Marija ĹĄavija
Nedostatak slobode kao vid slikarstva
Nedostatak slobode kao vid slikarstva Dejan Đorić
Marija Šavija, slikarka i multimedijalna umetnica (Beograd, 1975) svoj najnoviji ciklus slika nazvala je „Nedostatak slobode”. Reč je o sedam platana većeg formata, ritualno odabranih po visini umetnice i širini njenih raširenih ruku (umetnik razapet na svojoj slici). Naslikane su uljanom tehnikom, međutim, u duhu ideje ispitivanja granica slobode slikarka je odbacila kist kao ograničavajući i slikala prstima, što činio i Leonardo da Vinči. „Nedostatak slobode” je i oslobođenje od „Ružičnjaka”, prethodnog ciklusa memorijske figuracije, u kome se pozivala na velike uzore iz istorije umetnosti, tragajući za njihovim vezama sa životom i stvarnošću. Odbacivši figuraciju kao odveć kanonsku, citat kao vid neslobode, Šavija je otkrila apstrakciju, taj vid raskida sa stegama istorije i prisile stilova. Njen doživljaj slike nije spoljašnji već unutrašnji i proživljen, ona stvara u transu, duboko lično doživljavajući svako delo. Veličina i srazmera slike pažljivo su odabrani, ciklus je planski zasnovan, umetnica želi svom snagom pa i telesno da uđe u sliku, ona je potpuno njeno delo, što je suočava sa prizorima i vizijama velike psihološke snage. Brojna podslikavanja, uslojavanja slikarske materije, podsećaju ovde na najbolje dane klasičnog koliko i modernističkog slikarstva. Premda nastala poneseno, njena ulja izražavaju likovnost u najboljem smislu, pa ona nedostatak slobode vidi i u odviše tehniziranoj, otuđenoj i instrumentalizovanoj sadašnjoj umetnosti. Vrativši slobodu posmatraču da se unese i doživi sliku, ona oslobađa taj vid umetnosti od sve veće ispraznosti i tzv. dizajna slike iz doba posle postmoderne. Marija Šavija izražava ideju da je umetnik najslobodniji član društva, jedini stvaralac koji se nesmetano kreće u svim socijalnim slojevima, podjednako cenjen od dna do vrha, što je privilegija još samo lekara. Umetnik je kao čovek i umetničko delo kao njegov alter ego, najbolji izraz, najviši vid slobode. „Nedostatak slobode” nije konceptualni projekat dnevnog političarenja, mada je umetnica bolno svesna vremena u kome živi. Njeno umetničko htenje (Kunstwollen) je da utvrdi životni i metafizički nedostatak slobode bića. Ona postavlja najdublja ontološka pitanja, simboli koji se povremeno pojave na njenim slikama (o kojima je pisala u katalogu izložbe „Ružičnjak”) kao usne, oči, srce ili plodna materica iz koje ističe voda života, samo da podsećaju na ograničenost čula; čovek je neslobodan u svom telu, odenut u kožu kao odelo koje po hrišćanskom verovanju mora jednom svući. Naše prabake u Vojvodini su za nešto sklepano iz više delova govorile „skangalo”. Ne čuva li tako srpski kao najizvorniji indoevropski jezik sanskritski pojam skandha ili „gomila” – pet gomila: agregat pet skupina koje čine čoveka po budističkom shvatanju – telesnost, osećajnost, percepcija, mentalni sadržaji i svest. Marija Šavija je na duboko ličan, najbolji način, zakoračila u misterije (nedostatka) slobode, slobode za i od nečega, što njeno slikarstvo prenosi na teren filosofije, u kojoj su nedostatak i sloboda večni problemi.
The Lack of Freedom as a Form of Art Dejan Đorić
Marija Šavija, painter and multimedia artist (Belgrade, 1975) named her newest cycle of paintings “The Lack of Freedom”. It is about seven canvases in larger format, ritually chosen according to the size of the artist and the width of her extended arms (the artist crucified in its image). They were painted in oil, but inspired by the idea to test the limits of freedom, the artist dismissed the brush and painted with fingers, similarly to Leonardo da Vinci. “The Lack of Freedom” is also the liberation from “The Rosary”, her previous cycle of memory figuration, in which she drew upon the great role models from the history of art and searched for their relationships with art and reality. Rejecting the figuration as overtly canonical, and quotation as a form of slavery, Šavija turned to abstraction as a medium of break up with the chains of history and coercion of styles. Her experience of painting is not external, but inner one and personally felt. She creates in trance, deeply experiencing every work. The size and proportions of the paintings are carefully selected, the cycle is profoundly planned and the artist wants to enter the painting even physically, with all her strength. The painting is completely her work, confronting her with the scenes and visions of great psychological power. Complexity and multilayeredness remind us here of the best days of classical, as much as modernistic painting. Although spiritedly made, her oil on canvas is the expression of art in its best sense. Therefore, she also sees the lack of freedom in too much technically advanced, alienated and instrumentalized present art. She frees this aspect of art from the increasing vanity and the so-called design of the image from the post-modern period by returning to the observer the freedom to enter and experience the image. Marija Šavija expresses the idea that the artist is the most liberated member of society, the only creator who moves unobstructed in all social groups, equally prized from bottom to the top, which is a privilege of the doctors only. The artist as a man and a work of art as his alter ego, are the best expression, the highest form of freedom. It needs to be said that “The Lack of Freedom” is not a conceptual project of daily politics, although the artist is painfully aware of the time in which she lives. Her artistic desire (Kunstwollen) is to determine the life and metaphysical lack of freedom of being. She asks the deepest ontological questions, the symbols that occasionally appear on her paintings (about which she wrote in the catalog of the exhibition “Rosary”) like lips, eyes, heart or fertile womb from which the water of life pours, are just to remind us to the limitation of senses; a man is not free in his body, weary in the skin-suit which, according to Christian belief, must be pulled off once. Our great-grandmothers in Vojvodina called something made from many parts “skangalo”. And so does the Serbian language, as the most iconic Indo-European language, preserve the Sanskrit concept of scandha or “multitude” or “aggregate” – five aggregates that form a man according to Buddhist understanding: body, sensuality, perception, mental contents and consciousness. In a profoundly personal way Marija Šavija entered the mysteries (of the lack) of freedom, freedom for and from something, which transfers her painting to the field of philosophy, in which deficiency and freedom are the eternal problems.
Nedostatak slobode kao vid slikarstva The Lack of Freedom as a Form of Art
Sunce / Sun, 147x195 cm ulje na platnu / oil on canvas
Mesec / Moon, 195x147 cm ulje na platnu / oil on canvas
Venera / Venus, 147x195 cm ulje na platnu / oil on canvas
Merkur / Mercury, 147x195 cm ulje na platnu / oil on canvas
Mars / Mars, 147x195 cm ulje na platnu / oil on canvas
Jupiter / Jupiter, 147x195 cm ulje na platnu / oil on canvas
Saturn / Saturn , 147x195 cm ulje na platnu / oil on canvas
Drina Gallery 19. maj - 09. jun 2018 izložba LIBERTAS
Drina Gallery May 19 - June 9, 2018 exhibition LIBERTAS
Marija Šavija rođena je u Zemunu 1975. godine. Bavi se slikarstvom, scenografijom i pedagoškim radom. Diplomirala je na Fakultetu likovnih umetnosti u Beogradu na slikarskom odseku 2003. godine, a magistrirala na Univerzitetu umetnosti u Beogradu – interdisciplinarne magistarske studije 2006. godine. Redovan je član ULUS-a i ima status slobodnog umetnika. Učestvovala je u velikom broju grupnih i više samostalnih izložbi. Svoje radove prikazala je na šest samostalnih izložbi: Dodiri (Galerija Doma omladine Beograda, 2003), Ružičnjak (Galerija ART & ART, Studentski kulturni centar, 2004), Rad (Aprilski susreti, Studentski kulturni centar, 2014), Odsustvo slobode (Studentski kulturni centar, 2018), Nedostatak slobode kao vid slikarstva (Blok galerija, 2018), Libertas (Drina galerija, 2018). Izlagala je i na grupnim izložbama od 1996. godine: Galerija NUBS (1996-1999), Galerija FLU (2000, 2002), Prodajna galerija „Beograd“ (2000), Galerija Doma omladine Beograda (2001, 2002, 2004), Umetnički paviljon „Cvijeta Zuzorić“ (2002), Konak kneginje Ljubice (2003), Galerija Studentskog kulturnog centra (2004). Pored umetničkog staža, ima i dvadeset godina iskustva u pedagoškom radu, u samostalnom držanju pripremne nastave za upis na umetničke fakultete, kao i sve stručne umetničke škole. Osmislila je i specijalizovane radionice za razvijanje vizuelnog mišljenja, stripa, ilustracije i storyboard-a, koje je realizovala u ustanovama kulture Studenskog kulturnog centra u Beogradu, u Domu omladine u Beogradu, kao i u Kulturnom centru u Novom Sadu. Trenutno samostalno vodi školu za talente u prostorijama Kulturnog centra Stari grad – Parobrod.
Marija Šavija, born in Zemun in 1975, is a painter, teacher, and scenographer. She graduated from the Painting department of the Faculty of Fine Arts of the University of Belgrade in 2003, and she got her magister degree in interdisciplinary studies at the University of Arts in Belgrade in 2006. She is a member of ULUS (The Association of Fine Artists of Serbia) and an independent artist. Her works were displayed at six solo exhibitions: Touches (Gallery of the Belgrade Youth Center, 2003), Rose Garden (ART & ART Gallery, Student Cultural Center, 2004), Opus (April Meetings, Student Cultural Center, 2014), The Lack of Freedom (Student Cultural Center, 2018), The Lack of Freedom as a Form of Art (BLOK Gallery, 2018), and Libertas (Drina Gallery, Belgrade, 2018). Her works have also been displayed in a number of group exhibitions since 1996. This includes exhibitions in: the NUBS Gallery (1996-1999), the Gallery of the Faculty of Fine Arts (2000, 2002), the “Beograd” Sales Gallery (2000), the Gallery of the Belgrade Youth Center (2001, 2002, 2004), the “Cvijeta Zuzorić” Art Pavillion (2002), the Residence of Princess Ljubica (2003), and the Gallery of the Student Cultural Center (2004). Her works are kept in the Ministry of Culture of the Republic of Serbia. In addition to that, she has twenty years of experience working as a teacher, preparing students for art school admission exams. She has designed specialized workshops focused on the development of visual thinking, comics creation, illustration, and storyboarding. These workshops were organized in the facilities of the Student Cultural Center in Belgrade, the Belgrade Youth Center, and the Cultural Center of Novi Sad. Currently, she is running her own talent school at the Cultural Center of the Municipality of Stari Grad in Belgrade.
https://marijasavija.com/ e-mail: marijasavija@gmail.com phone: +381 64 144 59 82