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2. Mednarodni festival akvarela

2nd International Festival of watercolour

Ajdovščina, Slovenija

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Društvo likovnih umetnikovSeverne Primorske

2. Mednarodni festival akvarela2nd International Festival of watercolour26. 8. – 30. 9. 2017Ajdovščina, Slovenija

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svetloba in senca

Svetloba in senca, na videz večni nasprotji, brez katerih pa v akvarelu ne moremo pisati nam tako zaželenih vidnih rezultatov, nastalih v nenehnem iskanju lepote v naravi, vsakdanjih trenutkov človeškega življenja, nepozabnih iger barve, ki jo je sposobna ustvariti le narava in še bi lahko naštevali vse tisto, kar je vodilo nemirno oko in čopič slikarja v želji, da za vekomaj zamrzne trenutek stvarnosti in iz njega ustvari sliko - akvarel.

Enim je dovolj, da je to le hitri zapis dogodka, opravila, pozabljenega običaja, navad, drugi hočejo in nekateri tudi zmorejo vdihniti akvarelu nekaj več. Pri tem se večno poraja vprašanje, ali naj bo akvarel v službi motiva ali motiv v službi akvarela. Lahko zatrdimo da oboje, če je prisotna ustvarjalna poštenost. Nenavadnost ali všečnost, ki so same sebi namen, ne bi smele najti poti do gledalca, ki mu je vodilo humanizem in uravnotežen občutek do lepote.

Kljub temu, da je likovna umetnost prisotna na vseh področjih človekove dejavnosti še ne pomeni, da je vsak že tudi slikar. Iskati in najti motiv v drobnih detajlih, v davno ustavljenem času zapuščenih hiš, najti na človeškem obrazu trenutek spokoja ali ujeti brezčasni trenutek narave, vse to lahko opazi le tenkočutno in izurjeno oko slikarja, ki stremi k vsebini in ne obliki, ki se ne zadovolji le z efektom, temveč hoče več – tisto, kar slikarstvo loči od fotografije. Opazovanje motiva ni le optični proces, pač pa vključuje tudi mišljenje in z njim povezano čustvovanje. Svet, ki nas obdaja, torej ni le svet posameznih elementov, pač pa so prav toliko pomembni tudi odnosi med njimi.

Kakršna koli kultura nudi tako posamezniku kot narodu višjo kakovost življenja. Vsak umetnik, naj bo slikar ali skladatelj, dramaturg ali poet, nam s svojim delom razkriva resničnost kot jo doživlja sam - preko umetniških del človek spoznava samega sebe. Kultura lahko živi in cveti le v komunikaciji med ljudmi in narodi, zato je kultura tista sila, ki bistveno doprinese k počlovečenju medčloveških odnosov in k spreminjanju množice ljudi v človeško družbo. Pa je res vedno tako? Nek Francoz je že leta 1986 izredno daljnovidno zapisal: »Človeštvu grozi izkoreninjenje: izgublja občutek za svoj kraj in za svoj jaz, ločen je od svoje domače dežele in planeta Zemlje kot celote. Gre za množično emigracijo iz prostora k vabljivim simbolom, iz pokrajine v sliko, od jezika k šifram in iz kulture v znanost. Ta emigracija, ki zapušča vse, bo kmalu bivala v digitalnih oblikah, elektronskih sporočilih in številkah. Človeštvo brez zemlje, slepo za vse, kar smo nekoč imenovali resničnost, drogirano ali lucidno, kdo ve?«

Letošnjega natečaja se je udeležilo nekoliko manj avtorjev kot pred dvema letoma, saj se je v zadnjem času pojavilo kar nekaj novih organizatorjev bienalov akvarela po vsem svetu, ki so še dodatno razpršili interes in sodelovanje akvarelistov.

Strokovna ocenjevalna komisija je med prispelimi deli izbirala nagrade in diplome predvsem po kriteriju tehnično brezhibnega ali pa izrazito izpovednega dela. Rainer Maria Rilke je nekoč dejal, da je lepota vedno nekaj, kar dodamo našemu čustvu, pogledu, doživetju, vendar nikoli ne vemo, kaj natančno je to. Nekateri avtorji so svojo kvaliteto izkazali s celo serijo enakovrednih in tehnično zelo kakovostnih akvarelov in komisija je nekaterim dodelila nagrade in diplome tudi zaradi kvalitetno uravnotežene kolekcije.

Vladimir Bačič

light and shadow

Despite appearing to be eternal opposites, light and shadow are crucial elements in producing the visible results a painter longs for – the ones which arise from the constant search for beauty in nature, daily moments in our lives and unforgettable plays of colour which only nature can create. These and many other motifs have been a driving force of the painter’s restless eye and brush, led by the desire to forever freeze a moment of reality and capture it in a work of art – a watercolour.

Some find it sufficient when a painting represents a snapshot of an event, task, forgotten customs or habits; others aspire for and only a few actually have the ability to add that extra sparkle to the watercolour. While weighing the pros and cons, we keep asking ourselves the eternal question: Should a watercolour be in the service of the motif or the other way around? Both, one could say with certainty – as long as the painter’s intentions are guided by creative honesty. Unusualness or likeability, which only serve their own purpose, should not find their way to the observer who appreciates humanism and a balanced sense of beauty.

Even though art is present in all areas of human activity, this does not mean that each and every one of us can be a painter. To search and find a motif in tiny details, in abandoned houses, where the wheel of time had stopped spinning long ago, to find a moment of peace and quiet on a human face or to catch a timeless moment of nature – all of this can be noticed solely by the sensitive and skilled eye of the painter who strives for content and not form, the painter who isn’t only satisfied when he sees the final result, but who wants to achieve something more. This is something that separates painting from photography. The process of observing a motif is not just optical – it also includes thinking and interrelated emotions. This means that the world that surrounds us is not only composed of individual elements. As much importance should be placed on the relationships between these elements.

Any kind of culture can offer a higher quality of life to an individual as well as a nation. Every artist, be it a painter or composer, dramaturge or poet, reveals his or her own kind of reality – through artistic creations, a human being travels the path to self-discovery. Culture can live and flourish only through communication among people and nations. One could say that culture is the force that makes a fundamental contribution to interpersonal relations and to transforming a crowd of people into human society. But does it always work this way? In 1986, an unknown Frenchman made a farsighted remark: “Humanity is threatened by eradication: it is losing the sense for its own place and its own self-expression. Humanity is separated from its own homeland and planet Earth as a whole. We are living in the world of mass emigration from a place to tempting symbols – from a landscape to a painting, from a language to codes and from culture into science. This emigration, which is about to abandon everything, will soon dwell in digital forms, electronic messages and numbers. Humanity without land, blind for everything we once called reality, drugged or lucid, who can tell?”

This year’s competition has been attended by a slightly smaller number of artists than two years ago. Lately, quite a few new organisers of watercolour biennials have appeared, which also contributed to the fact that watercolour artists decided to participate in other events.

The professional committee has made a careful assessment of the received works of art. The selection criterion for prizes and diplomas was technical flawlessness or a distinctive lyrical aspect of a certain work of art. Rainer Maria Rilke once said that beauty is always something we add to our emotion, view, and experience, though we never know what exactly that is. Some authors have proved their quality with a whole series of technically distinguished watercolour paintings on an equal level. Prizes and diplomas were also awarded to several authors because of the fine balance of their painting collection.

Vladimir Bačič

Robert Hlavaty je o akvarelu rekel sledeče: »Akvarel mora biti zares akvarel, torej voden, tekoč, sicer ne brezbarven, vendar pa tudi ne trd, kot temu pravimo, vrh tega mora biti akvarel čist, brez popravkov, brez retuša. Akvarel je najlepša pesem, ki pove veliko slehernemu, ki mu materialnost vsakdanjega življenja še ni otopela srca in izpridila duha.«

Akvarel je ena izmed najstarejših, najbolj finih, najzahtevnejših in, lahko bi rekli, izrazito poetičnih slikarskih tehnik. Ostalim slikarskim zvrstem je enakovredna tehnika, vendar je bil akvarel v preteklosti po krivici zapostavljen. Kljub svojevrstni intimnosti in rahločutnosti ima pomanjkljivost: omejen je po formatu, ki je običajno manjši, in po dimenzijah ne dosega velikih oljnih platen. Zato je primeren zlasti za študije, skice, za beleženje vtisov in za intimno slikarstvo. Njegovo področje je velikokrat krajina, veduta, scenska skica in miniatura, redkeje pa kompozicija in portret. Umetniki so pogosto v akvarelni tehniki kolorirali grafične liste in risbe, lahko pa je akvarel tudi samostojno izrazno sredstvo, brez vsake risbe, ki bi služila kot okostje. V primerjavi z oljnim slikarstvom je prednost akvarela v tem, da ne zahteva dolgotrajnih priprav, sredstva so lahko dostopna ter lahko prenosljiva. Prav ta mobilnost omogoča slikanje v naravi, ne da bi slikar moral s sabo nositi cel atelje. Barve za ustvarjanje te zvrsti so vodene, hitro se sušijo, popravljanje pa je zaradi lazurnega nanašanja skoraj nemogoče.

Začetek akvarela sega vse v čas egipčanske umetnosti, ko so začeli naravne pigmente mešati z vodo za slikarije v egipčanskih knjigah mrtvih. Od tu se je razširil v antično Grčijo in našel svoje mesto tudi v rimski umetnosti. Izredno priljubljen je bil tudi v orientalskih deželah. Zlasti visok nivo so na tem geografskem območju dosegle kitajske slike na svili in papirju, za katere je značilna megličasta prostorska nedefiniranost, ki jo omogoča tehnika prelivanja barv na vlažni podlagi. Sorodne so japonske slike s tušem na papirju, katerih kaligrafska poteza in skoncentriranost na bistvo sta močno vplivali na moderni evropski akvarel. Šele iz tega dela sveta je akvarel prišel nazaj v naš evropski prostor.

Prvi evropski umetnik, ki je bil v akvarelni tehniki sposoben ustvariti samostojno umetnino, je bil Albrecht Dürer. V času velikih odkritij je ta tehnika služila predvsem za dokumentiranje novoodkritih dežel. Najslavnejše poglavje v zgodovini akvarela pa predstavljajo angleški krajinarji 18. in prve polovice 19. stoletja. V celotnem anglosaškem svetu se je ta tehnika uveljavila kot popolnoma samostojna likovna disciplina in s tem se je dokončno uveljavil tudi pojem slikarja – akvarelista.

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Čas neoklasicizma akvarelu ni bil posebej naklonjen, je pa zato imel v obdobju romantike toliko odločilnejši pomen. V obdobju postimpresionizma je imela ta tehnika najpomembnejše mesto v opusu Paula Cezanna. Tudi v obdobju ekspresionizma so člani obeh nemških skupin v akvarelni tehniki raziskovali moč barve. V začetku prve polovice 20. stoletja je ta rahločutna tehnika stopila v ozadje ter dala prednost novim tehnikam, ki so bile posledica rojstva modernizma, ter ostalih gibanj, ki so mu sledila. V 20. stoletju se je umetnost popolnoma spremenila. Umetniki so zavračali akademsko izobrazbo ter začeli na novo eksperimentirati tako z obliko kot tehniko.

Tudi v našem slovenskem prostoru imamo bogato tradicijo akvarelnega slikarstva. Ta se začne v drugi polovici 12. stoletja s stiškimi rokopisi. Vrhunska umetniška dejavnost pod vodstvom opata Folknanda ni bila del lokalnega nasledstva in slovenski akvarel se je z evropskim znova srečal šele z dunajskim akademskim profesorjem Lovrom Janšo. Na tem mestu je pomembno omeniti tudi nekaj ostalih slovenskih umetnikov, ki so kot akvarelisti izstopali. To so A. Karinger, brata Šubic, H. Smrekar, M. Gaspari, I. Vavpotič, Z. Mušič, G. Stupica, R. Hlavaty in A. Černigoj s svojim značilnim ekspresivnim koloritom ter Veno Pilon, ki je veliko svojih akvarelov ustvaril v vojaškem ujetništvu v Lipecku v Rusiji med letoma 1916 in 1918. Pomembna sta tudi Bruno Vavpotič in Janez Mežan, ki je na papirju s posebno senzibilnostjo prikazal lepote naše raznolike pokrajine.

Maja Pangos, umetnostna zgodovinarka

Robert Hlavaty made the following remark about watercolour painting: “A watercolour needs to be painted properly, which means it needs to be water-based, fluid-like, not completely colourless but not stiff either; above that, watercolour painting has to be clean, without corrections or retouch. Watercolour is the most beautiful song which tells a lot to any individual whose heart is not yet completely numb and whose soul has not been corrupted by the materialism of daily life.”

Watercolour is one of the oldest, most sophisticated, difficult and distinctively poetic painting techniques. It is equivalent to other painting techniques, although it was wrongly neglected in the past. Despite its unique intimacy and sensitivity, watercolour demonstrates a certain imperfection: its format is usually smaller and its dimensions are not as big as with large oil canvases. This is why it is suitable especially for art case studies, drawings, intimate painting and for recording impressions. Watercolour often portrays a landscape, veduta, scene sketch or miniature, but rarely a composition or a portrait. Artists often used the watercolour technique to colour graphic papers and drawings. This technique can also be an autonomous manner of expression, without any drawing which would serve as a framework. In comparison to oil painting, watercolour has the advantage of not requiring any long-lasting preparations; the equipment is easily accessible and transferable. This kind of mobility enables painting in nature, without having to carry around the whole painting studio. Colours for creating this type of technique are watery and fast-drying, but any corrections are nearly impossible due to the lazure application of paint.

The beginnings of watercolour painting can be traced back to the time of Egyptian art, when natural pigments used to be mixed up with water in order to create paintings in Egyptian books of the dead. From there, this technique spread to ancient Greece and also found its place in Roman art. Watercolour painting was extremely important in oriental countries too. In this geographical area, it was especially Chinese painting on silk and paper that reached a very high level. These paintings are characterised by hazy spatial undefinedness, enabled by a colour-grading technique on a wet surface. Similarly, Japanese paintings made with ink on paper strongly influenced the modern European watercolour, especially due to their calligraphy stroke and focus on the essentials. From this part of the world, watercolour found its way back to the European geographical area.

Albrecht Dürer was the first European artist who was able to create an autonomous piece of art in the watercolour technique. In the time of great inventions, this technique was mainly used for documenting newly discovered countries. The most famous chapter in the history of watercolour is represented by English landscape artists from the 18th and the second half of the 19th centuries. In the entire Anglo-Saxon world, this technique established itself as a fully autonomous art discipline. Hereby, the understanding of the watercolour artist profession was finally established.abou

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In the neoclassical era, watercolour was not the preferred form of artistic expression; however, it played a much more significant role in the times of romanticism. In the period of postimpressionism, this technique was the central theme of Paul Cezanne’s opus. Even later on, in the expressionism era, members of both German groups explored the power of colour. In the beginning of the first half of the 20th century, however, this sensitive technique was pushed into the background and new techniques made it to the forefront, which was the consequence of the birth of modernism and other movements that followed. In the 20th century, the perception of art was changed completely. Artists began to reject the academic education and started to experiment anew – with form as well as technique.

A rich watercolour painting tradition can even be found in Slovenia, starting in the second half of the 12th century with Stična manuscripts. Highly distinguished artistic activity under the guidance of the abbot Folknand was for a long time not a part of local inheritance, until the Slovenian watercolour crossed paths with the European style again, which happened with the help of a Viennese professor Lovro Janša. It is also important to mention several other Slovenian artists who stood out as watercolourists. These are: A. Karinger, brothers Šubic, H. Smrekar, M. Gaspari, I. Vavpotič, Z. Mušič, G. Stupica, R. Hlavaty and A. Černigoj, with his distinctive expressive colour, as well as Veno Pilon who created many of his watercolours between 1916 and 1918 when he was an army prisoner in Lipeck, Russia. Bruno Vavpotič and Janez Mežan are also considered important artists. The works of the latter demonstrate special sensibility in captivating the beauties of our diverse landscape.

Maja Pangos, art historian

žirija / juryLucijan Bratuž

Azad Karim

Bogdan Vrčon

Bojan Bole

Maja Pangos

Tea Curk Sorta

Vladimir Bačič

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nagrade / prizesSalim M. Allami

Luka Popič

Pawel Gladkow

Trond Einar Solberg Indsetviken

Natalia Studenkova

Berko

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Salim M. Allami IQAfter war 1, 2017, 50 x 70 cm

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Luka Popič SLOBrez naslova 2, 2017, 70 x 50 cm

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Pawel Gladkow PLDamrota Street, 2015, 48 x 63 cm

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Trond Einar Solberg Indsetviken NORMy Japanese garden - Autumn, 2016, 38 x 56 cm

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Natalia Studenkova UAStražovsky Vrchy, 2017, 50 x 70 cm

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Berko SLOVrbe žalujke na Krki 1, 2015, 46 x 62 cm

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diplome / diplomasAnna Ivanova

Javier Zorrilla

Massimiliano Iocco

Nataša Tajnik Stupar

Olga Kharchenko

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Anna Ivanova RUSSwans behind the scene, 42 x 56 cm

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Javier Zorrilla ESBarcelona, 2016, 45 x 45 cm

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Massimiliano Iocco ISan Lorenzo in Lucina, 2015, 36 x 51 cm

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Natasa Tajnik Stupar SLOTokovi I, 2017, 29 x 41, cm

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Olga Kharchenko UARainy day, 2017, 32 x 50 cm

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Serwan Baran IQDog 1, 2017, 24 x 32 cm

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Vinko Bogataj SLO Okno v svet, 2016, 70 x 50 cm

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Julijana Božič SLOAvtoportret pred nevihto, 2017, 50 x 40 cm

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Dana Catona RODont touch me, 2015, 21 x 29,7 cm

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Silva Copič SLOUjeta, 2017, 34 x 46 cm

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Jasminka Ćisić SLOMed nebom in zemljo, 2016, 27 x 27 cm

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Irena Dimovska SLOMed igro, 2017, 20 x 23 cm

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Zdravko Dolinsek SLOVelka planina, 2016, 30 x 40 cm

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Marija Flegar SLOKrka spomladi, 2017, 50 x 70 cm

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Marta Frei SLOProti nebu, 2017, 36 x 36 cm

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Milena Gregorčič SLORdeče 1 in 2, 2017, 27 x 72 cm

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Victoria Grigorieva UAIsola, 2016, 31 x 45 cm

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Ekaterina Gubina RUSSpring River, 2017, 30 x 40 cm

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Tanja Hočevar SLOSkozi čas, 2016, 30 x 40 cm

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Klavdija Jersinovec SLOBarje 1, 2017, 36 x 49,8 cm

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Simon Jugovic Fink SLOOur little garden of our little house 1, 2017, 21 x 29,7 cm

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Silva Karim SLOMesečina, 2016, 50 x 70 cm

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Kiki Klimt SLOLight on the path - Luč na poti 1, 2016, 32 x 47 cm

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Lara Kobal SLORoaring thoughts, 2016, 51 x 35,5 cm

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Noppamas Kodauy THACoffee Shop No. 2, 2015, 28 x 36 cm

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Ljiljana Kovačević SRBZaboravljeni salas, 2016, 23 x 33 cm

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Ewelina Kuczera PLRose, 2016, 21 x 28 cm

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Mikhail Kuznetsov RUSYellow grass, 2016, 30 x 40 cm

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Petar Lazarevič SLOPrihod svetlobe, 2017, 37 x 56 cm

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Klavdija Marusič I Metulj 1, 2017, 40 x 30 cm

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Zoran Ogrinc SLOWeeping Woman 9, 2017, 48 x 36 cm

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Janez Ovsec SLOPokrajina na Notranjskem, 2016, 40 x 30 cm

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Rosella Passeri IThat night, 2017, 56 x 38 cm

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Andrej Pavlič SLOMala genealogija, 2017, 32 x 41 cm

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Stane Petrovič SLONa obali, 2016, 21 x 41 cm

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Roman Planko SLOSnežna, 2016, 28 x 38 cm

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Nicodim Sorin ROLove sky earth, 2017, 38 x 58 cm

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Stanislaw Stach PLAssociation IV, 2017, 52 x 37 cm

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Carmen Šeruga SLOCvet 3, 2016, 50 x 35 cm

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Meta Šolar SLODouble exposure, 2017, 24 x 32 cm

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Tanja Špenko SLOJutro v Liki, 2017, 29,5 x 21 cm

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Maja Šubic SLOLiga prvakov II, 2017, 15 x 30 cm

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Teja Tegelj SLOV gozdu, 2017, 30 x 40 cm

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Živko Toplak SLOMegapolis II, 2017, 44 x 59 cm

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Valeriy Tsonin UASnow apples, 2016, 43 x 61 cm

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Svetlana Vecherskaya RUSSunflower, 2015, 40 x 30 cm

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Adriano Velussi IZažgana abstrakcija 2, 2017, 34 x 50 cm

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Andrea Verdelago IPostavitev, 2017, 35 x 50 cm

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Oto Vogrin SLOPordenone, 2017, 40 x 40 cm

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Eleni Voudourelli GRReed, 2017, 30 x 30 cm

70

Žarko Vrezec SLOIz ciklusa »Sublimne pokrajine - jesen«, 2016, 33 x 56 cm

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Joanna Zajac Slapničar SLONa dveh straneh, 2017, 33 x 56 cm

Sponzorji / Sponsors:

Občina Ajdovščina

Alpod d.o.o.

Codognotto d.o.o.

Odvetnica Veronika Zorn Hočevar

Izid kataloga je omogočila / The editing of catalogue has been made possible by:

Občina Nova Gorica

Mednarodni festival akvarela Castra 2017Katalog izdalo: Društvo likovnih umetnikov Severne PrimorskeZa DLUSP: Vladimir BačičBesedilo: Vladimir Bačič Maja PangosPrevod v angleški jezik: Barbara OmahenKoordinator: Daša BačičFotografija: avtorji likovnih delOblikovanje in priprava za tisk: Adenda d. o. o.Tisk: A-Media d.o.o.Avgust 2017 Naklada: 200

Društvo likovnih umetnikovSeverne Primorske

Občina Ajdovščina

Alpod d.o.o.

Codognotto d.o.o.

Odvetnica Veronika Zorn Hočevar