Ogledalo vizuelne umetnosti - Izložbe - 13. međunarodni bijenale naivne umetnosti

NAGRADE

Žiri 13. Bijenala naivne i marginalne umetnosti dodeljuje:

Nagradu za ukupan umetnički rad
Desanka Petrov Morar i Ferenc Kalmar

Veliku nagradu za izložena dela
Milanka Dinić i Barberien

Posebno priznanje za izložena dela
Lidia Saškovski i Jure Grgin Miloš

Priznanje za izložena dela
Jelena Marković i Tomislav Blagojević

Otkupnu nagradu
Dušan Jevtović

AWARDS

Jury of 13th Biennial of Naïve and Marginal Art has awarded the following artists:

Award for his Entire Artistic Work
Desanka Petrov Morar and Ferenc Kalmar

Grand Prihfor Exhibited Works
Milanka Dinić and Barbarian

Special Mention for Exhibited Works
Lidia Saczkovski and Jure Grgin Miloš

Mention for Exhibited Works
Jelena Marković and Tomislav Blagojević

Purchase Award
Dušan Jevtović

Nastojeći da obezbedi sveobuhvatnu zaštitu pravih, autentičnih vrednosti naivne i marginalne umetnosti kao specifičnog segmenta savremene likovne umetnosti, Muzej naivne i marginalne umetnosti u Jagodini posebnu pažnju posvećuje organizovanju međunarodnih manifestacija, Bijenala i Kolonija naivne i marginalne umetnosti. Počev od 1970. godine kontinuirano, najpre putem Salona kao godišnje smotre, a zatim u formi Bijenala, Muzej postojano prati aktuelna kretanja u ovoj oblasti neakademskog umetničkog stvaralaštva, istražuje načine da predstavi suštinu ovog vitalnog izvora imaginacije i istinite kreativne umetničke energije, i razgraniči je od pseudonaivne produkcije, imitacije, elemenata amaterizma, diletantizma i komercijalnosti. Muzej od 1981. godine organizuje bijenalnu manifestaciju naivne umetnosti koja od jugoslovenske prerasta u međunarodnu, a prateći savremena kretanja na međunarodnoj likovnoj sceni u koncepciju bijenala uključuje i oblast marginalne umetnosti. Prvi Bijenale jugoslovenske samouke likovne umetnosti organizovan je 1981. godine. Od 1985. do 1993. bijenale se organizuje pod nazivom Bijenale jugoslovenske naivne umetnosti. Sa učešćem inostranih autora od 1995. naziv se menja u Bijenale naivne umetnosti, koji 2001. godine prerasta u Bijenale naivne i marginalne umetnosti. U periodu od 1981. do 2007. godine organizovano je ukupno dvanaest bijenala. Usled okolnosti koje su onemogućile održavanje ove manifestacije, 1991. godine priređena je izložba pod nazivom Velike nagrade bijenala 1981 – 1991.
Bijenale naivne i marginalne umetnosti predstavlja vrstu preseka dostupnog dela aktuelnih pojava i tendencija u ovoj oblasti u datom trenutku; pruža afirmaciju i podsticaj najvrednijih ostvarenja neakademskih vidova umetnosti, kontinuirani uvid u stvaralaštvo već potvrđenih autora izgrađenog samosvojnog likovnog izraza, otkrivanje novih imena, praćenje i afirmisanje mladih umetnika, mogućnost prikupljanja podataka o autorima za dokumentaciju i dalji naučno istraživački rad, kao i način za pribavljanje dela potrebnih za zbirku. Prikupljanjem, akumuliranjem i proučavanjem dragocenih informacija, na ovaj način je ostvarivan neposredan uvid u opšte tokove i razvoj u okviru naivne i marginalne umetnosti kao celine, ili u pojedinim njenim segmentima pojedinačnih stvaralačkih opusa autora, problema, tema, ili grupa koje predstavljaju celine vezane srodnim načinom izraza.
Svaki Bijenale predstavlja svojevrstan izazov, kako za same stvaraoce, tako i za stručnjake koji vrše valorizaciju i izbor dela za izlaganje. Tokom godina karakteru bijenala i formiranju kriterijuma za selektiranje dela posebno je doprinosio stručni žiri. U nastojanju da se obezbede što objektivniji kriterijumi u rad žirija su, pored stručnjaka iz samog Muzeja koji kontinuirano prate kretanja u okviru oblasti naivne u marginalne umetnosti, uključivani i ugledni stručnjaci koji su fenomenu naivne i marginalne umetnosti mogli da pristupe iz drugačijih pozicija i svojim svežim viđenjem osvetle određene pojave i kretanja vitalnog, živog organizma ovog dela savremene umetnosti. Posebno se izdvajaju stručnjaci koji su razvoj fenomena naivne umetnosti pratili od samih početaka. Predsednik žirija Trinaestog bijenala naivne i marginalne umetnosti, Vera Ristić, muzejski savetnik Narodnog Muzeja u Beogradu, učestvujući u radu značajnih manifestacija naivne umetnosti i kao dugogodišnji saradnik i član umetničkog saveta Muzeja, dala je poseban doprinos naivnoj umetnosti. Još 1962. godine bila je član žirija Prvog kvadrijenala naivnih umetnika Jugoslavije u Čačku, zatim predsednik žirija Prvog bijenala jugoslovenske samouke likovne umetnosti i član žirija Trećeg bijenala jugoslovenske naivne umetnosti u Jagodini. Smatrajući da bi za preispitivanje i kristalisanje kriterijuma Bijenala dragoceno bilo i učešće stručnjaka iz drugih zemalja, Muzej ih od 2001. uključuje u rad žirija. Ove godine svoj doprinos Bijenalu dala je Diana Draganova, kustos Nacionalne galerije iz Sofije, predstavljajući svoje viđenje naivne i marginalne umetnosti iz vizure poznavaoca aktuelnih kretanja, dešavanja na širem planu savremene umetnosti. Članovi žirija iz Muzeja su muzejski savetnici Nina Krstić i Marica Vračević, i kustos Ivana Jovanović.
Selekcija radova za izložbu Bijenala uvek predstavlja izazov, ali nosi i odgovornost da se prepozna autentičan likovni kvalitet, originalnost, kreativnost, stilska ujednačenost, iskrenost umetničkog doživljaja, kao i potencijal, posebno mladih umetnika, bez obzira na tematsku, tehničku, jezičku i stilsku opredeljenost autora. Na taj način ova manifestacija naivne i marginalne umetnosti donosi neku vrstu smernica mogućeg razvoja ove autonomne oblasti različitih izraza neakademskog umetničkog stvaralaštva, izraza koji nisu upućeni na intelektualnu analizu ni ograničeni racionalnim vidokrugom. Pritom se mora imati na umu činjenica da naći i sačuvati identitet ličnog likovnog jezika nije jednostavno ostvariti. U vremenu razvijenih komunikacija i obilja lako dostupnih informacija gotovo je nemoguće postići umetničku izolaciju i oduprti se uticajima, svesnim i podsvesnim. Ogromna riznica opservacija umetnikovih iskustva, upamćena svesno ili urezana u podsvest, ipak, za naivne i marginalne umetnike predstavlja samo sirovu građu na koju vizija umetnika može da se osloni u trenutku instinktivnog otkrovenja. Takođe je jasno da nije lako dostići nesputanost bez ponavljanja u okviru sopstvenog likovnog izraza, kao i da se selekcijom dela na bijenalima ne izriču definitivni sudovi.
Od prijavljenih ukupno sto devedeset i tri dela šezdeset i jednog umetnika iz: Srbije, Republike Srpske, Makedonije, Bugarske, Mađarske, Italije, Nemačke, Belorusije, Švedske, Turske, Kanade, Brazila i SAD-a, za izložbu Trinaestog bijenala naivne i marginalne umetnosti odabrano je osamdeset i jedno delo četrdeset i sedam umetnika (šezdeset i tri slike, četrnaest skulptura i četiri crteža). Kao temeljna okosnica ovog mozaika različitih generacija i stvaralačkih individualnosti izdvaja se veći broj umetnika, koji dugi niz godina istrajno potvrđuju autentične likovne izraze u okviru oblasti naivne i marginalne umetnosti i učestvujući na bijenalu osvajaju nagrade i priznanja. Među njima se posebno izdvajaju dobitnici Nagrade za ukupan umetnički rad na prethodnim bijenalima, Milosav Jovanović, Miroslav Živković, Pal Homonai, Dušan Jevtović.
Nagrada za ukupan umetnički rad, koja se dodeljuje za višedecenijski, zaokružen umetnički opus, izgrađenog, snažnog i originalnog likovnog izraza, ove godine je dodeljena Desanki Petrov Morar i Ferencu Kalmaru. Više od četiri decenije umetničkog rada Desanke Petrov Morar obeležio je zreli slikarski izraz ujednačenog kvaliteta. Čiste, uravnotežene, prepoznatljive kompozicije, u kojima je ostvarena harmonija svih likovnih elemenata, obojene su ličnom notom intimne setne atmosfere poetizovanih sećanja na detinjstvo. Istim duhom zrače i skulpture u glini manjih dimenzija, stilizovane predstave pojedinačnih ljudskih figura i grupnih figuralnih kompozicija.
Obojene skulpture od drveta Ferenca Kalmara, vajara iz Subotice, govore osobenim likovnim jezikom. Volumen skulptura životinja, najčešće ptica, u rasponu od sasvim jednostavnih, snažno stilizovanih formi, do dinamičnih, ekspresivnih oblika, umetnik oživljava intenzivnim tonovima kolorita, ostvarujući sintezu skulpturalnog i pikturalnog, asocijativnosti i apstrahovanosti oblika.
Jedan od ovogodišnjih dobitnika Velike nagrade za izložena dela, koja se dodeljuje autoru čija dela karakterišu najviše estetske vrednosti je Milanka Dinić. Fantastika jedinstvenog imaginarnog sveta njenih slika oblikovana je suptilnim spojem tradicionalnog sloja inspirisanosti folklorom, narodnim pričama, legendama i tehnikama tkanja i veza, i visokog nivoa rafiniranog transponovanja, stilizacije i ornamentalnog tretmana površine. Magični svet harmoničnih kompozicija umetnica gradi sistemom tačkica, automatizmom poteza, ornamentisanim bordurama, izmaštanim stilizovanim prepletima vegetacije, ljudskih i fantastičnih bića i arhitekture.
Jure Grgin Miloš, umetnik prepoznatljiv po slikama intrigantnih prizora transponovanih pejzaža sa diskretnim scenama iz svakodnevice i asocijacijama upletenim u oblike drveta, stabla, krošnje, koje kriju bogatstvo skrivenih značenja, na ovom bijenalu se predstavlja slikama u kojima je dosadašnje stidljivo projavljivanje svog bogatog sveta mašte mnogo hrabrije izraženo u kompozicijama snažnog umetničkog doživljaja. Kreativnost, inventivnost u nalaženju novih motiva i rešenja, ukazuju na originalnost, vitalnost i zrelost umetničkog izraza. Sloboda, umetnička smelost i nesputanost u okviru sopstvenog likovnog izraza, koje se ne sreću tako često, razlog su da žiri Posebno priznanje za izložena dela dodeli ovom umetniku.
Prilikom dodele Otkupne nagrade imaju se u vidu aktuelne potrebe za adekvatnim popunjavanjem fonda zbirke Muzeja delima određenih autora čiji broj dela, ili njihova raznovrsnost nisu dovoljni da se na pravi način predstavi njihov umetnički domet. Jedan letnji dan Dušana Jevtovića, reprezentativna slika velikih dimenzija, predstavlja sublimaciju stvaralačkog opusa ovog umetnika. Nostalgične, idilične panorame prizora i mozaici ljudskih sudbina, sintetizovane su i idealizovane predstave umetnikovog sveta sećanja i mašte. U harmoničnim, uravnoteženim kompozicijama, oblikovanih ritmički raspoređenim mekim lučnim površinama brežuljkastog pejzaža, u koje umetnik smešta i grupiše brojne ljudske i životinjske figure, narativnost je prevladana specifičnim osećajem za pokret, raspored masa, toplinu kolorita i atmospfere.
Nasuprot jednostranim teorijama o naivnoj umetnosti, Muzej naivne i marginalne umetnosti u okviru svojih delatnosti naučnim i istraživačkim radom postojano ukazuje na činjenicu da ova umetnost nije hermetična, statična, zamrznuta na status quo poziciji zatvorenog kruga ponavljanja. Neakademska, nekonvencionalna oblast umetnosti autentičnih samobitnih nesputanih zakonitosti živi je, vitalan, kompleksan organizam koji pulsira spletom različitih senzibiliteta, izrazitih individualnosti, koje se u svojoj slojevitosti međusobno ne isključuju. Složeni nivoi, u međusobnom dijalogu dodirivanja, preklapanja, prožimanja i prelamanja, izmiču klasifikaciji u stroge granice terminoloških odrednica. Ovo stanovište potvrđuje i mozaik likovnih izraza zastupljen na Trinaestom bijenalu naivne i marginalne umetnosti. Dela određenih predstavnika mlađe generacije umetnika, od kojih su se neki već potvrdili izlažući i gradeći svoje mesto na ovoj manifestaciji, Barberien, Rosen Rašev, Vojkan Morar, svedoče o novom senzibilitetu izrazitih ividualista, sadržanom u intenzitetu likovnog izraza, tematskom izboru, slobodi kombinovanja tehnika i materijala. Svet utemeljenih vrednosti naivnog umetničkog izraza autentične, osobene umetničke transformacije doživljaja spoljnog i unutrašnjeg sveta, i svet krajnje individualizovanog intenzivnog unutrašnjeg doživljaja marginalnih umetnika, uprkos različitim izražajnim sredstvima, i bilo da su u većoj ili manjoj meri okrenuti spoljnom ili svom unutrašnjem svetu, povezuje snaga imaginacije, kreativna fantazija i čistota instinktivne stvaralačke iskrenosti koja minimalizira zadate kulturne i umetničke kanone.
Doživljaj umetnosti kao egzistencijalnog nagona osnovna je odlika dela Barberiena, dobitnika Velike nagrade za izložena dela. Sirovi intenzitet stvaralačkog čina, ekspresivnog poteza i kolorističkih odnosa odražava napregnutost unutrašnjih konflikata umetnika, metaforično ih predstavljajući u formi galerije snažno deformisanih životinjskih ili ljudskih figura, često postavljenih u dramatične odnose.
Tomislav Blagojević, umetnik koji se tek nedavno predstavio na bijenalu, a čije stvaralaštvo već pokazuje visok likovni domet i snažan napredak, jedan je od dobitnika Priznanja za izložena dela. Fantastičan svet krajnje redukovanog izraza koji snažnom stilizacijom oblika na simbole, znake, povezuje i sublimira daleke svetove praistorijskih pećinskih predstava rudimentarnih figura-znakova lovaca, ratnika, scena biblijskih priča i zamišljenih vanzemaljskih civilizacija. Dinamične kompozicije gradi, pre svega, stilizovanom linijom koja definiše šematski predstavljene maštovite oblike oživljene svedenim, jasnim intenzivnim koloritom, koji umetnik akcentima srebrne i zlatne boje oplemenjuje doživljajem mistične svetlosti.
Posebno ohrabruje pojava većeg broja mladih autora i umetnika koji se ove godine prvi put prijavljuju za učešće na Bijenalu naivne i marginalne umetnosti i tek kreću putem istraživanja sopstvenog likovnog izraza. Zapaženim likovnim vrednostima svojih dela izdvojila se Jelena Marković, kojoj žiri dodeljuje Priznanje za izložena dela. Crteži flomasterom na papiru predstavljaju pejzaže intimne ispovesti predočene spontanom linearnom strukturom zgusnutog stilizovanog prepleta geometrijskih, floralnih ornamenata i skrivenih znakova i simbola ličnog unutrašnjeg sveta umetnice. Do ornamentalnosti stilizovani oblici, linearnom mrežom srebrnih i zlatnih nijansi ocrtani na crnoj pozadini, povezani su i integrisani u dinamično likovno rešenje kao dominantni likovni elementi, dok njihova asocijativnost ostaje u drugom planu. Na taj način lični mikrokosmos umetnice pretočen je u makrokosmos crteža.
Među radovima prijavljenim za Bijenale kvantitativno preovladava slikarski likovni izraz, budući da je skulptura oblast likovnog stvaralaštva za koju se odlučuje srazmerno manji broj autora. Takođe, na nekoliko prethodnih bijenala primetna je određena stagnacija ove oblasti naivne i marginalne umetnosti, odsustvo monolitnih, monumentalnih epskih skulpturalnih formi, dok umetnici svojim vajarskim afinitetima za monumentalnošću svog izraza tragaju u intimnijim formama manjih dimenzija. Ove godine žiri je odabrao sedam autora sa ukupno četrnaest skulptura izvedenih u tehnici drveta, kamena i gline. Među njima se izdvajaju autori koji kontinuirano učestvujući na bijenalima potvrđuju skulpturalni izraz osobenih likovnih rešenja, Ilija Filipović, Ferenc Kalmar, zatim umetnici prvenstveno pikturalne vokacije koji takođe istražuju i prostore voluminoznih umetničkih formi, Desanka Petrov Morar, Gvido Vedovato, kao i mladi umetnici koji kreću putem istraživanja i građenja sopstvenog vajarskog izraza, Saša Petrović Berdujac, Saša Filipović, a kojima se na ovogodišnjem bijenalu pridružuje i Nebojša Minčić.
Kvalitativni pomak u odnosu na prethodna bijenala naivne i marginalne umetnosti predstavlja novina da je u okviru ovogodišnjeg konkursa za učestvovanje otvorena mogućnost da autori svoje radove za žiriranje mogu poslati i u formi fotodokumentacije putem elektronske pošte. Time je olakšano učešće autorima iz udaljenih zemalja, što je za rezultat imalo njihovu brojniju prisutnost na ovogodišnjem Bijenalu. Prvi put se na konkurs za Bijenale naivne i marginalne umetnosti prijavljuju umetnici iz Švedske, Turske, SAD-a, Kanade, Brazila. Specifična obojenost likovnih izraza ovih umetnika daje novu dimenziju ovoj manifestaciji. Žiri je smatrao da treba podržati učestvovanje pripadnika različitih kultura, iz udaljenih zemalja, da individualnosti njihovih likovnih izraza, koji nose deo specifične likovne kulture određenog podneblja, kulturnu i umetničku aromu svog podneblja, mogu imati podsticajnu ulogu u kontekstu ove tradicionalne međunarodne manifestacije.
Pored inostranih umetnika koji već dugi niz godina učestvuju na bijenalu, potvrđujući kvalitete svog likovnog izraza, Edeltraut Lehman iz Nemačke, Pal Homonai i Ilona Tot Gombkotone iz Mađarske, Rosen Rašev iz Bugarske, Gvido Vedovato iz Italije, Dragica Kotroman iz Republike Srpske, posebno je zapažena pojava autora koji se ove godine prvi put prijavljuju za učešće na Bijenalu: Lidia Saškovski, umetnica ukrajinskog porekla iz Brazila, Sema Kulam iz Turske, Irene Brandt iz Nemačke, Aleksandar Šibnjov iz Belorusije, kao i mladi umetnici: Toni Anguhaluk, pripadnik domorodačkog plemena Inua iz Kanade, Cujoši Mamada, umetnik japanskog porekla iz SAD-a i Valdemar Šer iz Švedske. Brazilska umetnica, Lidia Saškovski, dobitnik je Posebnog priznanja za izložena dela. Njene slike stilizovanih kompozicija sa prikazima brazilskih pejzaža i prizora, privlače snažnim izrazom svedenih i apstrahovanih oblika poetizovanih intenzitetom i istovremenom mekoćom kolorita, stvarajući magičnu predstavu kojom brazilski predeli dobijaju svetlost univerzalnog. Muzej naivne i marginalne umetnosti u Jagodini opravdanost i utemeljenost značajne međunarodne manifestacije, Bijenala naivne i marginalne umetnosti, potvrđuje razvijanjem ove manifestacije kao operativne, vitalne forme koja, nužno prateći vitalne tokove naivne i marginalne umetnosti, predstavlja sponu tragova prošlosti, svedočenja sadašnjosti i putokaza budućnosti, naznake mogućih smernica kontinuiteta razvoja naivne i marginalne umetnosti.

Ivana Jovanović, kustos MNMU

ENGLISH VERSION

Making efforts to provide overall protection of true and authentic values of naïve and marginal art as a specific domain of contemporary art, Museum of Naïve and Marginal Art in Jagodina devotes special attention to the organization of international events, Biennials and Colonies of naïve and marginal art. Since 1970, firstly through Salon as an annual review, and later in the form of Biennial, the Museum has continuously followed current courses in this domain of nonacademic artistic creation, investigating the ways to present the essence of this vital source of imagination and authentic creative artistic energy and separate it from pseudo naive production, imitation, elements of amateurism, dilettantism and commercialism. Since 1981, the Museum has organized biennial exhibitions of naïve art, firstly as Yugoslav and later as an international event. Following the course of development on the international artistic scene, the Museum has included marginal art as well. The first Biennial of Yugoslav Selftaught Art was organized in 1981. From 1985 to 1993, the biennials were organized as Biennials of Yugoslav Naïve Art. In 1995, its name changed into Biennial of Naïve Art, which later transformed into Biennial of Naïve and Marginal Art in 2001. There were twelve Biennials from 1981 to 2007. Due to circumstances under which it was not possible to organize the Biennial in 1991, the exhibition Grand Prix of the Biennials 19811991 was opened.
Biennial of Naïve and Marginal Art allows an insight into an available part of current phenomena and tendencies in this domain, promoting and encouraging the most valuable works in nonacademic art and continuous asses to creations done by recognized authors with autonomous artistic expressions. In addition, Biennials help discovery of young artists, their follow up and promotion and offers possibilities for collecting data for further investigation. Biennial is an occasion to acquire new works for the Museum collection. By collecting, accumulating and studying precious information, a direct insight into overall tendencies and development in naïve and marginal art as a whole or in individual oeuvres, as well as problems, subject matters grouped as wholes united by similar expression has been accomplished.
Each Biennial is a special challenge for both the artists and experts who evaluate and make selections of the exhibited works. The Jury of experts made special contribution to the very character of the Biennial, establishing the criteria for selection. In order to provide most impartial criteria, besides the experts from the Museum, the Jury included eminent professionals who were capable of considering the phenomenon of naïve and marginal art from different approach, thus highlighting emergence and movements of live organism of this part of modern art with their fresh viewing. Those who have followed up the development of naïve art since its very beginning are especially recognized. Participating in important events of naïve art, Vera Ristić, museum counselor at the National Museum in Belgrade, the president of the Jury at the Thirteenth Biennial of Naïve and Marginal Art, has given special contribution to the development of naïve art. In 1962, she was a member of the Jury of the First Quadrennial of Yugoslav Naïve Artists in Čačak, then the president of the Jury of the First Biennial of Yugoslav Selftaught Art and a member of the Jury at the Third Biennial of Yugoslav Naïve Art in Jagodina. Based on the concept that participation of foreign experts would be very precious in formulating the criteria of the Biennials, the Museum has included them in the Jury since 2001. This year, presenting her own view upon naïve and marginal art, a connoisseur of current courses in contemporary art, Diana Draganova, a curator of the National Gallery from Sofia, has given a special contribution to the Biennial. Members of the Jury at this Biennial are also museum counselors Nina Krstić and Milica Vračević and a curator Ivana Jovanović, all from Museum of Naïve and Marginal Art in Jagodina.
Selection of works to be exhibited at the Biennial has always been a challenge, but at the same time it brings about the responsibility to recognize authentic artistic quality, originality, creativity, stylistic equability, sincerity of artistic experience as well as artistic potentials, especially of young artists regardless to thematic, technical, linguistic and stylistic preferences of the authors. In this way, this review of naïve and marginal art serves as a sort of guideline for possible development of this autonomous domain abundant with various expressions of nonacademic artistic creations that are not oriented towards intellectual analysis or limited by rational view. It should be pointed out that it is not easy to find and preserve the identity of personal artistic language. At the time of developed communications and abundance of available influences, it is hardly possible to achieve artistic isolation and resist conscious and unconscious influences Yet, a huge depository of observed artistic experience, consciously or subconsciously memorized, is just a raw material upon which a naïve artist can rely at the time of instinctive revelation. It is also clear that spontaneity of own artistic expression without repeating is difficult to achieve. Thus, selection of works for the exhibition at the Biennials is not meant to be a definite judgment.
Eightyone works (sixtythree paintings, fourteen sculptures and four drawings) done by fortyseven authors were selected for the exhibition at the Thirteenth Biennial of Naïve and Marginal Art among a hundred and ninetythree works submitted by sixtyone artists from Serbia, The Republic of Srpska, Macedonia, Bulgaria, Hungary, Italy, Germany, Belarus, Sweden, Turkey, Canada, Brazil and the USA. A significant number of authors whose authentic artistic expression has been uninterruptedly confirmed and awarded at the Biennials of naïve and marginal art are now framework of this mosaic of different generations and creative individualities. Among them stand out the winners of the Award for Entire Artistic Work at previous Biennials, Milosav Jovanović, Miroslav Živković, Pál Homonai and Dušan Jevtović.
The Award for Entire Artistic Work that is given for individual, powerful and completed oeuvre created for many decades has been given to Desanka Petrov Morar and Ferenc Kalmar this year. More than fourdecadelong artistic work of Desanka Petrov Morar was marked by mature and equalized quality of artistic expression. Her clear, well-balanced, characteristic compositions, harmonious in all artistic elements were colored with personal touch of intimate, melancholic atmosphere of poetic memories of childhood. Smaller sized sculptures in clay, stylized visualizations of individual human figures and group figurative compositions radiate with the same spirit.
Colored sculptures in wood done by Ferenc Kalmar, a sculptor from Subotica speak their individual, artistic language. The artist enlivens volumes of sculptured animals, mostly birds, ranging from quite simple and strictly reduced to dynamic, expressive forms with intensive nuances of colour, thus producing a synthesis of the sculptural and the pictorial, allusions and abstraction of shape.
Milanka Dinić is one of the winners of Grand Prix for the exhibited works, which is given to the author whose works meet highest aesthetic values. Fantastic, unique imaginary world of her forms is shaped as a delicate unison of the traditional inspired by folklore, folk stories and legends and techniques of weaving and embroidery and a demanding, refined transposing, stylization and ornamental treatment of the surface. This artist creates her magic world of harmonious compositions by using the system of points, automatic stroke, ornamented borders, fanciful, stylized and intermingled vegetation, human and fantastic beings and architecture.
At this Biennial, Jure Grgin Miloš, well known for his intrigue scenes, transposed landscapes with discrete daily scenes and allusions entwined into the forms of trees, trunks and crowns that hide multitude of hidden meanings, presents the paintings in which his previously timid imaginary world is much courageously expressed in the compositions of a strong artistic experience. His creativity and inventiveness in arriving at new motifs and solutions point to originality, vitality and maturity of the artistic expression. Freedom, artistic bravery and nonrestrictive ness of his artistic expression that are rarely found were the reasons for the Jury to award him Mention for the Exhibited Works.
Purchase Awards are given with regard to current needs for appropriate completion of the Museum collection, because some authors are either present in a small number of works or their diversity is not sufficient to properly represent their artistic achievements. One Summer Day by Dušan Jevtović is a representative, large sized painting in which this author's oeuvre is sublimed. Nostalgic, idyllic view of the scene and mosaics of human destinies depict a synthesized and an idealized image of the artist's world of memories and fantasy. The narration is dominated by a specific feeling for stroke, arrangement of masses, warmth of colors and atmosphere in harmonious and balanced compositions, shaped in rhythmically graded, soft arch surfaces of hilled landscape into which the author places and groups human and animal figures.
Contrary to one sided theories of naïve art, Museum of Naïve and Marginal Art, within its scientific work and research, permanently points to the fact that this art is not hermetic, static and frozen into 'status quo' position of a closed circle of repetition. Nonacademic, unconventional in authentic, original and unlimited rules, this art is a vital, alive and complex organism that pulsates with multitude of various sensibilities and outstanding originalities that are not mutually threatened by their multiplicity. Complex levels avoid classification within strict limits of terminological units due to their being in interactive dialogue, overlapping, pervasion and intermingling. This attitude was confirmed by a mosaic of artistic expressions that are present at the Thirteenth Biennial of Naïve and Marginal Art. The works done by some representatives of younger generation such as Barberien, Rosen Rašev and Vojkan Morar, who have already been acknowledged for their exhibitions and who have taken their position on this event, bear witness to a new sensibility of outstanding individualists by intensity of artistic expression, choice of subject matters and freedom of combining techniques and materials. Despite diverse expressive means more or less directed towards own selves or the outer world, creative fantasy and purity of the instinctive creative openness that minimizes the prescribed cultural and artistic canons are connected with the force of imagination. This connection exists whether basic values in authentic, personal transformation of inner and outside world in naïve or individual inner experience in marginal artists are in question.
Artistic experience as an existential impulse is basic characteristic in the creations by Barberien, the winner of Grand Prix for exhibited works. Pure intensity of the creative act, expressive stroke and interrelation of colors express the intensity of the artist's inner conflicts, metaphorically depicted in pronouncedly misshaped animal or human figures, often set in dramatic relationships.
Tomislav Blagojević, the artist who made his appearance at the Biennial some time ago, is one of the winners of Mention for the Exhibited Works. Phantasmagoric world of highly reduced expression and the shapes stylized into symbols and signs connect and sublime faraway worlds of prehistoric cave images of rudimentary figures and fragments of hunters, warriors, Biblical stories and fictitious, alien worlds. He builds his dynamic compositions mostly with stylized contour that schematically defines fanciful shapes, vivid with clear and intensive colouring, accentuated with silver and gold, thus sublimating mystic light.
The appearance of young artists who have applied for the Biennial of Naïve and Marginal Art for the first time while still searching for own artistic expression, is very encouraging. Remarkable for artistic value of her works is Jelena Marković, who was awarded Mention for the Exhibited Works. Her drawings, done in colored pen on paper, landscapes of intimate narration are realized in spontaneous, linear structure of dense stylized intermingling of geometrical and floral elements and hidden signs and symbols of the artist's inner world. The shapes, stylized to the ornamental, with linear network of silver and golden nuances drawn on black background are, as dominant elements, connected and integrated into a dynamic artistic solution, their implications being inferior. In this way, the artist's intimate microcosm is transformed into macrocosm of the drawing.
Among the works submitted for this Biennial, paintings are quantitatively predominant because proportionally small number of authors chooses sculpture as a field of artistic creations. In addition, certain stagnation was noticed at previous Biennials, therefore absence of monolithic and monumental epic forms. Now, the artists search for monumentality in intimate, smallsized forms. This year, the Jury has chosen seven authors with fourteen sculptures in stone, wood and clay. Among them, Ilija Filipović and Ferenc Kalmar stand out as artists who have permanently participated in the Biennials, thus asserting their individual sculptural solutions, then Desanka Petrov Morar and Guido Vedovato, the authors with primarily pictorial vocation who also examine voluminous forms. Young artists Saša Petrović Berdujac, Saša Filipović and Nebojša Minčić are also searching and framing their own sculptural expression.
In comparison to the previous Biennials, this Biennial qualitatively improved its organization by the possibility for the authors to send their works be email. This made it easier for the authors from distant countries, which resulted in their more numerous presences this year. The artists from Sweden, Turkey, the USA, Canada and Brazil applied for participation in the competition at this Biennial of Naïve and Marginal Art for the first time. Specific diversity of their artistic expressions provided a new dimension to this event. The Jury thought that they should encourage the participation of the representatives of different cultures from faraway countries. The individualities of their artistic expression with specific flavours of their environment could have encouraging contribution to this traditionally international event.
In addition to foreign artists who have participated in the Biennials and confirmed the artistic qualities, Edeltraut Lehmann from Germany, Pál Homonai and Ilona Tót Gombktötöné from Hungary, Rosen Rašev from Bulgaria, Guido Vedovato from Italy and Dragica Kotroman from the Republic of Srpska, the authors who have applied for the participation in this Biennial for the first time are Lídia Saczkovski of Ukraine origin from Brazil, Sema Çulam from Turkey, Irene Brandt from Germany, Alexander Shibniov from Belarus, as well as young artists Tony Anguhualluq, a native from Inui tribe in Canada, Tsuyoshi Mamada of Japanese Origin from USA and Valdemar Cher from Sweden are especially noticeable. Brazilian artist Lídia Saczkovski is a winner of Mention for the Exhibited Works. Her paintings of stylized compositions with Brazilian landscapes and scenes are attractive for their powerful expression done in reduced and abstracted shapes, poeticized with intensive and at the same time softness of colours, thus creating a magic image in which Brazilian scenery receive radiance of the universal.Museum of Naïve and Marginal Art in Jagodina confirms validity and strengthening of Biennial of Naïve and Marginal Art by permanent development of this event as an operative, vital form. Following vital courses of naïve and marginal art, the Biennial connects the traces of the past, testimonies of the present and sign points to the future as indicators of possible guidelines for their continuous development.

Ivana Jovanović