INTERNACIONALNI UMETNIČKI STUDIORadovan Trnavac Mića

INTERNATIONAL ART STUDIO

VALJEVO - SRBIJAavgust - septembar 2011.

SLIKARI IZ AUSTRALIJEARTISTS FROM AUSTRALIA

INTERNACIONALNI UMETNIČKI STUDIORadovan Trnavac Mića

INTERNATIONAL ART STUDIO

Suvoborska 48/1, 14000 Valjevo, Srbijatel/fax: +381 14 225 155

www.ius-trnavac.orgstudiotrnavac@gmail.com

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Ne samo zbog evidentne prostorne udaljenosti, nego i izvesnog evropskog kulturnog egocentrizma, australi-jska likovna umetnost na našim prostorima još uvek nije dovoljno poznata. Otuda je ekskluzivnost na upoznavanju široke lepeze različitosti slikarstva petog kontinenta pripala valjevskom Internacionalnom umetničkom studiju „Ra-dovan Trnavac Mića“, koji nam, posle prošlogodišnje premijerne, gotovo senzacionalne izložbe slika australijskih domorodaca, potom nedavne izložbe radova Natali Mekarti, sada predstavlja dela čiji su autori: Ilza Barčet, Maj Li Taj, Gordon Sajron, Džordž Barčet i Piter Šel. Naravno, iako dolaze sa jedinstvenog i slikarski inspirativnog prostora Australije, njihove su poetike i umetnički maniri potpuno različiti, kao i njihovo filozofsko poimanje sveta i razloga ljudskog obitavanja na zem-lji, a njihova zajednička crta pripadnost svetu boje, univerzalnom jeziku likovne ekspresije kojem nije potreban nikakav posrednik ni prevodilac. Jednostavno, likovna umetnost ne poznaje granice ni barijere, što je prednost umetnosti same i što je, još više, radost za posmatrača. Treba li posrednik da se razumeju slike osame Maj Li Taj, čije svedene, pa ipak sugestivne likovne predstave svedoče o ljudskoj melanholiji marginalizovanih i onih koji su manjina, gde su jedini znak jednakosti među ljudima i svedočanstvo o postojanju - cipele (i to različite). Svako od nas, naime, svoj život i zadatak postojanja nosi kako može i ume, a Gordon Sajron, autentični pripadnik australijske domorodačke zajednice, to iskazuje kroz čudesno sugestivnu paletu. Njegove slike govore o životu u njegovom širokom dijapazonu od rustičnih, gotovo bajkovitih pejzaža do predstava vanzemaljaca. Crvena boja na njegovim slikama isijava sam život. Paleta Džordža Barčeta, čija je uža specijalnost veliki format, tačnije mural, u rasponu od jarko crvenih valera do vrlo svedenog kolorita, prikazuje svet i kakav jeste i kakav bi mogao biti, gde je pravi putokaz i univer-zalni simbol boja, njen intenzitet, do njenog gotovog odsustva. Evidentna artificijelnost ovog, inače, visoko obrazo-vanog umetnika, presudna je podloga njegove izuzetno sofisticirane palete, a sposobnost da sugestivno izrazi stanje sveta u sebi i oko sebe čine njegovo delo sasvim osobitim. Na toj idejnoj i zanatskoj matrici unekoliko je postavljeno i delo Ilze Barčet, vrsnog poznavaoca slikarskih tehnika, ali i evidentne alhemičarke živih, iskričavih boja. Svetlošću, a naročito teksturom, njene slike podcrtavaju ideju višeznačnosti i života i sveta. Spritus movens ove grupe Piter Šel, čiju estetiku, životnu filozofiju i etičke poruke uverljivo brane njegove slike, kao što bi i njegovo advokatsko pero branilo sam zivot, zaokružujući time umetničku ideju ovog neobičnog kvinteta. I na kraju, kada je posmataču sve jasno, umesto uobičajenog rezimea, možemo se samo zapitati kakvog bi smisla imalo razvrstavati ova dela po njihovoj tematici i podlozi ili materijalima. Jer, i najmerodavnije kritičarsko mešanje u posao sa slikama gotovo na perverzan nacin odvraća percepciju sa vizuelnog plana na intelektualni. Samo za sebe, slikarsko delo govori više od najrečitijeg kritičara. Treba samo gledati.

Rada Filipović

UMETNOST NE PRIZNAJE GRANICE

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Not only due to the obvious spatial distance between the two countries, but also because of a somewhat egocentric attitude in European culture, Australian art has until recently been fairly unfamiliar to Serbia’s art-goers. The exclusive privilege in revealing the fifth continent’s abundant art legacy has been granted to the International Art Studio Radovan Trnavac Mića. After the last year’s premiere of the almost sensational exhibition of Australian Aboriginal artists, followed by the recent show of Natalie McCarthy’s work, we are now given a remarkable oppor-tunity to enjoy the work of five artists: Ilza Burchett, My Le Thi, Gordon Syron, George Burchett and Peter Schell. Of course, even though they all share the inspirational background of Australia, their poeticisms and art manners are completely different, as are their ontological and philosophical standpoints on the purpose of human earthly existence. The common factor that binds all their work together is the world of colour, as the universal lan-guage of artistic expression that asks for no intermediaries or interpretations. This is simply because of the art’s cru-cial advantage that it recognizes no boundaries or borders and, most importantly, brings genuine joy to the beholder. Who needs an intermediary to understand images of solitude in My Le Thi’s work? Her uncomplicated, yet highly suggestive interpretations, testify of the melancholy of the marginalized and the minorities, with only (dif-ferent) shoes representing equality among people and offering evidence of their existence. Each of us lives their lives and fulfills their existence in our own way, and Gordon Syron, a true representa-tive of the Australian Aboriginal community, does so through a marvelously suggestive palette. His pictures repre-sent life in a wide range from rustic, almost fairytale-like landscapes to images of extraterrestrials. The red paint in his paintings emits life itself. George Burchett, who specializes in large, mainly mural formats, bases his palette on a wide range of col-ours varying from striking red to very peaceful tones. He represents the world that is and that could be, nominating colour and its intensity as well as its disappearance, for the true guidelines and universal symbols. Evident artificial-ity of this highly educated painter serves as the all-important background to his sophisticated colorization. His capa-bility of vocalizing the world within and around him in such a suggestive manner gives his art an air of unparalleled uniqueness. The same conceptual and professional matrix serves as the backbone in paintings of Ilza Burchett, an exqui-site connoisseur of different art media, but also an obvious alchemist of lively, sparkling colours. It is through light and texture that her images underline the idea of ambiguity of life and world. The spiritus movens of this group is represented by Peter Schell. His aesthetics, life philosophy and ethical manifesto are defended by his images just as convincingly as his barrister’s quill would defend life itself. His work rightfully completes the artistic concept of this unusual quintet. Finally, instead of a usual summation, when things are so clear to the person observing, one cannot but wonder what use it would make to classify these paintings according to their themes, surfaces or materials. Even the most expert scrutiny of these images could have an almost perverse effect of derailing one’s attention from their visual perception to the intellectual dissection. A work of art speaks on its behalf more masterly than any critic is ever capable of. One is only invited to observe.

ART RECOGNIZES NO BORDERSby

Rada Filipović

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Australija je ogromna zemlja čija teritorija obuhvata kako sam kontinent, tako i mnoga ostrva Južne hemisfere. Više od 50.000 godina naseljavali su je Aboridžini, ali je 1788. okupiraju Britanci i proglašavaju za svoju koloniju. Aus-tralija je šesta najstarija zemlja sa demokratskim uređenjem na svetu, ali je, po nasleđu još iz perioda kolonizacije, engleska kraljica i dalje suveren Australije. Stanovništvo Australije 1900. godine brojalo je manje od 4 miliona ljudi, ali je danas to zemlja sa 22 miliona stanovnika koji dolaze iz svih zemalja i kultura sveta. Australija je pros-peritetno društvo sa ogromnim prirodnim bogatstvima, naročito mineralima i ugljem, koji zemlji trenutno donose blagostanje jer se ovi resursi koriste kako bi podmirili ogroman industrijski rast koji je u toku u Aziji.

Narod Aboridžina danas čini između dva i tri procenta stanovništva, ali je preko 25% pritvorenika u australijskim zatvorima aboridžinskog porekla. Jedna četvrtina Australijanaca rođena je van Australije, a veliki broj novih ljudi svake godine dolazi u zemlju putem programa za izbeglice i imigrante. Trenutno, u Australiji živi oko 100.000 Srba, koji daju ogroman doprinos kulturi svoje nove države. Ova izložba pet australijskih umetnika predstavlja pregled velikog broja različitih kultura koje sačinjavaju savremenu Australiju.

Gordon Sajron je Aboridžin koji kroz svoju umetnost govori o mnogim nepravdama koje je njegov narod doživeo i koje i danas trpi. Aboridžinski narod nikada nije predao suverenitet nad svojom zemljom i nikada se nije odrekao svoje teritorije. Ta je zemlja od njih oteta. Gordon Sajron je najvažniji urbani aboridžinski umetnik Australije, a njegove slike koje se bave invazijom, oduzimanjem poseda i nepravdom nalaze se u mnogim bitnim kolekcijama, uključujući Nacionalni muzej Australije. Sajronove slike takođe sanjare o idili rajskog okruženja koje je postojalo pre dolaska kolonizatora.

Maj Li Taj rođena je u Vijetnamu, a u Australiju je prebegla iz svoje ratom uništene domovine kada je imala 20 go-dina. Ona koristi svoju umetnost kako bi se borila protiv rasizma i predrasuda. Maj Li taj izgradila je međunarodnu reputaciju svojim delom koje je i esteski veoma lepo, ali se istovremeno na veoma direktan način suočava sa teškim pitanjima koja prete celom čovečanstvu. Predstave velikog broja različitih cipela iz mnogo različitih kultura metaforično prikazuju istinu po kojoj nije važno odakle neko dolazi, jer svi hodamo po istoj zemlji.

Džordž Barčet rođen je u Vijetnamu, ali je odrastao u Bugarskoj. Njegov otac bio je čuveni australijski ratni izveštač Vilfred Barčet (prvi zapadni novinar koji je posetio Hirošimu nakon pada američke atomske bombe 1945), a njegova majka bila je bugarska umetnica Vesa Osikovska. Džordž je studirao umetnost u Parizu i Sofiji, a živeo je na mnogim mestima u svetu, uključujući aboridžinsku zajednicu Maningrida u Arnhem Lendu, australijska Severna Teritorija. Od 1985., Džordž živi u Sidneju, nastavljajući da stvara i izlaže širom Australije, Evrope i Azije.

Ilza Barčet rođena je u Bugarskoj, odrasla u Moskvi, a u Australiji živi od 1985. Ilza je stekla Master diplomu iz zidne umetnosti i tehnike na Akademiji umetnosti u Sofiji. Njeno dalje usavršavanje fokusiralo se na različite

AUSTRALIJA – ZEMLJA RAZLIČITOSTI

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evropske umetničke tradicije, naročito francusku, špansku i holandsku. Ilza je uradila mnogo javnih radova u Aziji, Australiji i Evropi. U svojoj potrazi za duhovnom potkom u svom radu kroz upotrebu materijalnih resursa, inspirac-iju je dobijala kako iz istorije umetnosti, tako i sopstvenih interakcija sa različitim kulturama.

Piter Šel rođen je u Sidneju i četvrta je generacija u Australiji u svojoj porodici sačinjenoj od engleskih, irskih i nemačkih predaka. Piter je bio uspešan advokat, kada je, u 46-oj godini, odlučio da udovolji svojoj strasti za umet-nost, te upisao redovne studije na Nacionalnoj umetničkoj školi u Sidneju, kako bi postao profesionalni umetnik. Piter takođe poseduje stočnu farmu na nekih tri sata vožnje od Sidneja ka unutrašnjosti, a neke od njegovih slika na izložbi nastale su u okruženju njegove farme.

Ova izložba je svojevrstan mikrokosmos ljudi od kojih je sačinjena današnja Australija. Ona se bavi umetnicima i njihovim interakcijama, zapažanjima i dilemama sa kojima se suočavaju u ovoj dinamičnoj, prosperitetnoj i multi-kulturalnoj državi, iako je to društvo koje tek treba da se suoči sa problemima oduzimanja svojine i još uvek prisut-nog tlačenja svog izvornog stanovništva. Australija je mnogo više od zemlje dobrih sportista i preplanulih “Ozija”. Toplo vam preporučujem radove ovih umetnika.

Sidnej, Australija Avgust 2011 Teri Katklif

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Australia is a vast country occupying a continent and many islands in the Southern Hemisphere. It has been inhab-ited by Aboriginal people for more than 50,000 years. The country was invaded by the British in 1788 and became a colony of Britain. Australia is the sixth oldest democracy in the world but as a hangover from colonisation the Queen of England is still also the Queen of Australia. The population of Australia in 1900 was less than 4 million but is now more than 22 million and is made up of people from all of the countries and cultures of the world. Australia is a prosperous society with enormous natural resources, particularly minerals and coal which are currently bringing affluence to the country by feeding the rapid industrial expansion taking place in Asia. Aboriginal people now make up between 2 and 3 per cent of the population but more than 25 per cent of prisoners in Australia are of Aboriginal descent. One quarter of Australians were born overseas and many more people arrive each year under refugee and immigration programs. About 100,000 Serbians now live in Australia and have made an enormous contribution to the culture of their new country.This exhibition by five Australian artists represents an overview of the many different cultures that now make up modern Australia.

Gordon Syron is an Aboriginal man who speaks through his art about the many injustices that his people have suf-fered and continue to suffer. Aboriginal people never ceded sovereignty and never gave up their land. It was taken from them. Gordon Syron is the most important urban Aboriginal artist in Australia and his paintings dealing with invasion, dispossession and injustice are in many important collections including the National Museum of Australia. Syron’s paintings also delve into the idyll and paradise that existed before occupation.

My Le Thi was born in Vietnam and came to Australia as a refugee from her war torn country at the age of 20. My Le Thi has used her art to break down racism and prejudice. My Le Thi has built an international reputation for her work which is aesthetically very beautiful whilst at the same time deals very directly with the difficult problems facing all of humanity. Images of many different shoes from many different cultures appearing in her work are metaphors for the truth that it does not matter where a person comes from: we all walk on the same Earth.

George Burchett was born in Vietnam and grew up in Bulgaria. His father was Wilfred Burchett the famous Aus-tralian war correspondent (and the first western journalist who went into Hiroshima after the American atomic bomb attack 1945) and his mother was Bulgarian artist Vessa Ossikovska. George studied art in Paris and Sofia. George has lived in many parts of the world including the Aboriginal community of Maningrida in Arnhem Land in the Northern Territory of Australia. George has lived in Sydney since 1985 and has continued to make and exhibit art throughout Australia, Europe and Asia.

Ilza Burchett was born in Bulgaria, grew up in Moscow and has lived in Australia since 1985. Ilza gained a Masters

AUSTRALIA LAND OD DIVERSITYby

Terry Cutcliffe

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Degree in mural art and techniques from the Fine Arts Academy in Sofia, Bulgaria. Further studies followed in dif-ferent European artistic traditions throughout Europe, particularly in France, Spain and Holland. Ilza has completed many public artworks in Asia, Australia and Europe. In her search for the spiritual dimension in her art through matter she draws inspiration from the history of art and her interactions with different cultures.

Peter Schell was born in Sydney and is a fourth generation Australian of English, Irish and German descent. Peter was a well established lawyer when at the age of 46 he decided to follow his passion for art and enrolled as a full time student at the National Art School in Sydney to become a professional artist. Peter also owns a cattle farm about three hours drive inland from Sydney and some of the paintings in this exhibition are drawn from the coun-tryside near his farm.

This exhibition is a microcosm of the people who make up modern Australia and the artists’ interactions, percep-tions and concerns in a many faceted, prosperous, and multicultural society albeit one that has yet to address the disposession and continuing disadvantage of its original inhabitants.Australia is much more than a land of sportsmen and bronzed Aussies. I commend the work of these artists to you.

Sydney August 2011

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GEORGE BURCHETT

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Džordž je rođen u Hanoju, Vijetnam, 1955. godine. Otac mu je bio čuveni ratni izveštač Vilfred Barčet, poznat kao prvi zapad-ni novinar u Hirošimi nakon atomske bombe 1945, dobar poznavalac Kine, autor knjiga, članaka i filmova o Kini, kao i lični prijatelj pokojnog kineskog premijera Žu Enlaija. Džordž je rastao i pohađao školu u Moskvi, Pnom Penu i Parizu. Učio je u Liceju Žanson de Seji i Ateljeu Marten u Parizu i magistrirao na odseku zidnog slikarstva na sofijskoj Akademiji lepih umet-nosti u Bugarskoj. Radio je kao slobodni umetnik u Sofiji i Parizu (izložbe, murali i ilustracije za knjige). 1985., preselio se u Australiju sa svojom suprugom Ilzom, takođe umetnicom, i sinom Grejemom. Radio je kao umetnički savetnik aboridžinske zajednice Maningraida u Arnhemu, Australijska Severna teritorija, pre nego što se konačno nastanio u Sidneju, gde i danas živi. Džordž Barčet izlagao je i radio javne i korporativne porudžbine u Australiji, Aziji i Evropi. Njegov rad oslikava njegovo lično putovanje kroz život, različite države i kulture, koristeći različite tehnike, od klasičnog fresko slikarstva do digitalne umetnosti.

George Burchett was born in Hanoi, Vietnam in 1955. His father was a well-known war correspondent Wilfred Burchett (the first Western journalist in Hiroshima after the 1945 atom bomb, a frequent visitor to china, author of books, articles and films on China and persona I frined of the late Chinese Prime Minister Zhou Enlai). George grew up and went to school in Moscow; Russia, Phonm Pehn; Camboda and Paris; France. He studied at Lycee Janson de Sailly and Atelier Martin in Paris and completed a Masters degree in mural art at the Sofia Academy of Fine Arts (Bulgaria). He has worked as a freelance artist in Sofia and Paris (exhibitions, murals and book illustrations). In 1985 he moved to Australia with his artist wife Ilza and their son Graham. He worked as Arts Advisor for the Aboriginal community of Maningraida in Arn-hem Land in Australia’s Northern Territory, before settling in Sydney where he now resides. George Burchet has exhib-ited and completed public and corporate art commissions in Australia, Asia and Europe. His work reflects his personal journey though life, different countries and cultures, using a variety of media, from classical fresco painting to digital art.

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Povratak na Itaku, kombinovana tehnika na platnu, 2005, 130 x 97 cm x2 (diptih)Return to Ithaka, mixed media on canvas, 2005, 130 x 97 cm x2 (diptih)

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24 Stadijuma Didmonta, tuš i akril na platnu, 2005, 168 x 101.5 cm24 Stages of Didmont, ink and acrylic on canvas, 2005, 168 x 101.5 cm

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GORDON SYRON

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GORDON SAJRON rođen je 1941. godine u Nabiaku, Novi južni Vels. Živi u Redfernu, Sidnej. Maternji jezik: po ocu – Vorimi; po majci – Biripi.

Gordon Sajron bio je jedanaesto od ukupno šesnaestoro dece i odrastao je u Minimbahu, na severnoj obali Novog Južnog Velsa. Gordonov deda po ocu bio je irski osuđenik po imenu Patrik Danijel Sajron, a oženio se sa ženom iz aboridžinskog plemena Vorimi koja je živela u misiji. Gordonov deda po majci, MekKinon, bio je Škot, a oženio se ženom iz aboridžinskog plemena Biripi, koja je takođe živela u misiji. Sajron je bio vrhunski atletičar a kasnije se amaterski bavio i boksom, osvojivši nagradu Zlatna rukavica. Predstavljao je Australiju na Australo-azijskom šampionatu, ali je zbog povrede primljen u bolnicu i time okončao svoju boksersku karijeru.

Od 1972. do 1982. Gordon Sajron služio je doživotnu robiju zbog ubistva jednog belca sa kojim je bio u sporu oko porodičnog imanja. Prvih šest godina proveo je u strogom zatvoru sa sa maksimalnim obezbeđenjem. 1972. Gordon je sam naučio da slika, a učio je i od ljudi osuđenih zbog falsifikovanja. Dok je još boravio u zatvoru, 1978, Sajron je priredio svoju prvu samostalnu izložbu pod nazivom „The Block“ (Zatvorski krug), u Eveli Sent Redfern u Muravini. Izložbu su organizovale gospođe Bos-tok, Ingram i Merit. Izložba je doživela uspeh, a svi radovi koji su bili na prodaju su i našli svoje vlasnike.

Početkom 1990-ih, Sajronovo interesovanje i posvećenost politici i istoriji aboridžinskog samoodređenja naveli su ga da nas-lika veliku seriju slika sa temom Smrt Aboridžina u zatvorima, a kasnije, Sajron postaje i predsednik Komiteta za istraživanje smrti Aboridžina u zatvorima, sa sedištem u Sidneju, Novi Južni Vels.

Sajronovo najpoznatije delo je Presuda njemu jednakih (1978), koje je naslikao u zatvoru. Slika prikazuje scenu iz sudnice u kojoj su i sudija i porotnici crnci, a jedini optuženi na klupi belac. Ova slika postala je paradigma za način na koji mnogi Aboridžini razmišljaju o situaciji u kojoj je priča preokrenuta, a uloge ironično i satirično promenjene. Na mah, ova slika na univerzalan način prenosi poruku da je pravda za domorodačko stanovništvo imala iskrivljenu istoriju. Ova slika suočava se sa tom istorijom.

Gordon Sajron, njegova supruga Ilejn i njihova kolekcija, najveća kolekcija aboridžinske umetnosti na svetu pod nazivom “Mesto za čuvanje”, nedavno su iseljeni iz prostora koji su zauzimali u Redfernu, pa su sada, kao i mnogi drugi Aboridžini, beskućnici. Gordon Sajron je starešina koji se borio da sačuva baštinu svoga naroda, a u isto vreme je bio i kustos “Mesta za čuvanje”, kao buduće nacionalne kolekcije tradicionalne i savremene aboridžinske umetnosti Australije.

Gordon Sajron napuniće 70 godina u decembru 2011.

Izložbe1998 Retrospektiva – Australijski muzej1998 Gostujući umetnik – Udruženje humanista2000 Samostalna izložba - Međunarodni forum humanista, Pravni fakultet Univerziteta za tehnologiju, Sidnej.1998-2005 Vlasnik Galerije aboridžinske umetnosti2004-2008 Sajronov aboridžinski muzej ili “Mesto za čuvanje”

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2004 Retrospektiva – Australijski muzej2004 Retrospektiva – Australijski muzej2004 Terror Nullius i Dan invazije II – Olimpijada u Atini2005 Retrospektiva – Bumali galerija2006 Gostujući umetnik – COFA, Pedington2006 Samostalna izložba – Dauning centar2007 70% Urbano – Nacionalni Muzej Autralije2007 i 2008 Aboridžinski kopači – Galerija Dejmian Minton2007 Vile na konopcima – Sportska hala Toni Mandajn1998-2007 Izložba u foajeu na Dan invazije - Sidnejski muzej 2008 Izložba Dan invazije II - Olimpijada u Pekingu2008 Izložba, nagrada Telstra - NT muzej2008 Grupna izložba aboridžinskih umetnika Novog Južnog Velsa - Galerija Kembltaun 2009 Aboridžinski kopači na dan ANZAC-a - Redfern Park. 2009 Samostalna izložba Recite NE rasizmu, “Civilizovanje domorodaca” - Sidnej Junajting 2009 Umetnost i ostalo - Dom parlamenta grada Sidneja i Novog Južnog Velsa

NAGRADE

2008 COFA nagrada Parlamenta Novog Južnog Velsa

Born 1941, Nabiac, NSW. Lives in Redfern, Sydney. Languages Worimi; Father Biripi; Mother

Gordon Syron was number 11 of 16 children and was brought up on Minimbah, mid-north coast of NSW. Gordon’s Grand-father on the paternal side was an Irish convict, Patrick Daniel Syron and he married a Worimi - Aboriginal woman from a mission. Gordon’s Grandfather, McKinnon on his maternal side was Scottish and he married a Biripi - Aboriginal woman from a mission. Syron was a champion runner and later was an amateur boxer, winning the Golden Gloves Award Syron was representing Australia in the Australasian Championships when he was hospitalised and his boxing career ended.

From 1972 to 1982 Gordon Syron served a life sentence for killing a white man over his family’s land. The first six years was spent in Maximum Security .In 1972, Syron taught himself to paint and took tips from forgers. While still in prison in 1978 Syron had his first solo exhibition on “The Block”, Eveleigh St Redfern at Murawina organised by Mrs Bostock, Mrs Ingram, and Mrs Merritt. It was a success and all that was for sale, was sold.

In the early 1990s Syron’s interest and involvement in the politics & history of Aboriginal self-determination led him to paint a major series on the theme of Aboriginal Deaths in Custody and later, Syron became the President of The Aboriginal Deaths in Custody Committee, Sydney, NSW.

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Syron’s most well-known work is Judgement By His Peers,(1978) and painted while in Gaol. It is a courtroom scene where the judge, jury are all black and the lone defendant in the dock is a white man. This painting has come to represent the way that many Aborigines feel as the story is turned around and satirically and ironically the roles are reversed. Instantly this painting conveys in a universal way that justice for the indigenous person has a distorted history. This painting confronts history.

Gordon Syron, his wife Elaine and their collection, the largest collection of Aboriginal art in the world; ‘The Keeping Place’, have recently been evicted from their Redfern premises and the collection is, like so many Aboriginal people; homeless. Gor-don Syron is an elder who has struggled to preserve his culture and the custodian of The Keeping Place which is the future national collection of traditional and contemporary Aboriginal art of Australia.

Gordon Syron turns 70 in Dec 2011.

Exhibitions1998 Retrospective; the Australian Museum 1998 Artist-in-Residence; Humanist Society2000 Solo exhibition; Humanist International Forum, the Law School of the University of Technology, Sydney. 1998- 2005 Aboriginal Art Gallery Owner2004-2008 Syrons Aboriginal Museum or Keeping Place2004 Retrospective; The Australian Museum 2004 Terror Nullius & Invasion Day II hangings; The Athens Olympics2005 Retrospective; Boomalli Gallery2006 Artist-In-Residence; COFA, Paddington2006 Solo Exhibition; the Downing Centre2007 70% Urban; the National Museum of Australia 2007 &2008 Aboriginal Diggers; the Damian Minton Gallery 2007 Fairies on the Ropes; Tony Mundine Gym 1998-2007 Invasion Day foyer hanging; the Museum of Sydney 2008 Invasion Day II hanging; Bejing Olympics2008 Exhibition; Telstra Prize, NT Museum.2008 NSW Aboriginal artists group exhibition, Campbelltown Gallery2009 Aboriginal Diggers on ANZAC Day; Redfern Park. 2009 Solo Exhibition Say No To Racism, “Civilising The Natives”; Sydney Uniting 2009 Art & About; the city of Sydney & NSW Parliament House.

Awards2008 NSW Parliament COFA award

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Mužjak Emua čuva jaja, 2001, ulje na platnu, 145 x 125 cmMale Emu guarding eggs, 2001, oil on canvas, 145 x 125 cm

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Gde je jednom raslo divlje cveće, ulje na platnu, 2008, 112 x 150 cmWhere The Wild Flowers once Grew, oil on canvas, 2008, 112 x 150 cm

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ILZA BURCHETT

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Rođena je u Bugarskoj, a odrasla u Moskvi. Studirala je slikarstvo i zidno slikarstvo na Akademiji lepih umetnosti u Sofiji, gde je dobila master diplomu na Odseku zidnog slikarstva i tehnike. Proučavala je različite evropske umetničke tradicije, naročito italijansku, francusku, špansku i holandsku, i putovala širom Evrope. Radila je kao zidni slikar i akademski slikar u Parizu i Sofiji. Živela je i u Arnhemu, na australijskoj Severnoj teritoriji.

Izlagala je na nacionalnim izložbama u Bugarskoj, Australiji i Hong Kongu. Uradila je mnogo javnih, korporativnih i privatnih naručenih radova (murala, slika i multimedijalnih radova) u Bugarskoj, Australiji i Aziji. Njeni glavni murali uključuju mural od 450 m² u Sitiplazi u Hong Kongu, kao i “Panorama Sidneja, 1820” u Park Hajatu, The Rocks, Sidnej.

Trenutno živi u Sidneju sa suprugom, slikarom Džordžem Barčetom, i sinom Grejemom. Ilza u radu koristi više tehnika, mada modifikovano fresko slikarstvo i enkaustika ostaju zauvek prisutni. U definisanju svog umetničkog izraza važnu ulogu igra i bogatstvo različitih materijala koje koristi, poput pčelinjeg voska, zlata, srebra, peska, cementa, svile, ručno pravljenog papira i pigmenata.

U potrazi za duhovnom dimenzijom svoga rada kroz upotrebu materijalnog, svoju inspiraciju dobija iz istorije umetnosti i svog poznavanja različitih kultura. Njeni radovi delovi su javnih, korporativnih i privatnih kolekcija u Bugarskoj, Francuskoj, Australiji, Kini, SAD i Brazilu.

Born in Bulgaria. Grew up in Moscow, Russia. Studied painting and mural art at Fine Arts Academy in Sofia, Bulgaria (Mas-ters Degree in mural art and techniques). Studied different European artistic tradition - particularly in Italy, France, Spain, Holland - and travelled widely through Europe. Worked as a muralist and painter in Paris, France and Sofia, Bulgaria. Lived in Arnhem Land, in the Northern Territory of Australia.

She has exhibited in national exhibitions in Bulgaria, also in Australia and Hong Kong. Has completed numerous public, corporate and private commissions (murals, paintings and mixed media works) in Bulgaria, Australia and Asia. Some of her major murals are the 450 sq m mural in Citiplaza Hong Kong, and “Panoramic View of Sydney, 1820” in Park Hyatt, The Rocks, Sydney.

Currently lives in Sydney with artist husband George Burchett, and son Graham. Ilza’s work explores different media and techniques - modified versions of fresco and encaustic are ever present in her work.The richness of materials like beeswax, gold, silver, sand and cement, silk, hand-made paper and pigments play an important role in defining her artistic expression.

In her search for the spiritual dimension in her art through matter, she draws inspiration from the history of art and her interac-tions with different cultures.Her paintings are in public, corporate and private collections in Bulgaria, France, Australia, China, USA and Brazil.

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Odavde do sada, ulje na platnu, 1997, 187.5 x 178.5 cmFrom here to now, oil on canvas, 1997, 187.5 x 178.5 cm

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DETALJ Odavde do sada, ulje na platnu, 1997, 187.5 x 178.5 cmDETAIL From here to now, oil on canvas, 1997, 187.5 x 178.5 cm

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MY LE THI

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Rođena je u zajednici Ede Kineza na Centralnoj visoravni Vijetnama i iskusila detinjstvo u manjinskoj zajednici u zemlji koja ima 54 različite etničke populacije. Usled ratnih dešavanja, Taj je morala da izbegne u Australiju, gde je ponovo bila pripadnik nacionalne manjine. Na mnogo načina, ona pronalazi “manjine” tamo gde se ne čuju ljudski glasovi, naročito ako ti glasovi pripadaju ženama i obespravljenima. Maj Li Taj bavi se ljudskim nevoljama, ljudima sa margine poput izbeglica i osobama aboridžinskog porekla.

Od prelaska u Australiju, Tajina umetnost bavila se shvatanjem po kome fizičke odrednice poput kose, kože ili očiju određuju stanovišta o kulturnoj razlici među ljudima. Stalna odlika njene umetnosti je upotreba četiri boje (crvene, crne, žute i bele) kao predstave rasne klasifikacije u odnosu na nečiju boju kože. Njen kontroverzni rad iz 1997. godine sastoji se od serije malih glava izlivenih da liče na australijsku desno orijentisanu političarku Polin Henson. Svaka glava obojena je u crveno, crno, žuto ili belo, kako bi predstavile različite rasne grupe.

Tajin rad iz 1998. godine pod nazivom “Hodanje po zemlji” bila je instalacija odbačenih cipela i šupljih betonskih odlivaka ljudskih stopala nasumično poređanih da formiraju krug. Za Taj, cipele simbolizuju naše razlike i sličnosti, evociraju us-pomene na putovanja i sugerišu načine na koje se mi, kao individualna bića, prilagođavamo svom okruženju. Bez obzira koje cipele nosimo, svi mi hodamo po istoj zemlji.

Maj Li Taj izlagala je neumorno širom sveta, uključujući Evropu, Australiju, Aziju i SAD. Njeni radovi učestvovali su i u mnogim grupnim izložbama, poput ARCO u Španiji (2002), Pirinač i žito, tekst i podtekst – radovi azijskih umetnica širom sveta, koja je imala međunarodnu turneju (2002-2003), Cvetanje ruže – stizanje do sveta, koja je imala turneju po Australiji i Aziji (1999-2000) i Ljudski park – Institut za kulturu u Barseloni, Španija.

My Le Thi was born into the Ede-Chinese ethnic group, in Vietnam’s Central Highland, and experienced her childhood as a minority in that country’s 54 ethnic groups. Displacement through war led Thi to migrate to Australia, where she again found herself in the minority. In many instances, she finds ‘minorities’ when peoples voices are unheard, particularly if they are female, or underprivileged. My Le Thi’s art is concerned about the human condition, the marginalised, such as refugees and people of Aboriginal descent.

Since migrating to Australia, Thi’s art practice has explored the way that physical signifiers such as hair, skin and eye colour define ideas of cultural difference. A recurring feature of Thai’s art practice is the use of four colours (red, black, yellow and white) as representations of racial classification according to skin colour. Her controversial work from 1997 consisted of a series of small heads cast in the likeness of Australian right-wing politician; Pauline Hanson, each painted a different colour in red, black, yellow and white, representing different racial groups.

Thi’s work of 1998 ‘Walk on Earth’ was an installation of discarded shoes and hollow plaster casts of different peoples feet arranged loosely in a circle. For Thi, shoes symbolise our differences, our similarities, evoke memories of our journeys and suggest how we as individuals adjust to our environment. It does not matter what shoes one wears; we all walk upon the same Earth.

My Le Thi has exhibited extensively around the world, in Europe, Australia, Asia and the USA. Her work has been included in many key group exhibitions, including ARCO in Spain (2002), Rice & Wheat, Text & Subtext: works of Asian Women Art-ists from around the world, which toured internationally (2000-2003), The Rose Crossing: Reaching the World, which toured Australia and Asia (1999-2000) and Human Park, Institut de Cultura, Barcelona, Spain.

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Lotosov rad br:1, ulje na platnu, 121.5 x 75.5 cm Lotus work no: 1, oil on canvas, 121.5 x 75.5 cm

Lotosov rad br:2, ulje na platnu, 121.5 x 75.5 cmLotus work no: 2, oil on canvas, 121.5 x 75.5 cm

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Transformacija, 2001, ulje na platnu, 151.5 x 106 cmTransformation, 2001, oil on canvas, 151.5 x 106 cm

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PETER SCHELL

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OBRAZOVANJE/PROFESIONALNA KARIJERA

1976-97 Pravnik – pravni zastunik i advokat1995-96 Učio slikanje kod Najdžela Tomsona1996 Umetnička škola Džulijan Ešton1997-99 Nacionalna umetnička škola (NAS) u Darlingherstu – dobio zvanje Bachelor of Fine Art (Painting)1999 Crtački maraton, Adelaida – organizovala škola Nju Jork Studio2000 Koledž lepih umetnosti (COFA) na Univerzitetu Novog Južnog Velsa, Pedington – dobio titulu Bachelor of Fine Art (Honours) 2001-2 Koledž lepih umetnosti (COFA) na Univerzitetu Novog Južnog Velsa, Pedington – dobio titulu Master of Fine Art (Honours)2002-3 Predavač na zameni na Odseku crtanja, Nacionalna umetnička škola, Darlingherst2003-6 Nastavnik crtanja na određeno vreme, Koledž lepih umetnosti (COFA) na Univerzitetu Novog Južnog Velsa, Pedington2006 Administrator gostujućih umetnika na COFA, Univerzitet Novog Južnog Velsa, Pedington2007 TAFE Zapadni institut u Orandžu – stekao sertifikat II iz poljoprivrede2008 TAFE Zapadni institut u Orandžu – stekao potvrdu o stečenom znanju iz Konzervacije i upravljanja zemljištem 2009-10 TAFE Institut Severnog Sidneja u Rajdu – stekao diplomu iz hortikulture sa izuzetnim uspehom

IZLOŽBE

1999: Izložba crteža, Crtački marathon, Centralna umetnička škola, Adelaida Sidnejski aerodrom 2000, izložba na Sidnejskom međunarodnom aerodromu Devet slikara i pesnik, Galerija Katklif, Njutaun Letnja izložba, Galerija Katklif, Njutaun2000: Grupna izložba, Galerija Katklif, Njutaun Izložba crteža, COFA, Pedington Woolsheds (barake za šišanje ovaca), Galerija Katklif, Njutaun Trougao, Njuberi galerija, Glazgovska umetnička škola, Škotska2001: Grupna izložba, Galerija Katklif, Njutaun Skupljanje priloga za Novo pozorište, Galerija Katklif, Njutaun Aluminacija 2K+1 izložba, Cell Block, Nacionalna umetnička škola, Darlingherst2002: Iza zaleđa, Cell Block, Nacionalna umetnička škola, Darlingherst (izlagač i kustos)2003: Rudarstvo, Krisi Koter galerija, Kemperdaun Infuzija, Cell Block, Nacionalna umetnička škola, Darlingherst Masteri sa COFA 2003, Galerija Ivan Doerti, Pedington2004: Spectrum 2004, Skupštinski dom, Sidnej Infuzija, Cell Block, Nacionalna umetnička škola, Darlingherst Pristupačna izložba, Rojal Hol industrije, Fox studio, Sidnej2005: Radovi na papiru, Galerija Edison Roud, Merikvil Trg Exchange, Trg Exchange, Most Svetog Sidnija2006: Piter Šel, Galerija Edison Roud, Merikvil Savršen vid, Skupštinski dom, Sidnej

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NAGRADE:

1999: Glavna slikarska nagrada, Nagrada Sidnejskog aerodroma Ken Doun školarina za putovanje, dobijena za izuzetna ostvarenja2010: Nagrada sekcije za najviši uspeh pri sticanju diploma iz hortikulture (opšta) Ričard Sent Barb Bejker Memorialni trofej- Ljudi drveća

LIČNI PODACI:

Datum rođenja: 25. septembar 1952.Adresa: 37 Bay Road Waverton NSW 2060Telefon: 0402036493Email: conschell@bigpond.com.au

EDUCATION/PROFESSIONAL PRACTICE:

1976-97: Legal Practice as a Barrister or Solicitor. 1995-96: Painting tuition by Nigel Thomson. 1996: Julian Ashton Art School. 1997-99: National Art School (NAS) Darlinghurst - awarded BFA (Painting) 1999: Drawing Marathon, Adelaide conducted by New York Studio School. 2000: College of Fine Arts [COFA] (UNSW), Paddington – awarded BFA (Honours). 2001-2: College of Fine Arts [COFA] (UNSW), Paddington – awarded MFA. 2002-3: Casual relief teaching for the Drawing Department, NAS, Darlinghurst. 2003-6: Part time Drawing Teacher, College of Fine Arts [COFA] (UNSW), Paddington. 2006: Administrator, COFA Artists Residences, UNSW, Paddington. 2007: TAFE Western Institute, Orange received Certificate II in Agriculture. 2008: TAFE Western Institute, Orange received Statement of Attainment in Conservation & Land Management. 2009-10: TAFE Northern Sydney Institute, Ryde awarded Diploma of Horticulture with Distinction.

EXHIBITIONS:

1999 : Drawing Exhibition, Drawing Marathon, Central School of Art, Adelaide. Sydney Airport 2000, Exhibition at the Sydney International Airport. 9 Painters and a Poet, Cutcliffe Gallery, Newtown. Summer Exhibition, Cutcliffe Gallery, Newtown.

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2000: Group Show, Cutcliffe Gallery, Newtown. Drawing Exhibition, COFA, Paddington. Woolsheds, Cutcliffe Gallery, Newtown. Triangle, Newberry Gallery, Glasgow School of Art, Scotland. 2001: Group Show, Cutcliffe Gallery, Newtown. New Theatre Fund Raising, Cutcliffe Gallery, Newtown. Alumination 2K +1 Exhibition, Cellblock, NAS, Darlinghurst.

2002: Outback and Beyond, Cellblock, NAS, Darlinghurst (exhibitor and co-curator).

2003: Mining, Chrissie Cotter Gallery, Camperdown Infusion, Cellblock, NAS, Darlinghurst Masters of COFA 2003, Ivan Dougherty Gallery, Paddington

2004: Spectrum 2004, Parliament House, Sydney Infusion Cellblock, NAS, Darlinghurst Affordable Art Show, Royal Hall of Industries, Fox studios, Sydney

2005: Paperworks, Addison Road Gallery, Marrickville Exchange Square, Exchange Square, Bridge St Sydney

2006: Peter Schell, Addison Road Gallery, Marrickville Twenty/20 Vision, Parliament House, Sydney.

PRIZES:

1999: Major Painting Prize, Sydney Airport Prize. Ken Done Travelling Scholarship for Outstanding Achievement.2010: Section Award for Highest Mark in Diploma of Horticulture (General) Richard St Barbe Baker Memorial Trophy- The Men of Trees

PERSONAL DETAILS:

Date of Birth: 25 September 1952Address: 37 Bay Road Waverton NSW 2060Telephone: 0402036493Email: conschell@bigpond.com.au

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Brana na Faulers Gepu I, 2011, ulje na dasci, 25 x 30 cmThe Dam at Fowlers Gap I, 2011, oil on board, 25 x 30 cm

Potok Oker Haus u Faulers Gepu, 2011, ulje na dasci, 23 x 38 cmOchre House Creek at Fowlers Gap, 2011, oil on board, 23 x 38 cm

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Potok u dolini Brizbejn, Oberon, 2011, ulje na dasci, 29.5 x 35cm.Brisbane Valley Creek, Oberon, 2011, oil on board, 29.5 x 35cm.

Oberon prema Rokliju, 2011, ulje na dasci, 30 x 40cm.Oberon towards Rockley, 2011, oil on board, 30 x 40cm.

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Njenoj Ekselenciji ambasadorki Australije gospođi Heleni Stadert.

Gospođa Stadert nije samo dobar diplomata, već i izvanredan čovek. Ona je u potpunosti razumela ideju Internac-ionalnog umetničkog studija da je danas moguće uspostaviti komunikaciju sa svim dobronamernim ljudima sveta posredstvom jezika umetnosti, koji je razumljiv na celoj planeti.

Zahvaljujući inicijativi i pomoći ambasadorke gospođe Stadert, u novembru 2010. godine osnovana je „Australi-jsko-srpska umetnička alijansa“, čije je sedište u Sidneju, a koja ima za cilj razmenu kulture i umetnosti dve države, Australije i Srbije.

Takođe se zahvaljujemo i renomiranom australijskom galeristi i kolekcionaru, gospodinu Teriju Katklifu, koji nam je pomogao u organizaciji i realizaciji tri izložbe australijskih umetnika u Internacionalnom umetničkom studiju i omogućio da na tako lep način, kroz dela umetnosti, putujemo u njihovu zemlju i učimo o posebnostima njihove kulture i društva.

Her Excelency, the Ambassador of Australia in Belgrade, Mrs Helena Studdert.

In addition to being an exqusite diplomat, Mrs Studdert has also shown wonderful human qualities. She has warm-ly embraced the concept of the International Studio which suggests that in the modern era it is possible to establish global communication with all the well-intentioned people through the language of art, comprehensible to everyone worldwide.

Owing to the strong support and immeasurable help from the Ambassador Mrs Helena Studdert, November 2010 saw the foundation of the Australian-Serbian Art Alliance, based in Sydney, which aims to allow and facilitate cul-tural exchange between the two countries.

We would also like to express our deepest gratitude to the renowned Australian gallery owner and art collector Mr Terry Cuttcliffe, whose organizational efforts and assistance helped us put up three exhibitions by Australian artists in the International Studio. It truly was a magnificent journey of art to this beautiful country with a close look at its culture and society.

INTERNACIONALNI UMETNIČKI STUDIORadovan Trnavac Mića

INTERNATIONAL ART STUDIOZahvaljuje se Expreses their gratitude to

GRUPNA IZLOŽBA SLIKA

SLIKARI IZ AUSTRALIJEARTISTS FROM AUSTRALIA

KnjigaBook 33

IzdavačPublisher

INTERNACIONALNI UMETNIČKI STUDIORadovan Trnavac Mića

INTERNATIONAL ART STUDIOUrednikEditor

Mirjana Vojić

DizajnDesign by

Slobodan Rajević

Uvodni tekst Introductory textRada FilipovićTerry Cutcliffe

PrevodTranslationIvan Manić

Umetnička dela opremio ateljeArtworks equipped by studio

ŠtampaPrinted by

VALJEVO PRINTTel. 014/238-125

TiražCirculation

500avgust 2011.

ISBN 978-86-84653-17-0