понедељак, 14. октобар 2013.
субота, 14. септембар 2013.
петак, 13. септембар 2013.
среда, 14. август 2013.
Since 2011, each year starting in May, even if intermittent, partly tradition continued until the present day, 3rd International Golcuk Ceramic Symposium will be held between the dates 21-30 May 2013 as a part of '2023 Gölcük Vision ' under the cooperation of the Gölcük City Council, Gölcük Municipality and Kocaeli University.
Executive Board- porcelain
уторак, 14. мај 2013.
Text by Biljana Vukotić / Curator at Museum of Applied Arts, Belgrade, Serbia
From the catalog/exhibition" A women Artist" at the Museum of applied Arts, Belgrade/ nov 2012-jan2013
Valentina Savić belongs to a number of international
ceramists who, during 1990’s, entered the realm
of sculpture and design and rebound
the elements of
certain major art movements, such as Dadaism, surrealism,
pop art, new realism, conceptual art, entered
Belgrade art scene at the beginning of the new millennium.
The circumstances that were essential for her
artistic growth, what defined her, were a visit to Dali’s
museum in Figueras, her specialization in Paris.
Milk 2009 / photo Vlada Popović
earthenware, wood 250 x 50 x 50 cm
photo Vlada Popović
photo Vlada Popović
She notes down, and then works out and analyzes
her ideas for months, or for years, until the right time
comes for their materialization, that is the moment in
which the first ideas get together, fit into one another
and gain their justification. The realization itself happens
quickly. In the process of creation the conception
of the work is reduced to longer lasting media: metal,
wood, plastic, performance, video, poster.
The yearlong conceptual experimentation with,
and interdisciplinary contemplation of various art
phenomena represent Valentina Savić ‘s contribution
to new positioning of female artists who, with their
actions in various cultural and artistic regions became
visible, tearing down stereotypes of civic ideology established
by the “naturally” divided identities of man
and woman. In other words, Valentina Savić is, with
her clear artistic and theoretically argumented attitude,
both sign and icon of new Belgrade ceramic scene, as
Marina Gržinić wrote. Women as a sign, as noted by
Griselda Pollock, defines social order, if the sign is, she
wrote, wrongly used it can threaten the established
order. “This formulation enables us to recognize, at the
same time, the centrality and the critical value of the
representation of woman in patriarchal culture”,1 and
allows the insight into the radical potential of its analysis
The conceptually conceived radical turn in
Valentina Savić ‘s work happened at their individual
conceptual multimedia exhibition in 2003. There she
exhibited porcelain sculpture Cube or Valentina which
is composed of multiplicated cubes whose spaces she
fills with the prints of her own body’s parts made in
The sculpture Cube thus became for her
at the same time a symbol and question of her own
identity, and breaking the boundaries between private
and public space. In exhibiting the parts of her body
she tried to mark the private personal space. The constant
dialectic between the personal and the public,
the interior and exterior which begins with this work
will become one of the main characteristic of her later
At her MA exhibition The Contemporary Ornaments
and Ceramics in Cultural center District, which functioned
in Museum of Applied Art (2007), she showed a
sophisticated porcelain installation in which Valentina
Savić dealt with ornament in architectural, artistic and
The installation comprises individual
sculptures: Cube, Window, Gate and Center. With
these works and with the her careful consideration of
the postmodern treatment of the contemporary ornament,
the artist boldly enters the realms of “sculpture
Soon after this exhibition, there came a huge turn
in her work. In the cycle titled Consumation, she begun
to explore our relationship towards expenditure, and
the possibility of consumerism in the contemporary
What is offered at the market – Powder Case,
what is allowed – Milk
the contemporary human being to use, followed by
questioning of the value from the perspective of the
Wings of desire, 2011 photo Vlada Popović
Installation Wings of Desire from the Museum’s collection
2011 purchased at the
16th Ceramics Biennial Belgrade (2011), belongs to the
cycle titled Consumation. It was made in porcelain and
was decorated with black engobe and transparent glaze.
Its composition consists of two printed forex round
plates and 30 porcelain parts. The first plate carries 28
porcelain wings, in black engobe, in various nuances –
from black, to dark and light gray, to white. Parts of the
composition are lined in such way to form a cone, from
the darkest hues at the bottom, to grey in the middle
and white on top. On the other plate there are two porcelain
breasts, with transparent glaze on top of them.
Each porcelain part is molded: the molds of real objects
were made and they cannot be repeated. This work was
exhibited at The Ceramic Biennial Manises, in Spain,
2011, and at The Ceramic Biennial Belgrade, 2011.
The concept of the Wings of Desire can be read in
various ways, and the main idea was about the relationship
between art and crime which occurred on June 11,
1981, in France.
The same crime inspired the Stranglers for their
song La folie loved by the generations of 1980’s. As
Valentina Savić notes herself, “We artists are also part
of the imposed information and images which we store
and think that we transform the social images into personal
archetypes.” On the other hand, the work can be
read as well as a part of her subversive creations from
cycles Milk and Powder Case.
The title of Wings of Desire originates from Wim
Wenders’ film Wings of Desire, and it allows us to read it
in various ways, which enter the field of human spirituality,
and in this work it takes over also a new sense that
is clearly reflected in the subtitle Angelopathie, which
also reflects upon the subject of the sacred, spiritual
purity and sins. If it is, however, looked at from the positions
of the initial information, the work is disturbing,
Curator at Museum of Applied Arts
четвртак, 09. мај 2013.
субота, 24. новембар 2012.
A Woman Artist
New Subjects and Ideas in Serbian Ceramics after 2000
6 November 2012 – 31 January 2013
Exhibition Author: Biljana Vukotić,
Senior Curator, Department of Contemporary Applied Arts
Over the last several years, the contemporary ceramic scene has been defined by the appearance of male/female artists who managed to build exceptional, almost enviable, careers and become unavoidable points of reference in many exhibitions, not only in Serbia, but also in wider regional and international contexts.
This fact could be explained by creative activity of the male/female artists who became aware of the importance of new technologies and media in the context of the contemporary art. Their activities, and also their individual bold, radical and artistically mature works, represent a considerable contribution to the revival of our artistic setting.
The exhibition New Subjects and Ideas in Serbian Ceramics After 2000. A WOMAN ARTIST, maps the multimedia practices of the selected female artists: Larisa Ackov, Nataša Vasilić, Slađana Danojević, Jovanka Filipović, Biljana Milenović, Katica Pavelka Vukajlović, Jasmina Pejčić, Biljana Lana Rakanović, Valentina Savić, Vesna Šaula.
The author Biljana Vukotić wrote in the exhibition catalog:”The goal of this exhibition is not to offer an overall review of contemporary Serbian studio ceramics, even taken in the narrow sense of the term, limited to the middle and the younger generations of female artists, but to select and critically analyze the positions of individual authors who stand out with their abilities to pass from one medium to another, showing the priority of concept, of formal construction of works, showing the superb capabilities and artisanship in working with their materials.”
This exhibition comprises exciting and original socially responsible, engaged works that, at the same time, represent rare phenomena in this medium in our culture. The emblematic field of the engaged ceramics is new, writings about it are rare and generally not accessible because exhibitions of the contemporary male/female artists are often published only in modest catalogues/leaflets of limited distribution and durability.
6. novembar 2012. – 31. januar 2013.
Autorka izložbe: Biljana Vukotić,
kustoskinja Odseka savremene primenjene umetnosti MPU
Savremena srpska keramička scena definisana je u poslednjih nekoliko godina pojavom umetnika-ca koje su uspele da ostvare izuzetno zapažene, gotovo zavidne karijere, i tako postanu neizostavni reper na mnogim izložbama, ne samo u Srbiji već i u širem regionalnom i internacionalnom kontekstu.
Ovu činjenicu možemo objasniti kreativnom aktivnošću umetnik-ca, koje su postale svesne značaja novih tehnologija i medija u kontekstu savremene umetnosti danas. Njihova aktivnost, ali i pojedina veoma smela, radikalna i umetnički zrela ostvarenja, doprinela su oživljavanju našeg umetničkog prostora.
Izložba Nove teme i ideje – srpska keramika posle 2000. UMETNIK-CA mapira multimedijalne prakse odabranih umetnik-ca: Larise Ackov, Nataše Vasilić, Slađane Danojević, Jovane Filipović, Biljane Milenović, Katice Pavelke Vukajlović, Jasmine Pejčić, Biljane Lane Rakanović, Valentine Savić, Vesne Šaule. Izloženi radovi ovih umetnik-ca deo su dragocene kolekcije Muzeja primenjene umetnosti.
Biljana Vukotić, autorka izložbe, kustoskinja MPU u katalogu izložbe kaže:”Cilj izložbe nije pružanje sveobuhvatnog pregleda savremene srpske umetničke keramike, čak ni ako se ona shvati u užem smislu, ograničena na srednju i mlađu generaciju umetnik-ca, nego izdvajanje i kritičko analiziranje pojedinačnih autorskih pozicija koje se ističu umećem prelaska iz jednog u drugi medijum, čime pokazuju prioritet same ideje, formalne konstrukcije dela, vrhunske sposobnosti i veštine u obradi materijala“.
Izložba obuhvata uzbudljiva i originalna društveno odgovorna, angažovana dela, koja su ujedno i retka pojava u ovom mediju na našem kulturnom prostoru. Amblematsko polje angažovane keramike je novo, pisanje o njemu je retko i generalno nije dostupno jer su izložbene aktivnosti savremenih umetnika/ca često publikovane jedino u skromnim katalozima/flajerima, za koje je vezana ograničena distribucija i kratkotrajnost.
Executive board-slip casted porcelain
Powder tractate-thrown, casted eartthenware