30. internacionalni simpozijum skulpture, 01-31. jul 2011, Kikinda, Vojvodina, Srbija

30th international sculpture symposium, July 01st-31st, 2011, Kikinda, Vojvodina, Serbia

XXXIsakAslaniValentinaDusavitskayaVladanMartinovićBeátaRostásNadaStojiciYuriTkachenko

30. Internacionalni simpozijum skulpture / 30th International Sculpture Symposium

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30. Internacionalni simpozijum skulpture / 30th International Sculpture Symposium

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01 - 31. jul 2011, Kikinda, Vojvodina, Srbija July 01st - July 31st, 2011, Kikinda, Vojvodina, Serbia

Pre ravno tri decenije, sada već davnog leta 1982, održan je prvi saziv Simpozijuma skulpture u terakoti Terra.  Na taj skup su, u Drugi pogon napuštene stare fabrike “Toza Marković”, došli ugledni beogradski profesori Nikola Ko ka Janković i Nandor Glid te mladi i ”aktuelni” Nikola Vukosa-vljević iz Beograda, Peruško Bogdanić iz Zagreba, Aneta Sve tijeva iz Skoplja, te Miroslava Kojić iz Kikinde, svakako jed na od najznačajnijih akterki celokupnog pokreta-nja simpozijuma. Nažalost, iako se pojavio na početku sa zi va, ugledni Jovan Soldatović nije bio u situaciji da uče stvuje u radu tog prvog kikindskog simpozijuma... U svakom slučaju, već je sastavom tog prvog saziva jas-no  nagoveštan koncept budućih izbora jer su kikindski or ga nizatori nastojali da pozivaju podjednak broj umetni-ka koji su već dosegli antologijski značaj te mladih vajara - pripadnika aktuelnih umetničkih i skulptorskih tokova.

Sa puno oduševljenja, podsticani entuzijazmom Slo bo-da na Kojića, ovi vajari su ostvarili i prve monumentalne skul pture od kikindske gline. Bio je to odista pionirski po duhvat. Osim toga, iako je princip rada  zasnovan na isku stvima i konceptu likovnih kolonija (kolektivni ate -

lje), Terra je zamišljena kao simpozijum, kao svojevrsni skup vajarskih umetnika i stručnjaka okupljenih zbog raz matranja i praktičnog rešavanja problematike tera-kotne skulpture velikog formata. U modernoj skulpturi i u savremenoj umetnosti skoro da i nije moguće pro-naći primere velikih terakotnih oblika.   Zbog toga se, uobi čajeno, terakota smatrala «prelaznom» formom, iz-del kom koji ne premaša značenje skice, ili oblikom ko ji čeka da bude pretvoren u neki drugi čvrsti i trajni ma-terijal... U tom trenutku u umetnosti osamdesetih su se javile postmodernističke tendencije u kojima prevla da-va subjektivistički stav umetnika pojedinca. On se ref e-ksiv no odnosi prema svetu, nastoji da se snažno (neo)ekpre sionistički izrazi, da bude ubedljiv. U tom smislu ve liki format postaje bitna odlika izraza i   ima svoju psi-hološku funkciju i specifičnu delotvornost. U Terrinom koncepcijskom ustrojstvu sasvim su vidljive osobenosti jednog  tada aktuelnog stanja u umetnosti, te čin njenog pokretanja možemo shvatiti i kao adekvatnu reakciju na aktuelna zbivanja. Očigledno, ideja Slobodana Kojića da baš u Kikindi pokrene simpozijum terakotne skulpture te da nje nim programskim konceptom bude obuhvaćeno

– posle trideset godinatekst: Sava Stepanov

obavezno vajanje velikih skulptura, nije zasnovana samo na lokalpatriotskom zanosu jednog mladog i već tada u vojvođansku zemlju odista ukorenjenog umetnika - koji se sedamdesetih sa beogradske Akademije vratio u zavičajnu varošicu na severu Banata. Njegova ideja je sa-s vim racionalna i primenjljiva - iskoristi izuzetne mogu-ćno sti koji su bile na domaku.  “Drugi pogon” stare fabrike je prepoznat i organizovan kao veliki atelje u kojem su se stva rale, a zahvaljujući postojećim hodnicima sa artikuli-sa nim protokom vazduha, i sušile velike skulpture koje su, potom, pečene u novim fabričkim pećima sa velikim ula-znim vratima... Tako je spojivši iskustva stare i nove teh-nologije, potpomognut dobrom logistikom fabrike «Toza Marković», Kojić pokrenuo vajanje velikih skulptu ra... Uz to, sam je dao svoj umetnički doprinos - svojim ve li kim skulpturama a potom i iskustvenim sugestijama upu-ćenim svim potonjim učesnicima kikindskih simpoziju-ma...

Danas kada govorimo o odista velikom jubileju, ne sme se zaboraviti činjenica da je ova manifestacija op-stala zahvaljujući jasnim ciljevima glavnih inicijatora. Već od samih početaka Slobodan Kojić je nastojao da Terru in sti tu cionalizuje, da uspostavi koncept delovanja kultur ne institucije, da osnuje galeriju, da formira tim, da us ta novi širok krug saradnika i prijatelja. Osim toga, uporedo sa svim tim organizacionim i koncepcijskim na me rama i ostvarenjima, odvijala se neprekidna borba za finansira nje «Terre» sa brojnim državnim kulturnim i drugim institucijama u različitim (ali uvek: kriznim) vre-me ni ma. Uostalom, sama činjenica da je Terra osnovana u SFRJ a da je preživela sve istorijske promene (SR Jugo-sla vija, Srbija i Crna Gora, Srbija) i opstala do ovog tre-nu tka, dovoljno ubedljivo govori da je proživela i pre-živela sve Scile i Haridbe fatalnog usuda u smutnom vre me nu razmeđe dvadesetog i aktuelnog stoleća... Ko načno, bespogovorna je činjenica da je «Terra» zaista uspela da se ustanovi kao značajni punkt u proce su raz-voja jugoslovenske i srpske skulpture i umetno sti. Podse-timo,  tokom osamdesetih godina prošlog sto leća skulp-ture nastale u Terri naglašeno su pri su tne u tadašnjim to-kovima postmodernističke i  neo eks pre sionističke «umet-nosti osamdesetih» a potom i u no vo modernističkim ten-dencijama racionalističke i neo konstruktivističke «nove skul pture» krajem dvade se tog veka... Šta više, u novijoj isto riji umetnosti jasno je vidljivo prisustvo i uticaj kikind-skog simpozijuma u tada aktuelnim tendencijama umet-nosti na kraju XX veka. Tako su, samo na tadašnjoj velikoj i meritor noj Pančevačkoj izložbi jugoslovenske skulpture (PIJS) ili na tada važnom Oktobarskom salonu u Beogra-du, u nekoliko navrata, upravo skulpturama iz va ja -nim u kikindskom Drugom pogonu pripadale naj -zna čajnije nagrade (Skopljak, Begić, Kojić, Krnajski i dr).

Za našu umetnost je izuzetno značajna delatnost Inter nacionalnog simpozijuma skulpture Terra to-kom devedesetih godina proteklog stoleća. U doba epo hal ne krize tadašnjeg jugoslovenskog i srpskog dru š tva Terra je bila svojevrsno utočište. U njoj se (sa)ču-vao internacionalni dijalog ovdašnjih umetnika u uslovi-ma specifičnog funkcionisanja «zatvorenog društva»;  do-

brim uslovima čuvalo se dostojanstvo umetnika i umet-nosti kao specifične ljudske delatnosti koja ima pravo na zasebnost - ne da bi se izdvojila nego da bi svojim mo-de lom bila primer drugim  znanjima i drugim praksama u nasretnim, skoro katastrofičnim vremenima...

Jubileji su oduvek bili pravi povod za rekapitulaciju ostva-renih rezultata. Ovaj tridesetgodišnji jubilej Internaciona-lnog simpozijuma skulpture Terra u Ki kin di nas podseća na kontinuirani doprinos ove ma ni festacije našoj savre-menoj umetnosti i kultu ri uopšte. Duh stvaralaštva koji se emituje iz sada već le gen darnog Drugog pogona sva kako je najzna čaj ni ji doprinos kojim se može Terra pohvaliti. Afir misati ide ju stvaralaštva u jednom društvu ugroženom perma nen tnom transformišućom krizom odista predsta vlja ozbiljan duhovni doprinos. Ostvareno je mnoštvo izu zetnih skulptorskih ostvarenja, formi-rane su i pri ka zane brojne kvalitetne izložbe od Kikinde do Bije na la u Veneciji,  afirmisane su istinske umetničke i hu ma nističke poruke... Naravno, umetnost ne može da promeni svet - ali ga može učiniti lepšim, boljim, ple me nitijim. A Terra upravo tako deluje tokom svih svo -jih trideset godina.  Uz to, u Kikindi nema zasto ja -  plano-vi su ambiciozni: evo, ponovo je u toku no vi saziv; bliži se ustanovljavanje Muzeja «Terre»; ra di se na uspostavljanju pedagoških vajarskih institucija; za okružuje se jedan specifičan, kompleksan i vredan kultu rni eksperiment...

ooo

Tokom proteklog leta održan je jubilarni 30. Saziv Inter-nacionalnog simpozijuma skulpture Terra... Sastav umet-nika je, i ovoga puta bio zanimljiv i kvalitetan. Učestvovali su: Beata Roštaš (Mađarska), Jurij Tkačenko, Valentina Dusavitskaja (Rusija), Nada Stojići (Rumunija) te Isak Aslani i Vladan Martinović iz Srbije. Veoma brzo se pokazalo da je svim ovim umetnicima glina bliski vajarski materijal te da su, zbog toga, njihove skulpture nastajale sponta no, precizno definišući zamišljene oblike i «poruke».

Valentina Dusavitskaja

Skulpture Valentine Dusavitskaje izgrađene su poput spe cifične i senzibilne arhitektonske tvorevine. Radi se o uspravnim skulpturama kružno postavljenih zidova, često ostvarenih i «razlakšanih» brojnim otvorima koji aso ciraju na prozorska okna. U prvi mah izgleda da se va jar ka pozabavila izgledom spoljnjog vidljivog sveta, te da je uobičajene arhitektonske formalne sklopove po kušala da preoblikuje, da ih učini «mekšim», obli-jim, ekscentričnijim. No, ova skulptura poseduje jednu neu običajenu zasebnost. Sve se razotkriva njenom os novom, planom, tlocrtom. Taj tlocrt u obliku srca zapra-vo govori o svoj liričnosti ovog plastičkog mišljenja - os nova je umetničina vlastita osećajnost iz koje izrasta pla stična konstrukcija, jedna osobena skulptorska priča. Sa takvim umetničkim razlozima - potpuno je usaglašen vajarkin stvaralački postupak. Zidovi skulpture su uzbud-ljivi, oni su oblikovani mnoštvom direktnih manuelnih dodira koje je glina zapamtila, koji trepere poput vi d lji-ve i materijalizovane ekspresije, poput plastičkih znakova koji su skulpturu Valentine Dusavitskaje učinile iz vo rom iskrenih ilirskih napomena i poetskih poruka.

Jurij Tkačenko

Skulptura Jurija Tkačenka je bliska novijoj tradiciji ruske ume tnosti - stilizovani i prijatno svedeni oblici i drugi pla-stički podaci istovremeno čuvaju sadržajna značenja ali i funkcionišu kao zasebni elementi likovnosti i skulpto ral-nosti. U takvim koncepcijskim okvirima ovaj vajar se po-na ša veoma disciplinovano, strogo kontrolišući vlastitu sen zibilnost i vlastiti ekspresivitet. Vajana forma Jurija Tkačenka je svedena ali je definisana kao puna plastika, kao oblik snažne unutarnje tektonike. Vajar suvereno vla-da tim unutarnjim silama mase i materijala tako što zateže oblik, tako što po zategnutoj fakturi cizelatorski precizno oblikuje diskretne i dragocene plastičke sadržaje. Faktura postaje uzbudljiva zbog otisaka koji su posledica direkt-nog manuelnog postupka, zbog tihe ekspresije tananih «listića», zbog neobičnih crteža preuzetih iz duboke tra di-cije i umetničke prošlosti... Tkačenko je u Terri podjedna-ko posvećen figuracijskim i apstrakcijskim ostvarenjima - forma je u oba slučaja pravi nosilac svih plastičkih i poet skih značenja. Ono što bi se ipak moglo shvatiti kao os novna odlika ovog opusa jeste čudesni spoj sadržaja i forme - kojom se itekako čuvaju najznačajnija svojstva skulpture kao zasebnog načina umetničkog izražavanja.

Beata Roštaš

Skulptorska ostvarenja Beate Roštaš veoma su bliska moti vima narodne umetnosti. Jednim dobro kultivisanim na činom ova umetnica gradi formu punog plastičkog dej stva. No, anegdotski razlozi nastajanja forme se ovde ču vaju do krajnje formalne realizacije. Šta više u velikoj skul pturi Beata Roštaš je čak raspričana ali je i plastički dis ciplinovana. Dominirajući utisak svedenosti, postojeći kon struktivistički sklop, geometrizam i druge ma ni fe stacije ra cionalističkog promišljanja skulpture - su vešto i uspešno isprepleteni sa sadržinskim  podacima, sa kompleksnom pri čom koja poseduje elemente narodnih predanja, ba-jki, mitskih simbola (grupa figura u unutarnjem prostoru skulpture; arhitektonski detalji u unutarnjem prostoru sve dene čovekolike forme, čudesne i neobične portretske pred stave, shemtaska grupa figura povezanih u kolo oko osnovnog oblika, mistika stepeništa)...   Sve to skulpturi Beate Roštaš daje utisak nekakvih nadrealističkih pred-stava - definisanih jasnim i čistim skulptoskim jezikom.

Nada Stojići

Umetnica iz Rumunije, vajarka Nada Stojići je u Terri izva-ja la forme koje su primerene glini. Radi se o fino zaoblje-nim skulpturama, o punoj zategnutoj plastici, o formi koja poseduje nekakav «rebusni» izgled jer se poput uro borosa «lice» skulptura spaja sa njenim «repom». Posebnu vrednost ovih tvorevina čini unutarnji prostor-skulpture, svojim konstitutivnim plastičkim značenjem ali i svojim tihim tajanstvom primerenom slutnji zamračene šupljine... U nekim skulpturama Nada Stojići se poigrava statikom i ravnotežom, neočekivanim «prelivanjima» skul pto ralne mase preko ivice, niz ravninu postamenta. Ta neuobičajenost, taj neočekivani formalni izgled - do-pri nosi utisku o dostignutoj vajarskoj personalnosti. Ova skulptorka ne insistira na «velikim porukama» već

se bavi prirodom, “prirodnim” situacijama, nekakvim ti-him (svojim i posmatračevim) osećanjima. Ta bliskost s prirodom, ta vajarska neposrednost - odslikavaju želju za prisnom estetskom komunikacijom: sve je zasnovano na subjektivističkom poimanju sveta - te izgleda da je čar ove umetnosti upravo u tome.

Isak Aslani

Interesovanja beogradskog umetnika Isaka Aslanija se, skoro celokupnim dosadašnjim kontinuitetom, od-vi ja razuđenim pravcima najrazličitijih konceptu al nih, pikturalnih, prostornih i vajarskih na sto ja nja. U njego-voj umetnosti   nikako ne treba tragati za «zajedničkim-imeniteljem» nego takav stav treba shvatiti i tumačiti kao posledicu revnosnog reagovanja na impulse sveta i sa vremenosti. Pri tome, Aslani nikada nije zabavljen direkt nim sadržajem već svojevrsnim konceptualnim i formalnim ovaploćenjem vlastitog senzibiliteta. Tokom bo rav ka u «Terri» Isak Aslani je bio obuzet istraživanjem au ten tičnog jezika specifičnog materijala i direktnog ma-nu elnog vajanja. Zbog toga je njegov «repertoar» ki ki n-dskih skulptura veoma raznovrstan u širokom dija pazonu od dobro organizovanih i postavljenih arhi tek tonskih for malnih sklopova, preko skulptorskih oblika organ-skog porekla, pa sve do razmatra nja i reminisceni ranja ob li ka narodne utilitarne ume tno sti... Aslani vaja forme punoplastičkog ka ra kte ra, poštujući glinu (zemlju) kao osnovni materijal, kao specifični medij tvorenja oblika.Pri tome je veoma ube dljiv te se sadržinske, plastičke i metaforičke po ruke ove umetnosti lako prepoznaju i pri-hvataju.

Vladan Martinović

Na jedan tihi i postojani način V ladan Martinović učestvuje u tokovima umetničkih aktuelnosti u nas. Njegov boravak i rad u Terri rezultirao je skulpturama nastalim kao plod odista «prepoznatih» medijskih osobenosti i mogućnosti gline. Ovaj vajar je u Drugom pogonu izvajao nekoli ci-nu složenih ali veoma kompaktnih, svedenih i konstru-ktiv no koherentnih oblika. Metod direktnog manuelnog va ja nja je očito veoma blizak Martinovićevom shvatanju skul ptu re te zbog toga, čak i u onim ravnim, zategnutim i čistim formama postoji utisak «zapamćenog dodira», uti-sak kojim se razotkriva jedan autentičan diskretan poet-ski stav. Specifikum Martinovićevih uspravnih skul ptura-slagalica jeste njihova dobro organizovana i složena frag mentarnost. Naime, svoje kompaktne stubaste forme vajar,  na nekoliko mesta, horizontalno preseca. Ti preseci, međutim, nisu ravni, nego su uzgibani i talasasti. Njiho-vim vraćanjem u sklop stuba stvara se kod posmatrača izuzetan doživljaj senzibiliziranog sklopa, slutnja nekog nevidljivog događanja, sugestivno osećanje unutarnjeg tajanstva... Svoje velike stubove vajar Martinović je op-crtao sa nekoliko linijskih crteža koji vodoravno teku oko skulpture. Taj uzbudljivi crtež jeste reakcija umetnika na aktuelnosti sveta u kome živimo, a te linije su zapravo kardiogramski zapis otkucaja umetnikovog srca... Zbog toga se ova skulptura Vladana Martinovića ustanovila kao jedinstveni spomenik osećajnosti i osećanjima - kao spo-menik  kakav, valjda, samo u Terri i može da nastane...

Three decades ago, in aldready begone summer of 1982, the first convocation of the Terra terracotta scul-ptu re Symposium was held. This convocation, held in the Second section of the old, abandoned factory ’’Toza Markovic“ was attended by prominent Belgrade professors: Nikola Koka Jankovic and Nandor Glid and also by young and actual Nikola Vukosavljević from Belgrade, Perusko Bogdanic from Zagreb, Aneta Svetijeva form Skoplje and Miroslava Kojic from Kikinda, surely one of the most important actors of the entire symposium initiation. Unfortunately, although prominent Jovan Sol-da tovic appeared in the beginning of the convocation, he was not in the situation to participate in the work of the first symposium in Kikinda... However, the composition of the first symposium clearly indicated the concept of the future elections since organizers tended to invite an equal number of already antalogical artists and young sculptors - members of actual art and sculptural fows.

With much delight and enticed by enthusiasm of Slobodan Kojić, these sculptors made first monumental sculptures of Kikinda’s clay. It was a real pioneer under-

taking. Although the princip of work was based on experiences and a concept of art colonies (a collective atelier), the Terra was imagined as a symposium, a sort of a gathering of sculptors and experts who met in order to consider and practically resolve problems of large terracotta sculptures. It is almost impossible to find exa-mples of large terracottas in a modern sculpture and contemporary art. Thus terracotta used to be considered as a transitional form, a part that is no more important than a sketch or a form which waits to be transformed to another solid and permanent material...

In this particular moment in the art of the eighties postmodern tendencies with a subjective attitude of an artist, an individua appeared. He relates to the world refexively, tends to express himself strongly, (neo) expre-ssionalistically and to be convincing. In that sense a large format becomes a significant feature of expression and has its psychological function and specific effectiveness. In the conceptual organization of the Terra the characteristics of then actual condition in the art are clearly visible so that the act of its initiation can be understood as an adequate

– after thirty yearstext by: Sava Stepanov

reaction to actual happenings. Obviously, Slobodan’s idea to start the terracotta sculpture symposium right here in Kikinda and that its programme concept involves mandatory carving of large sculptures wasn’t based on local-patriotic enthusiasm of a young and in Vojvodina’s land already rooted artist who returned to his homeland small town in the north of Banat from Belgrade Academy during the seventies. His idea is completely rational and applicable- to use exceptional possibilities that were within reach. ’’The second section’’ of the old factory was re co gnized and organized as a large atelier where large sculptures were created and also dried thanks to the halls with articulated air fow and in the end they were baked in large, new factory furnaces with big doors...Having joined experiences of old and new technologies and with the help of good logistics of the factory ’’Toza Markovic’’, Kojic initiated the creation of large sculptures... In addition to this, he added his own contribution- with his large sculptures and with his suggestions sent to all later participants of Kikinda’s symposiums... Today, when we are talking about one indeed great jubilee, we must not forget the fact that this manifestation survived thanks to clear goals set by main initiators. From the early beginning, Slobodan Kojic tended to institutionalize the Terra, to establish the activity concept of cultural institution, to found a gallery, to form a team, to gather a wide circle of friends and associates. In addition to all these organizational and conceptional intentions and realizations there was a neverending struggle with numerous state cultural and other institutions for finan-cing of the Terra in various (but in any case times of crises). Anyway, the fact that the Terra was founded in the SFRY and lived through all the historical changes ( the SR of Yugoslavia, Serbia and Monte Negro, Serbia) and survived up to this very moment is convincing enough that it survived all Scyllas and Charybdis of fatal fate in the dim time of the boundary between the twentieth and actual century...

Finally, it is an obedient fact that the ’’Terra’’ truly mana-ged to establish itself as a significant point in the pro-cess of Yugoslavian and Serbian sculpture and art de-ve lopment. To remind you, during the eighties of the previous century, the sculpures created in the Terra were emphasizedly present in the fows of postmodern and neo-expressionistic ’’art of the eighties’’ and later in new-modern tendencies of racionalistic and neo- con-stru ctivistic ’’new sculpture’’ at the end of the twentieth century... Moreover, in the recent history of art the prese-nce and infuence of Kikinda’s symposium in then actual tendencies in art at the end of XX century are clearly visible. Thus, on several occasions at then great and creditable exhibition of Yugoslavian sculpture in Pancevo or at the important October saloon in Belgrade, the sculptures created in Kikinda’s second section were aworded the highest prizes. (Skopljak, Begic, Kojic, Krnajski and other)

The work of the Terra International sculpture symposium during the nineties of the previous century was extre-mely important for our art. In the time of epochal crisis of the Yugoslavian and Serbian people, the Terra was a sort of harborage. It kept an international dialog of local artists in the conditions of specific functioning of ’’closed

society’’, good conditions served to maintain the dignity of an artist and art as a specific human activity which is entitled to distinctiveness – not to distinguish itself but to make an example for other knowledge and other practices in unhappy, almost catastrophic times...

Jubilees have always been a real cause for recapitulation of realized results. This thirty-year old jubilee of the Terra International sculpture symposium in Kikinda reminds us of continuous contribution of this manifestation to our contemporary art and culture in general. The spirit of creation which has been emitted from the already legendary Second section is surely the most significant contribution with which the Terra can be praised. To affirm an idea of creation in a society threatened by permanent transforming crisis really represents a serious spiritual con tri bution. Plenty of exceptional sculptures have been created, numerous exhibitions were formed and showed from Kikinda to Biennial in Venice, truly art and humanistic messages were affirmed... Off course, art cannot change the world – but it can make it prettier, better, nobler. That is how the Terra affects us during all its thirty years. Kikinda does not know for deadlock – plans are ambitious: there it is: a new convocation is in progress again, establishing of the’’ Terra’’ Museum is near, pedagogical sculptural institutions are being establishing, a specific, complex and valuable cultural experiment is being rounded off...

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During previous summer the anniversary thirtieth Convocation of the Terra International sculpture sym-po sium was held. The composition of artists was again interesting and of high quality. Beata Rostas (Hungary), Yuri Tkachenko, Valentina Dusavitskaya (Russia), Nada Stojici (Romania) and Isak Aslani and Vladan Martinovic from Serbia. It quickly showed that all these artists were familiar with clay and that this was why their sculptures were created spontaneously, defining precisely imagined shapes and ’’messages’’.

Valentina Dusavitskaya

The sculptures by Valentina Dusavitskaya were made like specific and sensible architectural creations. These are upright sculptures with circularly placed walls, often realized and ’’lightened’’ by numerous openings which remind of window panes. At first, it seems that the sculptor dealed with the look of outer, visible world and that she tried to perform usual architectural formal sets, to make them ’’softer’’, rounder, more excentric. However, this sculpture possesses one unusual distinctivness. Everything is revealed by its base, plan, layout. This lay-out in the shape of a heart in fact speaks of lyricism of this plastic opininon – the base is the sculptor’s own sensitivity from which a plastic construction grows, one specific sculptural story. With such artistic reasons the sculptor’s creative act is completely harmonized. The walls of the sculpture are exciting, they are formed by many direct manual touches that the clay remembered, which blink like visible and materialized expression, like plastic signs which made the sculpture by Valentina Dusavitskaya a source of sincere Illiyrian remarks and poetic messages.

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Yuri Tkachenko

The sculpture by Yuri Tkachenko is close to newer tradition of Russian art – stiliyzed and pleasantly re duced shapes and other plastic informations keep con te xtu al meanings but at the same time function as in di vi dual elements of fine art and sculpturing. In such con ce ptual frames this sculptor behaves in disciplined way, controlling his own sensibility and expressiveness. The sculpture is reduced but defined as full plastic, like a shape of strong inner tectonics. The sculptor domi neers these inner forces of mass and material when he tigh tens the shape, and precisely forms discreete and pre cious plastic contents on the tightened invoice. The in vo ice becomes exciting because of imprints that are con seuences of direct manual act, because of the quiet expression of tenuos ’’leafets’’, because of the unusual drawings taken over form rooted tradition and artistic past... Tkachenko is equally committed to figurative and abstract realizations – the form is in both cases real carrier of all plastic and poetical meanings. What could be understood as a main characteristic of this opus is a miraculous combination of content and form – which surely keeps the most significant features of the sculpture as a particular way of artistic expression.

Beata Rostas

The sculptures by Beata Rostas are very close to motives of folk art. In a rather cultivated way this artist builds a form of full plastic effect. However, anecdotic reasons for the formation are kept untill the final formal realization. Moreover, in a large sculpture Beata Rostas appears to be very talkative but also plasticly disciplined. Dominating impression of reduction, an existing constructivistic stru-c tu re, geometrism and other manifstation of rational ima gination of the sculpture – they are skillfully and su-ccess fully entangled with contents data, with a complex story which posseses elements of folk tales, fairy tales, mythical symbols (the group of people in inner space of the sculpture, architectural details in the inner spa ce, reduced manlike forms, miraculous and unusual por trait performances, the schematic group of people conne-c ted in a kolo around the main form, the mystics of a staircase)... Thus the sculpture gives an impression of some surrealistic plays – defined by clear and clean scul-ptor language.

Nada Stojici

An artist from Romania, a sculptor Nada Stojici scul ptu-red forms adequate to clay. It is about finely rounded sculptures, about full tightened plastic, a form that po-ssesses a kind of ’’rebus-like’’ appearance since the ’’face’’ of the sculpture joins its ’’tale’’ like Uroborus. Inner space of the sculpture with its constitutive plastic meaning and with its quiet mystery adequate to the foreboding of a darkened hole makes the special value of these creations... In some sculptures nada Stojici plays with statics and balance, with unexpected ’’overfows’’ of sculptoral mass over the edge, down the plane of the pedestal. That unusual feature, that unexpected formal look contributes to an impression of reached sculptural personality. This

sculptor does not insist on ’’great messages’’, she is in vol-ved in nature, natural situations, some quiet (her and a spectator’s) feelings. That connection with nature, scul-ptural directness – refect the wish for close aesthetic co-mmu nication: everyting is based on subjectivistic under-standing of the world – thus it seems that the glamour of this art is exactly in this.

Isak Aslani

Belgrade artist Isak’s Aslani interests are almost conti-nually developing in dispersed directions of the most di ffe rent conceptual, pictural, spatial and sculptoral ten-den ces. In his art, ’’a common deniminator’’ should not be searched for, but such an attitude is to be understood and interpreted as a consequence of a zealous reaction to an impulse of the world and contemporaneity. According to this, Aslani is never entertained by direct content but by a sort of conceptual and formal embodiment of his own sensibility. During his stay in the ’’Terra’’, Isak Aslani was involved in researching of authentic language of spe-cific material and direct manual sculpturing. Thus his ’’repertoire’’ of Kikinda’s sculptures is various in a wide diapason from welll organized and posted architectural formal structures, over sculptural shapes of organic origin to consideration and reminiscing of folk utlitarian art shapes... Aslani sculptures formes of full-plastic character, respecting clay (soil) as basic material, as a specific media of shapes formation. In doing this he is very convincing so that content, plastic and metaphoric messages of this art are easily recognized and accepted.

Vladan Martinovic

In a quiet and stable way, Vladan Martinovic participates in the fows of our art actualities. His stay and work in the Terra resulted in sculptures created as a result of truly ’’recognized’’ media features and possibilities of clay. This sculptor made a few complex but indeed compact, reduced and constructively coherent shapes. The method of direct, manual sculpturing is obviously very close to Martinovic’s understanding of a sculpture and thus, even in the even, tightened and clear forms there is an impression of a ’’remembered touch’’, an impression which reveals one authentic, discreet poetical attitude. The specificity of Martinovic’s upright sculptures – jigsaws is their well organized and complex fragmentation. The sculptor horizontally cuts his compact, columnar forms in few places. These sections, however, are not fat but stirred and wavy. By being returned to the structure of a pole it is created an extraordinary experience of sensitive construction within an observer, the foreboding of an invisible happening. Suggestive feeling of inner mystery... Martinovic plotted his big poles with a couple of linear drawings which horizontally fow around the sculpture. This exciting drawing is the artist’s reaction to actualities of the world in which we live while those lines represent cardiogram record of the artist’s heart beats... That is why this sculpture established itself as an unique monument to sensibility and feelings – as a monument which can probably be created only in the Terra...

Translated by Marta Buzulov

11

Valentina Dusavitskaya

Beáta Rostás

Yuri Tkachenko

Isak Aslani

Vladan Martinović

Nada Stojici

10

238x84x84 cm

120x75x75 cm 80x45x45 cm

Isak Aslani

129x68x64 cm

50x32x28 cm

55x32x30 cm

125x44x44 cm

Valentina Dusavitskaya

Vladan Martinović

238x68x68 cm

54x20x20 cm

238x48x43 cm

51x44x18 cm

Beáta Rostás

255x232x126 cm

101x44x32 cm63x22x22 cm

Nada Stojici

42x40x39 cm

44x44x38 cm

320x260x86 cm

29x27x22 cm

57x46x42 cm

Yuri Tkachenko

200x52x30 cm

83x48x26 cm107x43x14 cm

Centar za likovnu i primenjenu umetnost23300 Kikinda, Srbija

tel/fax: +381 (0)230 26508e-mail: office@terra.rs, centar.terra@gmail.com

web: www.terra.rs

Za izdavača / For publisher:Slobodan Kojić

Tekst / TextSava Stepanov

Prevod na engleski / Translation on English Marta Buzulov

Fotografije / Photos:Vladimir Sretenović, Igor Grandić, Aladin Bakhit, Vladimir Petrović,

Isak Aslani, Valentina Dusavitskaya, Vladan Martinović,Beáta Rostás, Nada Stojici, Yuri Tkachenko

Dizajn / Design:Stevan Kojić

Štampa / Printing:Štamparija Futura, Petrovaradin

Tiraž / Print run:500 primeraka / 500 copies

30. Internacionalni simpozijum skulpture30th International Sculpture Symposium

01 - 31. jul 2011 / July 01st - July 31st, 2011Kikinda, Vojvodina, Srbija

SO KikindaPokrajinski sekretarijat

za kulturuMinistarstvo kulture

Republike Srbije

Pokrovitelji / Patrons:

Naftna industrija Srbije Kompanija Toza Marković

Sponzori / Sponsors:

01 - 31. jul 2011, Kikinda, Vojvodina, Srbija July 01st - July 31st, 2011, Kikinda, Vojvodina, Serbia