervju za „Politiku”. Na dan kada su 1999. na Beograd pale prve bombe, poslali su mi pismo podrške. Realno, nismo bili prijatelji, pre su oni želeli da nekome kažu utešnu reč, a nisu se nikog drugog setili. Pisali su mi u nekoliko navrata u toku bombardovanja, pitali kako su moji, kako se osećam. Kada je docnije, u Toledu, najstarijoj prevodilačkoj školi na svetu, organizovan susret Saramaga i njegovih prevodilaca, pozvali su me. Nedugo zatim, u Lisabonu je održan evropski skup književnika. Prevodilačkoj agenciji koju vodim, tim povodom je zapalo da obezbedim prevode priloga učesnika na portugalski. U nekom trenutku večeri, ulazi Saramago, a sala na nogama. Kad najednom nobelovac zastane, raširi ruke i zagrli prijatelja koga je ugledao u gužvi. Ostanu tako njih dvojica oslonjeni jedan na drugoga nekoliko sekundi, kao da su kumovi koji se dugo nisu videli, pa nobelovac nastavi, a prijatelj ostane da aplaudira. Taj prijatelj sam bio ja. U stvari, to mi je pisac posle i priznao, u tom, za mene istorijskom trenutku, on nije imao predstavu ko sam ja. Samo je nabasao na poznato lice i raznežio se.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ima sete u vašim pričama, ali više smešnih likova, emigranata, raskalašnih špijuna, svetaca, pre svega staraca. Zbog čega staraca?</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Da kažemo da je to jedna šarena gomila likova iz života. Ima i staraca, ali su oni češće pripovedači nego likovi. To nije namerno, tako je ispalo. Knjigu sam, posle dužeg razmišljanja i uprkos velikoj konkurenciji, posvetio svojoj baki Politimi. Zaslužila je. Imala je priču za svaku priliku, a dok je slušate kao da gledate film. Imala je običaj da kaže: „Kad mi neko ispriča bez detalja, kao da sam čula vest na radiju”. Tako je meni naracija ostala vezana za stare ljude. I danas, čim upoznam pričljivog dedu ili baku odmah krenem da ih propitujem. Ponekad imam sreće. Deo ovoga što vam u knjizi prepričavam do mene je došlo tim putem.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Marina Vulićević</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">objavljeno: 21.10.2011.</span></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-2075004167612030932011-10-21T03:34:00.000-07:002011-10-21T03:34:51.177-07:00Ljubavni jadi mlade Srpkinje, Novosti<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: inherit;">Šta je Uroš Predić zapisao na pozivnici za veridbu svoje mlade prijateljice Vuke Velimirović. “Razveli se zbog perverznih zahteva od žene”, zabeležio je naknadno ispod imena slavni slikar</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 22px;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">NEKOLIKO pisama čuvenog slikara Uroša Predića (1857-1953) Vuki Velimirović (1888-1965) srpskoj i jugoslovenskoj vajarki koje je otkupio Arhiv u Pančevu otkrivaju novu “epizodu” na zaboravnoj srpskoj likovnoj i kulturnoj sceni.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ova “delija-devojka” kako ju je nazivao Predić u svojim pismima, bila je uvažena i nagrađivana evropska vajarka koja je karijeru gradila u Parizu. Ali, u Likovnoj enciklopediji pomenuta je tek sa nekoliko redaka. U katalogu Muzeja savremene umetnosti “Jugoslovenska skulptura 1870-1950” Vuka nije ni pomenuta, iako se i danas mogu videti njene alegorijske skulpture na sadašnjoj ambasadi Turske, nekad Vračarskoj zadruzi porodice Veljković.</span></div>
</span><span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 22px;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Sudeći po nekoliko Predićevih pisama Vuki, “čika” je, kako se često potpisivao, davao moralističke savete mladoj, lepoj i izrazito erotičnoj vajarki. Predić je hrabrio Vuku da odoli iskušenjima, bodrio je da istraje u radu. Posebno je upozoravao na nemoral Francuza i njihovu “perverznost”.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">To blisko i na određeni način intimno prijateljstvo rođeno je najverovatinije zato što je osetljivoj devojačkoj umetničkoj duši bio potreban duhovni otac. Vukin otac Miloš sa jedanaestoro dece, prota uz to, sigurno nije imao vremena za roditeljska “dušebrižnička naklapanja”.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ostaje enigma šta su to konkretno bile “perverzije” za mladu Srpkinju rođenu krajem 19. veka u patrijarhalnoj porodici, odnosno, za starog slikara? Istina, Vuka je bila emancipovana umetnica i samostalna gospođica u Parizu. Možda bi pravi odgovor mogla da daju Vukina pisma Prediću koja nisu (još) pronađena.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Tragajući za portretom vajarke izazovne lepote, koji je uradio stari majstor, umesto slike u Narodnom muzeju Zrenjanina - otkrili smo sasvim druge činjenice!</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Zahvaljujući kustosu Oliveri Skoko, iz prašine zaborava otkrivena je do sada javnosti nepoznata fotografija Vuke Velimirović. Na poleđini piše: “Dragom i vrlo poštovanom maestru g.nu. U. Prediću, Vuka Velimirović, skulp, Beograd 1. dec. 1924.”.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Na fotografiji uz svoje delo, u beloj dekoltiranoj tunici, Vuka kipti životnom snagom, erotskim nabojem - upravo onim od čega je asketa Predić celog života sklanjao pogled!</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Još značajnije je što su u Zrenjaninu, među sačuvanim muzealijama, pronašli nedvosmislene dokaze da je Vuka bila udata!</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Naime, ljubiteljima svoje umetnosti, ali i Prediću, Vuka je ostavljala posetnice na kojima je pisalo “Vuka de la Martinier, vajar”.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Otkud Martinier? Umetnički pseudonim? Muž? Ali, ko je onda taj sretnik?</span></div>
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<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></span></div>
<div class="inlineImage_left" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; float: left; margin-bottom: 10px; margin-left: 0px; margin-right: 10px; margin-top: 5px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><img src="http://www.novosti.rs/upload/images/2011//10/2010/kul-uros-predic-mala.jpg" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span></div>
</span></span><span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 22px;">Na to odgovara svečana pozivnica. Na njoj “Gospođica Vuka Velimirović i grof Lusjen de la Martinier imaju čast pozvati na svečanost veridbe”.</span><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 22px;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
</div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ko je prema Vuki imao nedolične zahteve, o kojima se dopisuju stari slikar i mlada vajarka? Iz ćiriličnog rukopisa Uroša Predića, iz naknadno dodatog zapisa na svečanoj pozivnici - i to se saznaje!</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Uroš je ispod ta dva imena, što srećno najavljuju zajednički život kasnije dopisao: “razveli se zbog njegovih perverznih zahteva od žene”!</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Koliko je “čika” bio upućen u jade mlade Srpkinje nije izvesno. Da li je Vuka bila eksplicitna ili je samo nagoveštavala probleme?</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Vuki Velimirović nisu bili nepoznati maniri visokog pariskog društva. Upravo po bistama industrijalaca, plemstva, ruskih grofova, političara pa i Ane Pavlove možemo da sledimo njen put kroz pariske salone, prijeme, vrtne zabave. Možemo da naslutimo kako je (i nehotice!) izazovan bio njen osmeh iza šampanjske čaše...</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ali, iako su je muškarci opsedali i doživljavali kao “objekat čežnje”, ona izvesno nije bila koketa. Za njom je ostalo evidentirano 150 skulptura, slike, crteži, pesme...</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">I možda je, kako to zna bivati, njenu posvećenost redu, njen rad, domete dela - vređalo to što su je muškarci posmatrali kao izazovnu ženu, jer u pozitivnim kritikama i napisima vezanim za njeno stvaralaštvo nazivaju je i “lepoticom dana”!</span></div>
</span></span></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-28205094977363918672011-10-17T23:45:00.000-07:002011-10-17T23:45:34.618-07:00Slikarstvo produžava život, Politika<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghPFuwa0UEhDVRz5kvLOP-K-fbNkPwKaRQuDF93iQGycDUJTvq5y1t9hkvbIDE2mm30B-NvI1q-6LoY4qiB2f8tXvcKbQ21bhyphenhyphenhU_UjKtzxt-CS2Dzg0hIB4R7wElGBQfQLndzWHpo8qw/s1600/kul-MIODRAG-B-PROTIC.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghPFuwa0UEhDVRz5kvLOP-K-fbNkPwKaRQuDF93iQGycDUJTvq5y1t9hkvbIDE2mm30B-NvI1q-6LoY4qiB2f8tXvcKbQ21bhyphenhyphenhU_UjKtzxt-CS2Dzg0hIB4R7wElGBQfQLndzWHpo8qw/s400/kul-MIODRAG-B-PROTIC.jpg" width="400" /></a></div>
<span class="Apple-style-span" style="background-color: white; line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;">Izložba u galeriji SANU ocenjena je kao senzacija, jer dopunjava uvid u bogat stvaralački opus Miodraga B. Protića</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Retrospektivnu izložbu dela Miodraga B. Protića (1922), značajnog srpskog slikara, pod nazivom „Ars Longa“ otvoriće akademik Dobrica Ćosić večeras u 19 časova u Galeriji SANU u Beogradu. Oko 49 slika i nekoliko akvarela nastalih od 1953. do 2011, koje je umetnik brižno čuvao od kupaca i publike, biće izloženo (a mnogi od radova čak prvi put u Beogradu ) do 15. novembra. Ovo je juče na konferenciji za novinare saopštio Dušan Otašević, novi upravnik Galerije SANU, u prisustvu umetnika Protića i Ješe Denegrija istoričara umetnosti. Postavka će u narednim danima predstaviti Miodraga B. Protića kao pisca i stručnjaka koji je, po svetskim standardima, osmislio, osnovao i bio četvrt veka na čelu Muzeja savremene umetnosti u Beogradu, predstavljao jugoslovensku i srpsku modernu umetnost, a domaćoj kulturnoj javnosti prezentovao najznačajnije stvaraoce poput Pikasa, Miroa, Dišana, Klea... povezujući domaću i inostranu scenu. Kako je juče ukratko saopštio Ješa Denegri „izložba, koju prati i katalog-monografija, sama po sebi je senzacija jer će dopuniti uvid u opus Protića i obuhvatiti sve etape njegovog stvaranja u više od pet decenija kontinuiranog rada”.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Umetnik je juče poželeo da sa novinarima prođe kroz čitavu postavku, a pri tom je naglasio:</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Neke od ovih slika, koje su pred vama, izlagane su u svetu i iako sam bio u prilici, ipak ih nisam prodao. Hteo sam da one najbolje radove sačuvam baš za svoju zbirku. Ne bih mogao da zamislim da živim, a da raspem sve svoje slike po svetu. Mnoge su bile prisutne na značajnim međunarodnim izložbama, u Veneciji sam svojevremeno dobio veliku i značajnu nagradu, međutim i tu sam uspeo da sačuvam neke svoje slike. Jer, eto, kupci su često hteli da kupe od mene slike koje sam i sam mnogo voleo.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Budući da je gotovo četvrt veka bio na čelu MSU objasnio je kako je uspevao da ostvari svoje ciljeve:</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Postojali su ljudi, intelektualci koji su pripadali vlasti, ja sam birao takve i oni su mi pomagali kako bi se mogao sazidati Muzej savremene umetnosti. I to se i desilo, jer su to zahtevali najpametniji ljudi tog vremena. Sve ideje iz sveta kada je reč o muzejima i ja sam primenio i ostvario saradnju sa njima. Trudio sam se da predstavim razvoj umetnika, a ne samo da okačim slike kao u nekom stanu i da ih tako godinama ostavim bez promene.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Miodrag B. Protić: Znaci i prostor, 2010.</i></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Protić je uz osmeh istakao da slikarstvo produžava život i da o tome svedoče umetnici u svim epohama.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Ješa Denegri, istoričar umetnosti, za „Politiku“ je o umetnikovom delu istakao sledeće:</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Protić je poklonio dva legata Muzeju savremene umetnosti, jedan Narodnom muzeju, a nešto od svog opusa je namenio i rodnoj Vrnjačkoj Banji. Sve ove slike koje vidite u Galeriji SANU, smatrao je svojim ljubimicama. Retrospektiva pred vama je premijera. Neke slike će se sad prvi put videti u prestonici i govore nam da je na samom početku kod umetnika bila zastupljena tema mrtve prirode, još uvek jedan klasični žanr, onda se ide ka apstrakciji i redukciji prirodnih motiva i slike postaju apstraktne. Protić ima termin „semantički znak”, hoće da kaže da one imaju neki znak koji nas upućuje na predmet odakle je krenula njegova interpretacija tog motiva. Razlika između mladog i zrelog Protića? Rekao bih da postoji jedna konstanta kod njega, a to je racionalna crta koja je manje ili više prisutna sve vreme. To upućuje na umetnika mislioca, intelektualca. On je pisac brojnih knjiga, osnivač MSU i to su sve komponente ukupnog opusa koje se sklapaju u tu celinu. Nije moguće Protića dovoljno razumeti kao slikara, ako se ne zna sve ostalo što je radio. Miodrag B. Protić je važan kao pisac, kritičar, istoričar i osnivač MSU, kao organizator umetničkog života i ovog puta se dobro uklopilo što je upravnik muzeja bio i umetnik, mada to ne mora uvek tako da bude.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">B. Lijeskić</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">objavljeno: 18.10.2011.</span></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-88069275411714844092011-10-17T23:42:00.000-07:002011-10-17T23:42:10.085-07:00Nova knjiga Orhana Pamuka, Blic<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYPRiMtlOCWZRJg2P0jqhfNgb4WpQgMuMrybwmtIoLKmYrHxwXIQ5GMQyilUjPAWvOftdYIVHZAiJisi3znN92TKQPlElL8EHvKKc5qnVU7WW7BauTxPmmMR-CPppHCoF1J5pBCxPwtU/s1600/184332_kupamuk_hf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYPRiMtlOCWZRJg2P0jqhfNgb4WpQgMuMrybwmtIoLKmYrHxwXIQ5GMQyilUjPAWvOftdYIVHZAiJisi3znN92TKQPlElL8EHvKKc5qnVU7WW7BauTxPmmMR-CPppHCoF1J5pBCxPwtU/s320/184332_kupamuk_hf.jpg" width="213" /></a></div>
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<span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="font-family: inherit;">Nova knjiga Orhana Pamuka “Druge boje - Eseji i jedna priča”, u izdanju “Geopoetike”, ubrzo izlazi iz štampe.</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Reč je o delu u kome se kroz novi vid autobiografije - eseje i priče propraćene autorovim crtežima - otkriva rezak i opor, ali i duhovit pogled na svet i sopstveni život. Intimniji tekstovi o odnosu sa svojom ćerkom ili o opsesivnoj samoći samo su delići slike pisca koju će čitalac otkriti u ovoj nesvakidašnjoj knjizi.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br />„Pišem zato što mi to spontano dolazi. Pišem da bi se pisale knjige kao što ih ja pišem i da ih čitam. Pišem zato što se strašno ljutim na sve vas, na svakoga. Pišem zato što mi se mnogo dopada da po celi dan sedim i pišem. Pišem zato što mogu da se pomirim sa stvarnošću jedino ako je promenim. Pišem da bih se oslobodio osećanja da postoji neko mesto u koje uvek treba ići i u koje nikako ne mogu da odem - kao u snu. Pišem zato što nikako ne mogu da budem srećan. Pišem da bih bio srećan“, napisao je nobelovac Orhan Pamuk u knjizi “Druge boje”.</span></div>
</div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-24489843797362687752011-10-17T02:25:00.000-07:002011-10-17T02:25:18.637-07:00Prvi pomodari u umetnosti, Blic<div dir="ltr" style="text-align: left;" trbidi="on">
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Milan Konjović, „Autoportret sa cigarom”</div>
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<span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="font-family: inherit;">Da li ste ikad pomislili da neki događaji koje zaboravljamo i te kako utiču na likovno stvaralaštvo. Da, o tome govori izložba (kao i publikacija) „Građanski modernizam i popularna kultura. Epizode modnog, pomodnog i modernog (1918-1941)” koju je za Galeriju Matice srpske u Novom Sadu osmislila Simona Čupić, a možete je pogledati do 20. oktobra.</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Izložbom „Građanski modernizam i popularna kultura...” Galerija Matice srpske se uključuje u mesec mode povodom održavanja međunarodne muzejske konferencije posvećene odevanju.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Izlaganjem umetničkih dela koja obuhvataju portrete tadašnjih diva (Rudolfa Valentina, Svetislava Petrovića, Ane Pavlove, Džozefine Bejker, Nevenke Urbanove, Ljubinke Bobić), autoportrete umetnika (Milene Pavlović Barili, Milana Konjovića, Koste Hakmana, Vase Pomorišca, Bogdana Šuputa), predstave građanskih enterijera i javnih prostora namenjenih zabavi i sportu (Ivan Tabaković slika „Utakmicu” i crta „Tenisere”, a Petar Dobrović slika „Tenis igračicu” deset godina pre nego što Bi-Bi-Si 1937. počinje direktno da prenosi Vimbldon), predočen je duh jednog vremena u sredini koja počinje da prima uticaje iz tuđine: muškarci da nose beretke (Zora Petrović slika Sretena Stojanovića s francuskom kapom), žene da se bave sportom (slika ih Sava Šumanović), ali i da puše cigarete...</span></div>
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Vratimo se događajima „od neprimetnog uticaja” na umetnost. Neki su: gostovanje Džozefine Bejker u Beogradu 1929, koja fascinira Milenu Pavlović Barili, otvaranje Zoo-vrta u Beogradu 1936, koji inspiriše Petra Dobrovića da crta jelena, lava, žirafu, tigra.</div>
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<br />- Kraj Prvog svetskog rata označio je početak perioda ubrzane modernizacije srpskog društva. Prostori javnog okupljanja i još više javne zabave svedočanstva su novih, modnih i pomodnih dešavanja, kao i novih interesovanja, životnog stila i organizacije slobodnog vremena koji postaju statusni simboli i elementi prepoznavanja modela života evropeiziranog narastajućeg građanstva - kaže dr Simona Čupić, koja se inače godinama bavi baš epohom između dva svetska rata.</div>
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<br />Istorija umetnosti se ovom prilikom ne gleda kroz velike istorijske događaje već one male koji čine život svakodnevice.</div>
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<img alt="" height="229" m_ext="f" m_id="183889" src="http://www.blic.rs/data/images/2011-10-15/183889_kumodernizam2_f.jpg?ver=1318706237" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="400" /><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 470px;">
Milena Pavlović Barili, „Džozefina Bejker”</div>
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<br />- Verujem da se najveća čar razmišljanja, kao i pisanja o umetnosti, krije u odsustvu objektivnosti. Jer svaki izbor, svaka selektivnost je nužno subjektivna, prijatno neprecizna… Volim sport i životinje, obožavam mačke, beskrajno uživam u kulturnim različitostima, pratim modu, volim pop kulturu, američku posebno. Dakle, nema sumnje da su ovom prilikom izabrane epizode modnog, pomodnog i modernog duboko prožete ličnim afinitetom - objašnjava Čupićeva osnovnu ideju izložbe i knjige „Građanski modernizam...”.</div>
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<br />Kakvo je to vreme bilo, vidi se iz jedne anegdote (citirane u knjizi) o prvom susretu Đorđa Andrejevića Kuna, slikara i grafičara, učesnika Španskog građanskog rata i Narodnooslobodilačke borbe i člana Srpske akademije nauka i umetnosti, i Spasenije - Cane Babović, junakinje socijalističkog rada, narodnog heroja i ministarke: „Tamo sam video jednu ženu lepo obučenu, sa lepim šeširom i cvećem u ruci. Mi smo ranije osuđivali drugarice koje su nosile šešir. Smatrali smo to za buržoaske manire. Međutim, sad smo dobili nalog da se što bolje i lepše oblačimo, da se maskiramo.”</div>
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<img alt="" height="229" m_ext="f" m_id="183893" src="http://www.blic.rs/data/images/2011-10-15/183893_kumodernizam1_f.jpg?ver=1318706283" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="400" /><div class="potpis" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; color: #777777; font-style: inherit; font: normal normal normal 11px/1.5em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 3px; padding-left: 0px; padding-right: 0px; padding-top: 3px; width: 470px;">
Milenko Šerban, „Moja žena”</div>
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<br />- Srodno (Đorđu A. Kunu) razmišlja i Krsta Hegedušić kada kritikuje radove Milenka Šerbana čija mu se koncepcija ne dopada jer „miriše na malograđanstvo koje želi biti velegrad”. Ne zna se na koje tačno radove Hegedušić aludira. Možda na portrete umetnikove lepe supruge Ivanke - Mile Šerban Starčević. Raskošna bela lepeza koju elegantno odevena drži u rukama deo je pomenutog niza detalja koji ispisuju hroniku atmosfere. U narednim godinama uslediće i dirke klavira, cveća, šahovska tabla, maska, lampe... Gruba kritika, prezrivo odbacivanje i nadmena ignorancija reklo bi se da hronično prate modu kao neka vrsta usuda - primećuje Simona Čupić.</div>
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<strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: inherit; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Milenina fascinacija Džozefinom</strong><br />- Oduševljenje Milene Pavlović Barili koja je slikala Džozefinu nakon njenog gostovanja u Beogradu moglo je biti i posredna objava (željene) pripadnosti istom nizu, posebno ukoliko se slikarkin „Autoportret sa belom tokom” (1929) posmatra kao predstava mlade žene u raskošnom belom krznu, sa modernim, takođe belim, ekstravagantnim šeširom, brižljivo stilizovanih obrva i lazurnim sjajem crvenog ruža efektno suprotstavljenog hladnoj eleganciji kostima. Ne treba prevideti ni Milenine godine (oko 20) koje mogu objasniti mladalačku fascinaciju slikarke - navodi dr Čupić.</div>
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</span></span></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-61971127600305560792011-10-17T02:21:00.000-07:002011-10-17T02:22:22.067-07:00Pozorište u okupiranoj Srbiji, politika<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHqjFf5KZgEDTola4wSpQWEa5x6jypyS3VqI_XacUJw3jc4RosWUhXvjGUw-BL2ld3bpFeuc5nFc9CdBdMYdzOj8kcrPLyxIuA62NvLJRQksfhut9-HXzHuWKcodQHyJWEPurHS4Y9yeE/s1600/pozoriste.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHqjFf5KZgEDTola4wSpQWEa5x6jypyS3VqI_XacUJw3jc4RosWUhXvjGUw-BL2ld3bpFeuc5nFc9CdBdMYdzOj8kcrPLyxIuA62NvLJRQksfhut9-HXzHuWKcodQHyJWEPurHS4Y9yeE/s320/pozoriste.jpg" width="320" /></a></div>
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<span class="Apple-style-span" style="background-color: white; line-height: 21px;"><span class="Apple-style-span" style="font-family: inherit;">Naišao sam na podatak da je Raša Plaović bio mason i zbog toga je penzionisan marta 1942. i tako udaljen iz Narodnog pozorišta, kaže Boro Majdanac</span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Rad na knjizi „Pozorište u okupiranoj Srbiji” Boro Majdanac započeo je pre više od dve decenije. Delo obiluje istorijskim izvorima koji se najvećim delom prvi put prezentuju, a obuhvata period nemačke okupacije 1941–1944. i neposredno posle oslobođenja. Otuda i podnaslov knjige „Pozorišna politika u Srbiji 1941–1944”. Dokumenti, fotografije, plakati, novine, smešteni na 868 strana svedoci su kratkog ali turobnog perioda naše istorije. Knjigu su objavili Udruženje dramskih umetnika Srbije i izdavačka kuća „Altera”.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Na ovaj zanimljivoj istraživačkoj, dokumentovanoj, reklo bi se i esejističkoj studiji, Majdanac je usmerio svoj radni potencijal još 1991. godine, inspirisan potresnom televizijskom dramom „Smrt gospođe ministarke”. Pretvorio se, kako u šali zna da kaže „ponovo u đaka”, prijavio doktorsku disertaciju, krenuo u istraživači poduhvat i uspešno ga završio.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Kao na dlanu, pored ostalog, ispisana je istorija Narodnog pozorišta u Beogradu. Čitamo dokumenta o žestokom sukobu između Jovana Popovića, upravnika Narodnog pozorišta i Velibora Jonića, ministra prosvete, u vezi sa vođenjem pozorišne politike u Srbiji, ili i o iznajmljivanju kostima iz Šarlotenburga kod Berlina za operu „Rigoleto”, o Žanki Stokić, Aleksandru Cvetkoviću, Jovanu Taniću, o disciplini, kuluku, nabavci namirnica i cigareta...</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Majdanac govori i o drugim prestoničkim pozorištima, ali i o onima u provinciji. Obrađen je, zapravo, pozorišni život u celoj Nedićevoj Srbiji, ne samo profesionalna već i amaterska pozorišta, u kojima su glumili i zemljoradnici, i domaćice, i zanatlije, i poštari, i činovnici, i sudije, a ceo prihod usmeravan je isključivo u humanitarne svrhe. U seoskim pozorištima, a bilo ih je više od 200, režirali su najčešće učitelji, ali je isto tako u selu Tečić kod Belušića, reditelj bio sveštenik Milivoje Urošević. Spremio je „Đidu” i „Devojačku kletvu”.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Štampa beleži, navodi u svojoj knjizi Boro Majdanac, da je jula 1943. u selu Prćilovica kod Žitkovca, predstavu „Doboš pred kućom” Moravskog narodnog pozorišta iz Niša, igranu na livadi, posmatralo 6.000 gledalaca, dok je „Đidu” Narodnog pozorišta iz Beograda na izvođenju u Aranđelovcu, takođe na otvorenom u „čarobnom dekoru” videlo čak 8.000 ljudi na dve odigrane predstave. Nailazimo i na zanimljiv podatak da je u Borskom rudniku, gde su uslovi za rad bili užasni, bilo pozorišne i muzičke aktivnosti. „Ne brini majčice mila” ili „Pesma za Bor”, koju je napisao obveznik radne službe Borskog rudnika Aleksandar Đukić, peva se i sluša i danas.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Pozorišta su imali i odbori Crvenog krsta, sportski klubovi, vatrogasne čete, bolnice, Nacionalna služba za obnovu Srbije, Srpska državna straža, đaci... Igralo se i u logorima, čak i onom na Banjici. Na brzinu su smišljane pesme i komadi – kaže Majdanac i dodaje:</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– „Banjičanku” su svi znali napamet. Među zatočenima se jedno vreme nalazila i profesionalna putujuća glumica Rosa Ćelić. Veoma aktivno je bilo i Partizansko pozorište Užičke republike, a pozorišna aktivnost zabeležena je i kod Pećančevih četnika i četnika Draže Mihailovića.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Ono što Boro Majdanac primećuje kao svojevrsni fenomen jeste da publika nikada nije izneverila glumce. Čak su i Nemci bili iznenađeni tolikim interesovanjem srpskog naroda za pozorište.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">– Nemci su vodili glavu reč i kada je pozorište u pitanju. Već u maju 1941. doneta je uredba po kojoj Jevreji i Cigani nisu mogli da budu ni autori ni izvođači dela. To isto važilo je i za masone. Naišao sam na podatak da je Raša Plaović bio mason i zbog toga je penzionisan marta 1942. i tako udaljen iz Narodnog pozorišta. Zanimljiv je i slučaj Eriha Hecela koji je bio Jevrejin, pa su ga oterali iz Pozorišta početkom oktobra 1941, čim je završio režiranje „Elge”. Njegovo ime nije stavljeno na listu, pa je kao reditelj „Elge” često pominjan Jurije Rakitin! Hecel bi sigurno bio uhapšen, ali se uspešno krio kod prijatelja, posebno primabalerine Smilje Torbice, sve do tragične pogibije u anglo-američkom bombardovanju Beograda 16. aprila 1944. godine. Istog dana stradao je i Andreja Miroslavski, član Operskog hora, koji je 1942. uspeo da pobegne iz nemačkog zarobljeništva. Poginuo je sa detetom u naručju, pripoveda autor.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Boro Majdanac pominje i slučaj Marije Birtašević, čistačice Narodnog pozorišta, koja je okrivljena od partizanskih vlasti da je sarađivala sa fašističkim organizacijama. Njen sin je bio u partizanskim jedinicama, i ranjen je kod Čačka, a nju su u Beogradu izbacili s posla.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Slična sudbina zadesila je i Blaženku Katalinić, čiji je sin bio teško ranjen na Sremskom frontu, a njoj su zabranili da radi sa obrazloženjem, da je tokom okupacije igrala u „Centrali za humor”. Interesantan je i slučaj Melanije Bugarinović. Ona je za vreme okupacije više pevala u Bečkoj operi nego u Beogradu. I završetak rata dočekala je u austrijskoj prestonici, a tadašnja vlast joj je konfiskovala imovinu. Oskar Danon je u to vreme bio direktor Opere i zamolio je svog kolegu, direktora Bečke opere, da proveri kakvo je bilo držanje Melanije Bugarinović tokom gostovanja u Bečkoj operi. Iz Beča je stiglo pismo u kojem se kaže da je ova umetnica bila izraziti antinacista. Ubrzo se Melanija Bugarinović ponovo našla u Beogradu, a konfiskovana imovina joj je vraćena.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Ovo je samo mali deo zanimljivih podataka, slučajeva, sudbina... koje je u knjizi „Pozorište u okupiranoj Srbiji” zabeležio Boro Majdanac.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">B. G. Trebješanin</b></span></div>
<br /></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-29948508728639910762011-10-15T03:47:00.000-07:002011-10-15T03:47:29.530-07:00Vuka Velimirović: ”Delija devojka” iz Predićevih pisama, Novosti<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6OK38Ec1o_Bxf0Mn4aBKKeW-kl6_MceRYBGdJTSUjMjShlV8rBffqgghgi7W90LnxyAG6cniLk-yKly2RmoZD8cf-ToLjf61WdqU5HUnUpZUcmnCwFOMMK14iXRwgPDvOVJcWPyO6L8/s1600/kul-Vuka-Velimirovic.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6OK38Ec1o_Bxf0Mn4aBKKeW-kl6_MceRYBGdJTSUjMjShlV8rBffqgghgi7W90LnxyAG6cniLk-yKly2RmoZD8cf-ToLjf61WdqU5HUnUpZUcmnCwFOMMK14iXRwgPDvOVJcWPyO6L8/s320/kul-Vuka-Velimirovic.jpg" width="201" /></a></div>
<span class="Apple-style-span" style="background-color: white; font-weight: bold; line-height: 22px;"><span class="Apple-style-span" style="font-family: inherit;">Ko je bila vajarka Vuka Velimirović sa kojom se dopisivao Uroš Predić - Pet Vukinih radova i danas na zgradi turske ambasade. Ciklus srpskih srednjovekovnih vladarki</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; font-weight: bold; line-height: 22px;"><span class="Apple-style-span" style="color: #333333; font-weight: normal;"></span></span></span><br />
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span class="Apple-style-span" style="font-family: inherit;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">SVAKA osetljiva, bolećiva duša, naročito ženska, nosi u sebi neke ideale i traži u životu njihovo ostvarenje, pa ne nalazeći ih u njihovoj neostvarivoj potpunosti, izliva svoju nežnost na prvi predmet koji bi ma u čemu donekle odgovarao onoj čežnji, i iskiti i ukrasi taj predmet ili to lice svim vrlinama... Ovako star i iskustvom otrežnjen i dalje verujem da dobro i lepo još nije izumrlo u ovom našem dobu čarlstona i džeza.”</span></span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span class="Apple-style-span" style="font-family: inherit;"><span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Veliki srpski slikar Uroš Predić upućuje ove tople poruke 12. aprila 1924. godine vajarki Vuki Velimirović, u jednom od deset pisama koje je nedavno otkupio Istorijski arhiv u Pančevu. Prema rečima našeg uglednog istoričara umetnosti Nikole Kusovca, odnos dvoje umetnika bio je isključivo prijateljski.</span></span></div>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white; color: #333333; line-height: 22px;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Svako ko je poznavao Predića zna da je vodio jedan gotovo asketski, povučen život, da je bio poput sveca - objašnjava Kusovac. - On se čak snebivao i stideo kada je trebalo da primi novac za ono što je naslikao, bilo da je reč o portretu ili ikonostasu. Malo je zato verovatno da je između njega i Vuke Velimirović postojala romansa. Izvesnije je da su bili samo prijatelji.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Kusovac nam kaže da su se čika Uroš (kako je potpisivao pisma) i “delija devojka” (u nekim pismima tako zove Vuku) najverovatnije upoznali tokom Prvog svetskog rata u Kruševcu. Ona je tamo predavala crtanje i lepo pisanje u gimnaziji, a Predić proveo nekoliko ratnih godina. U to vreme, gospođica Velimirović već je u Beogradu završila Umetničko-zanatsku školu, gde je njen talenat i interesovanje za skulpturu zapazio vajar i profesor Đorđe Jovanović.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Posle Prvog svetskog rata Predić se vraća u Beograd, a mlada i ambiciozna kći prote Miloša Velimirovića (šesto od jedanaestoro dece, četvrta ćerka) uputila se u tadašnju umetničku prestonicu sveta. U Parizu, odakle piše Prediću i gde od njega prima pisma, usavršava se u ateljeu čuvenog vajara Antoana Burdela, koji je o njoj zapisao:</span></div>
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“<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Srećan sam što mi se daje prilika da još jedared konstatujem koliko je srpska nacija intelektualna i umetnička. Gospođica Vuka Velimirović u srodstvu je, kao vajarski talenat, sa vašim srpskim majstorima. Njene biste su moćne, a lica sjajna.”</span></div>
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<b style="display: block; font: normal normal normal 16px/20px Georgia, 'Times New Roman', Times, serif;">SREĆA U PUTU</b>U jednom od svojih mudrih pisama, Uroš Predić, između ostalog piše: “Koliko bih bio srećan, kada bih bio onakav kakvim me Vi zamšljate! Ali, ja sam kao onaj hadžija koji je star, slab i nemoćan pošao u svetu Zemlju: Nikada je neće videti, ali celim putem pratiće ga sreća i zadovoljstvo, što se približuje svome cilju.”</div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Vuka školovanje nastavlja u Rimu, na Umetničkoj akademiji, ali i u ateljeu Etora Ferarija. Zahvaljujući bisti čuvenog baritona Mateasa Batistinija, njeno ime prvi put pojavljuje se u svetskoj štampi. U radu “Vajarka Vuka Velimirović (1888.- 1965.) koji je objavljen u Zborniku Narodnog muzeja, Petar V. Mikić o tome piše:</span></div>
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“<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Može se reći, ovom bistom je započela njena skultorska karijera. Mnogi ilustrovani listovi su doneli fotografije M. Batistinija i njenog autora, mlade srpske vajarke Vuke Velimirović, a neki među njima davali su joj epitet “La femme du jour.”</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Sredinom dvadesetih godina vraća se u Pariz, gde živi i izlaže sve do početka Drugog svetskog rata. Iz jednog prikaza iz 1933. godine vidi se da radi ciklus srpskih srednjovekovnih vladarki. Tačnije, kako navodi Petar V. Mikić, portretiše žene koje su odigrale značajnu ulogu u našoj nacionalnoj istoriji i koje su bile važan pokretač u razvoju srpske srednjovekovne umetnosti: od Majke Jugovića, Despotice - proklete Jerine, kneginje Milice, velike županke Ane, Jelene Anžujske, preko Simonide i Jefimije, do Jelene Balšić i Vukosave, žene Miloša Obilića.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Odavno sam želela da klešući u kamenu skulpture naših vladarki iz srednjeg veka, ostavim iza sebe nešto trajno, što će biti od koristi i interesa čitavim pokoljenjima - rekla je o ovim radovima, kada je posetila Beograd, 1938. godine.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">- Dugo sam studirala našu istoriju. Ulazila sam duboko u suštinu i duh tog vremena. Posmatrala sam mnoge freske po našim manastirima i slike starih majstora koji su davali kipove naših vladarki po individualnim zamislima, pa sam tako i sama, posle dugog vremena, našla sopstveni izraz za tipove naših srednjovekovnih vladarki.</span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 1em; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Nemačku okupaciju i sve ratne strahote, Vuka Velimirović podelila je sa svojim sunarodnicima, u Beogradu. Sem kratke posete Parizu, gde posle rata nije pronašla više ništa od svojih radova, jer je sve kako tvrdi Mikić, bilo razneseno, u našem glavnom gradu provodi umetnički plodnu starost. Izlagala je sve do smrti 12. decembra 1965. godine. Beograđani, prolazeći pored sadašnje zgrade ambasade Turske i danas mimoilaze pet alegorijskih plastika, koje je svojevremeno Vuka Velimirović uradila za tadašnju Vračarsku banku. </span></div>
</span></span></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-55705466139508222842011-10-15T03:43:00.000-07:002011-10-15T03:43:46.202-07:00Marina Abramović u Moskvi: Zabranjeno za mlađe od 16, Blic<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTV0p54P4w8C8fw60tukdE-Js6MpMrJtHnw7d3niRvxAL6AcXkTi_GPv6qqDMXvPJfMGVnU77K5u-mee9RgV8SSHJJG8z5pcmrlE2QS-qAeyQUT4ChrxLESWRC_OHwBTEmVCC-RMbys8/s1600/54472_marina-abramovic01-blic-branislav-puljevic_f.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTV0p54P4w8C8fw60tukdE-Js6MpMrJtHnw7d3niRvxAL6AcXkTi_GPv6qqDMXvPJfMGVnU77K5u-mee9RgV8SSHJJG8z5pcmrlE2QS-qAeyQUT4ChrxLESWRC_OHwBTEmVCC-RMbys8/s320/54472_marina-abramovic01-blic-branislav-puljevic_f.jpg" width="320" /></a></div>
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<span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="font-family: inherit;">U moskovskom Centru savremene kulture "Garaža" u toku je retrospektivna izložba performansa Marine Abramović "U prisustvu umetnika", u okviru koje je predstavljen i potpuno novi projekat - "Merenje magije medjusobnog gledanja".</span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Izložba umetnice iz Beograda koja živi u Njujorku izazvala je veliku pažnju ruske javnosti. Inicirao ju je Muzej savremene umetnosti iz Njujorka, a postavio ju je Klaus Bizenbah.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Predstavljeno je oko 50 radova koje je Marina Abramović stvarala tokom 40 godina, uz audio i video dokumentaciju i četiri živa performansa, koje realizuju specijalno obučeni mladi umetnici.</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Izložba je organizovana u blokovima, koji odvojeno predstavljaju razne životne, odnosno stvaralačke periode umetnice. Na samom ulazu u izložbeni prostor stoji natpis - "Zabranjen ulaz za mlađe od 16 godina".</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><img alt="" class="img_left" height="200" m_ext="hs" m_id="183727" src="http://www.blic.rs/data/images/2011-10-14/183727_kumarina-abramovic02-foto-beta_hs.jpg?ver=1318623919" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; float: left; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 0px; margin-right: 10px; margin-top: 5px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;" width="245" /></span></div>
<span class="Apple-style-span" style="background-color: white; color: #111111; line-height: 20px;">Na kraju uskog hodnika, na vratima, jedno naspram drugog stoje obnaženi muškarac i žena, tako da posetilac mora da prođe kroz uzan prostor između njih.</span><span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="color: #111111; line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;"></span></span></span><br />
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<span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="color: #111111; line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;">Reč je o rekonstruisanom performansu "Imponderabilia", koji je Abramović prvi put izvela sa svojim partnerom 1977. godine.</span></span></span></div>
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Naredna scena su dva performera, koji stoje jedan naspram drugog, sa uperenim kažiprstima. Reč je o "Tački kontakta" iz 1980. godine, čiji je cilj da se oseti najfinija napetost između partnera.</div>
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Na belom zidu, obnažena žena kao da visi u vazduhu, a u stvari sedi na biciklističkom sedištu, raširenih ruku i nogu. Reč je o preformansu "Svetljenje" koji je umetnica izvela 1997. godine. U istoj sali na postolju leži obnažena devojka, preko koje je skelet. Ona ga svojim disanjem tera da se pomera, kao da je živ.</div>
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Poseban deo izložbe posvećen je događajima u Jugoslaviji, posebno u Srbiji devedesetih godina. Reč je o performansu "Balkanski baroko", za koji je Marina Abramnović 1997. godine dobila Zlatnog lava na Venecijanskom bijenalu.</div>
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U uglu prostorije visi krvavi mantil, u kojem je umetnica tokom nekoliko dana čistila i prala dve tone junećih kostiju. Gomila kostiju čiji se neprijatan miris i danas oseća, izložena je u uglu sale, a performans je imao za cilj da navede gledaoce da osete bol zbog razaranja njene države.</div>
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Po ocenama kritičara, balkanski blok se na celoj retrospektivi smatra najjačim.</div>
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Magija međusobnog gledanja</h2>
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<img alt="" class="img_full" height="270" m_ext="f" m_id="43868" src="http://www.blic.rs/data/images/2010-06-02/43868_marina-abramovic01-ap-mary-altaffer_f.jpg?ver=1318580840" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; float: left; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 10px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;" width="470" /></div>
</span></span></span><span class="Apple-style-span" style="background-color: white; color: #111111; line-height: 20px;">Izložbu zatvara "Merenje magije međusobnog gledanja", u kojem učestvuje sama umetnica. To je faktički nastavak eksperimenta započetog u Njujorku, u Muzeju savremene umetnosti, kada je tokom šest dana umetnica sedela na stolici i gledala u oči posetioce koji su se menjali.</span><span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="color: #111111; line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: inherit; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
Marinu Abramović su interesovali osećaji koje imaju oba učesnika pri vizuelnom kontaktu.</div>
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Nakon toga, počela je da sarađuje sa naučnicima iz Rusije i SAD kako bi razumela kako u tom momentu radi ljudski mozak. Tokom ove izložbe, umetnica sa posetiocem koji to želi učestvuje u eksperimentu. Sede jedno naspram drugog 40 minuta, sa aparatima za elektroencefalografiju, gledajući se oči u oči.</div>
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</span></span></span><span class="Apple-style-span" style="background-color: white; color: #111111; line-height: 20px;">Nad glavama su im u 3D formatu prikazani mozgovi, koji u pojedinim momentima svetle na određenim mestima, kao i talasi koji se povremeno iznenada pojavljuju</span><span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="color: #111111; line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: inherit; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
iz oba mozga i sjedinjuju te delove među kojima je uspostavljen kontakt.</div>
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Sve aktivnosti mozga beleže se na savremenim aparatima, za kojima sede ruski i americki naučnici. Svaki učesnik nakon eksperimenta objašnjava najupečatljivije momente, unutrašnje promene i može pogledati video, snimljen tokom perfomansa.</div>
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<img alt="" class="img_right" height="200" m_ext="hs" m_id="136060" src="http://www.blic.rs/data/images/2011-04-21/136060_kumarina_hs.jpg?ver=1318580852" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #aaaaaa; float: right; font-style: inherit; font: normal normal normal 9px/1.3em 'Lucida Sans Unicode', 'Lucida Grande', vedrana; margin-bottom: 0px; margin-left: 10px; margin-right: 0px; margin-top: 5px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;" width="245" /></div>
</span></span></span><span class="Apple-style-span" style="background-color: white; color: #111111; line-height: 20px;">Umetnica kaže da što god da radi, želi da izmeni sebe i gledaoce i mentalno i energetski.</span><span class="Apple-style-span" style="background-color: white; line-height: 24px;"><span class="Apple-style-span" style="color: #111111; line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: inherit; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
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"Mi veoma brzo živimo, a ovaj projekat, najveći u mojoj biografiji, predstavlja upoznavanje ljudi sa drugim tempom života", objasnila je Abramović na otvaranju.</div>
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Za nju se, izgleda vreme odavno zaustavilo, izgleda kao da ima tek nešto preko 40 godina, a uskoro će napuniti 65.</div>
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Na pitanje zašto je na ulasku na izložbu izložen njen ogroman portret u ludačkoj košulji, ona odgovara: "To je metafora: možete da podvrgnete svoje telo bilo čemu, i na kraju da ga dresirate, a duh nikada".</div>
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"Mislim da je ovo najbolja izložba koju sam imala u životu i najveća što se tiče strukture. Mislim da je retrospektiva najbliža onome što sam ikada želela", rekla je Marina Abramović agenciji Beta.</div>
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Organizatori izložbe kažu da su zadovoljni interesom Moskovljana.</div>
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"Ali, komentari su različiti. Publika u Rusiji teško prihvata žanr performans. Zato su reakcije ili veoma pozitivne, jer ljudi razumeju značaj njenog prvog dolaska u Rusiju, ili pak negativne, jer su nenaviknuti", kažu u Centru savremene kulture "Garaža".</div>
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Izložba će trajati do 4. decembra.</div>
</span></span></span></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0tag:blogger.com,1999:blog-194630440751591867.post-20936315922168512452011-10-15T03:40:00.000-07:002011-10-15T03:41:11.921-07:00Kako biti odgovoran [oktobarski salon 2011.] Politka<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="background-color: white; line-height: 21px;">Poslušnost, neposlušnost, pokoravanje vlastima, konformizam, neke su od tema Međunarodne izložbe</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white;">Vreme je da se upoznamo. Upravo ova rečenica slogan je 52. oktobarskog salona, koji se svečano otvara u četvrtak, 20. oktobra, u Muzeju istorije Jugoslavije, koncertom Damira Avdića. Koncept salona osmislile su dve kustoskinje – Galit Eilat (Izrael) i Alenka Gregorič (Slovenija),a ključna reč manifestacije jeste odgovornost. Teme na koje su odgovorili mnogobrojni umetnici iz Srbije i inostranstva (učesnika ima oko tridesetak) biće poslušnost, neposlušnost, pokoravanjevlastima, konformizam, odnos prema prošlosti, odgovornost prema sebi i drugima. Za ispitivanje ključnog pojma kustoskinje su koristile tri metode: simulaciju, eksperiment i ponovno odigravanje događaja.</span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white;">– Kada kažemo odgovornost, pod tim podrazumevamo i sposobnost da se odgovori na određeni događaj, koji funkcioniše kao stimulus. Ovaj problem u vezi je i sa trenutnom situacijom u Srbiji jer smo tokom skoro jednogodišnjih priprema imale priliku da posmatramo dešavanja unutar kulturnog aparata koji ovde postoji. Na izložbi će biti dosta video-radova i instalacija, ima skulptura, fotografija i slika. Prostor Muzeja u Botićevoj izabran je, osim simbolike, i zbog toga što je bio infrastrukturno pogodan za jednu ovakvu postavku. Sredstva koja smo imali, a budžet je mali, mogli smo, stoga, da usmerimo na produkciju umetnika iz Srbije, kako to ne bi palo na leđa samih stvaralaca, rekla je Alenka Gregorič, pominjući Art kliniku, Centar za kulturnu dekontaminaciju, Kioks i Kontekst kolektiv,kao neke od domaćih učesnika.</span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white;">Kako je najavljeno, kroz aktivno učešće pojedinaca, ustanova, nevladinih organizacija i drugih aktera domaće i međunarodne kulturne i aktivističke scene, ovogodišnja smotra zamišljena je kao jedan prolongiran performativni događaj, čiji su ravnopravni delovi kako umetnički objekti tako i brojne diskusije, predavanja, radionice, okrugli stolovi i edukacije. Program koji će se odigravati tokom šest nedelja baviće se i preispitivanjem formata Oktobarskog salona i njegovog potencijalnog prilagođavanja trenutku u kojem se nalazimo, iz perspektive kulturnih potreba sredine i finansijskih mogućnosti, koje dodatno otežava i nepostojanje umetničkog tržišta u našoj zemlji. Prema rečima Mie David, direktorke Kulturnog centra Beograda, inače organizatora salona, jedna od najvažnijih tema biće ne samo sagledavanje značaja ove manifestacije kada su u pitanju međunarodnaili regionalnaumetničkascena, već će na prvom mestu biti razmatranje njene važnosti u našim, lokanim granicama. Uz to, najavljena je i mogućnost formiranjaposebne kolekcije manifestacije, pošto je poznati belgijski umetnik Jan Fabr odlučio da jedan svoj rad donira salonu.</span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="background-color: white;">Ovogodišnja cena ulaznice biće 200 dinara, uz nju će svi posetioci dobiti određene pogodnosti kada su druge postavke Muzeja istorije Jugoslavije u pitanju, dok će kompletan prihod biti doniran akciji „Bitka za bebe”.</span></span></div>
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M. Dimitrijević</div>
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objavljeno: 15.10.2011.</div>
</span></span></div>Gradivahttp://www.blogger.com/profile/14258086405250027265noreply@blogger.com0