Izložba Hortus Femini, Luna Jovanović

Izložba HORTUS FEMINI / exhibition HORTUS FEMINI

 Luna Jovanović

Kulturni centar Novi Sad, Likovni salon, Katolička porta 5

otvaranje: 28.04. -19h


kurator izložbe/exhibition curator: Nemanja Popadić

dizajn zvuka/sound project: Ristić Danijela

sva prava zaštićena/all rights reserved

Ovde možete pogledati link ka elektronskoj verziji kataloga/ KOMPLETAN katalogcatalogue


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“That which is not of this world may be nothing but a garden.”

                                                                                  Diocletian

The association of a woman’s body with a garden or field dates back to the ancient cultures of the Middle East and the Mediterranean. In the Greek tradition the hortus conclusus or ‘enclosed garden’ was associated with a depiction of the garden as a metaphorical seat of female sexuality and fertility. Hidden from the eyes of others; one that protects against the unknown. The space that feeds both body and spirit.

Hortus Femini is a deeply ambivalent garden. Through a series of underlying spatial and object suggestions it simultaneously affirms and negates itself. As a diversified presence that vibrates and disintegrates. Surprises and sensations are everywhere, but there is no concrete exit. Nothing leads to nothing: everything is interrupted. That which was familiar all of a suddenly becomes uncanny, withholding a double element, male and female.

Questioning her own beliefs, the author blurs the distinction between object and subject. By nurturing and enriching her own garden, she becomes a protector. A careful analysis within the enclosed garden – hortus conclusus draws a clear line where She ends and He begins. Questioning ones own feminine principle becomes the main node of the work, and its value here is archetypal. This mysterious habitat is a much needed oasis where ideas are born and safeness is granted. Source that feeds the spirit, like the unconditional love that is felt from the first sip of breast milk. Thorny road to the fragile structure of woman’s emotional life, drama that leads to the world of melancholy.

Photographs that form the Hortus Femini exhibition are grouped into three triptychs that embrace the single, centrally mounted photograph. The symbolic and mystique value of exposed works is comparable to colossal richness of Hieronymus Bosch’s triptychs. The eruption of colors and a multitude of characters in the works of Bosh are here reduced to a symbol, movement, posture. The artist discolors her garden, leaving behind the white, the black and the deadly gray. Although symbolically synchronized, photographs stand in stark contrast: outer and inner, hidden and revealed. Cacophony on whose foundation rests the delicate balance between subjugation and aloofness. Lack of geographic determinants; garden, which can exist in any space and at any time. As a heavy frame surrounding the shadowy part of the memory, it enters into the experience of whole generations. The motives that overleap on the inside are both personal and universal – they concern the fate of the female principle.

The characters in the photographs are present, but their faces are hidden. Their anonymity expresses the collapse of form and identity. They helplessly point at the cyclicality of life path: a simultaneous acceptance and rejection of one’s own being. It all begins where it ends; the garden is closed to the most secure form – the circle. From the hidden interspaces hands protrude, the disobedient part of the corporeal that asks and begs, seeking the magic door to a place that holds the key to transcend itself. The hands that move and dance to the rhythm of fear – fear of punishment. Their movements connect the extremes of Nature, allowing the transformation and purification within the microcosm of the garden.

Destiny resolution of the revealed is contained in the central photograph of the exhibition – smaller than the others, as the monolith it observes the scenes that surround it. Arrogantly turning her back, the protagonist, a woman whose face we cannot see, carries only a single raisin behind her. Raisin, harvested in some hidden corner of the garden known only to her. Distinctly round and dark, as the point where the Male and Female finally met. Trapped between the tips of her fingers, the raisin becomes the forbidden fruit, an unfathomable mystery. Like the evil that follows behind her, the shadow that envelops anyone who enjoys her.

“The deepest experience of the Creator is feminine, for it is experience of receiving and bearing.”

                                                                                                                         Rainer Maria Rilke

 

 Nemanja Popadić, exhibition curator

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”Ono što nije Svet, ne može biti ništa drugo do vrt.”

Dioklecijan

Asocijacija ženskog tela sa baštom ili vrtom datira još iz antičkih kultura Bliskog Istoka i Mediterana. U Grčkoj tradiciji hortus conclusus ili zatvoreni vrt povezivan je sa prikazom vrta kao metaforičkog sedišta ženske seksualnosti i plodnosti. Sakriven od očiju drugih, onaj koji štiti od nepoznatog. Prostor koji istovremeno hrani i telo i duh. Hortus Femini je vrt duboke ambivalencije. Kroz niz predmetnih i prostornih sugestija on se istovremeno potvrđuje i negira. Kao raznolika sadašnjost koja podrhtava i fragmentira se. Iznenađenja i senzacije su svuda, ali ne postoji konkretan izlaz. Ništa ne vodi ničemu: sve je u prekidima. Ono što je bilo poznato iznenada postaje jezivo, sadržeći u sebi dvostruki princip, Nju i Njega.

Preispitujući sopstvena razmišljanja, autorka briše granicu između objekta i subjekta. Negujuči i bogateči svoj vrt, njena uloga je gotovo zaštitnička. Unutar svoje zatvorene bašte – hortus conclusus pažljivom analiziom stvara se jasna linija gde se završava Ona a počinje On. Preispitivanje sopstvenog ženskog principa postaje glavno čvorište dela, a njegova vrednost ovde je arhetipska. Ovaj mistični habitus je preko potrebna oaza u kojoj se rađaju ideje i ostvaruje sigurnost. Izvor koji hrani duh, kao bezuslovna ljubav koja se oseti sa prvim gutljajem majčinog mleka.

Fotografije koje čine postavku Hortus Femini grupisane su u tri triptiha koji obgrljavaju jednu, centralno postavljenu fotografiju. Simbolika i mističnost radova graniči se kolosalnim bogatsvom triptiha Hieronimusa Boša (Hieronymus Bosch). Erupcija boja i mnoštvo likova u radovima Boša ovde su svedeni na simbol, pokret, pozu. Umetnica obezbojava svoj vrt ostavljajući za sobom belo, crno i smrtonosno sivo. Iako simbolički sinhronizovane, fotografije stoje u snažnom kontrastu: spoljašnje i unutrašnje, otkriveno i skriveno. Kakofonija na čijim temeljima počiva osetljiva ravnoteža između potčinjavanja i rezervisanosti. Izostaju geografske odrednice; vrt koji može postojati u bilo kom prostoru i u bilo kom vremenu. Kao teški ram, on okružuje senoviti deo memorije ulazeći u iskustvo čitavih generacija. U njemu se prepliću motivi koji su lični ali istovremeno i opšti – tiču se sudbine ženskog principa.

Likovi na fotografijama su prisutni, ali lica su im skrivena. Njihova anonimnost izražava kolaps oblika i identiteta. Bespomoćno pokazuju na cikličnost životnog puta: istovremeno prihvatanje i odbijanje sopstvenog bitka. Sve počinje tamo gde se i završava, vrt se zatvara u najsigurniju formu – krug. Iz skrivenih međuprostora izviruju ruke, nepokoreni deo telesnog koji ište i moli, koji traži ta magična vrata iza kojih leži ključ za prevazilaženje sebe samog. Njihovi pokreti povezuju krajnosti Prirode omogućavajući preobražaj i pročišćenje unutar mikrokosmosa vrta.

“Najdublje iskustvo Tvorca je žensko, jer je to iskustvo prijema i imajućeg”

                                                                                                               Rainer Maria Rilke

Autor teksta: Nemanja Popadić

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