Ples s Mare / Dance with Mary
Na jednakoj udaljenosti od sjevernih i južnih granica Jadrana, u pupku preplitanja jadransko-mediteranskog stvaranja, leži Faros. Utemeljili su ga Grci, a mnogo kasnije čak 500 godina njime vladali Venecijanci. On je pupak civilizacije jadranskog Mediterana.
Iz njega, ploveći Jadranom, u ravnoj crti po moru na sjever pristaneš u Venecijsku lagunu, a putujući na jug, na istoj razdaljini, pristaneš na prvom Jonskom otoku Othonoi, gdje je Odisej u zagrljaju Kalypso i u društvu 50 nimfi poživio čak 20 godina.
Med Land projekt – fotografski projekt o mediteranskom identitetu – rodio se u Veneciji, a svoj pravi oblik počeo je dobivati u zemlji Farosa, koja je od Venecije starija barem 800 godina. Projekt je u razvoju, sada se kreće Jonskim otocima.
Izložba isprepliće tri sadržaja: Venecijska laguna kao pra-izvorni kreativni prostor, preko vode i prasila (zmajeva) neprestano je povezana s ostalim Mediteranom, i dalje sa svim morima, vodama…; Jonski otoci koji izrastaju iz pukotine 4000 m duboko ispod morske površine, pukotine u neprekidnom kretanju. Na ovim otocima su masline! Već stoljećima, tisućljećima, neke približno iz vremena kad su Grci pristali u zaljevu Farosa. Masline plešu svoj ples, istkan iz potoka života, od najlakšeg daha pa do gigantskih dimenzija kretanja zemlje među zvijezdama. Plešu svoj kreativni ples, kroz njega se izražava zemljina ciklička pra-mudrost u toku stalnih promjena. Masline su moć i mudrost prostora. U prostoru Jonskih otoka ljudi su s maslina snažno povezani, one su onaj dio porodice koji nikad ne umire.
Treći ili prvi sadržaj percipiram kao čudo, nastao je pod rukama Ivane Petan, umjetnice u glini, tu u Starom Gradu već drugi put. Njena keramička djela povezuju me s novim prostorom, novim elementom u kojem se razvija život, povezuje i pretače na neki drugi način od “naviknutog”. Percipiram ga kao nešto između elementa zemlje i elementa zraka. Najlakše ga doživim okružen morem, tamo je prostor slobodniji, kontemplativniji.
Ivanine skulpture na izložbi percipiram kao središnji i sveobuhvatan prostor između Jonskih otoka i Venecijanske lagune, a istovremeno one svjedoče o nečemu prisutnom na cijelom planetu.
Bojan Brecelj
In the same distance from the northern and southern borders of the Adriatic, in the navel of Adriatic Mediterranean interweaving, there is Faros. Revived by Greeks and much later ruled by Venetians for 500 years, Faros is the navel of the Adriatic Mediterranean civilization.
From there, sailing across the Mediterranean, in the straight line towards the north, you land in the Venetian Lagoon, and sailing towards the south, in the same distance, you land on the first Ionian island Othonoi, where in the Kalypso Cave Odysseus lived with 50 nymphs for 20 years.
MED Land project – photo project dealing with the Mediterranean identity – was born in Venice and acquired its first real shape in the land of Faros, which is at least 800 years older than Venice. The project is in progress, currently moving around Ionian Islands.
The exhibition weaves its way through three contents. Venice Lagoon, as the pre-source creative space, through water and primal forces (dragons), constantly stays connected with the rest of the Mediterranean, with all seas, waters…; with Ionian Islands, that are deeply rooted in the constantly moving geological crack, going down 4000 meters under sea level. Ionian Islands are full of olive trees! Since centuries, millennia, some of them from the time when the Greeks landed in the Faros bay. They dance their dance, woven from the stream of life, from the lightest breath to gigantic dimensions of Earth that move among the stars. They dance their creative dance through which the Earth’s cyclical and primordial wisdom is expressed in the flow of constant changes. Olive trees are the power and wisdom of this space. People of Ionian Islands are strongly connected with them; olive trees are that part of the family that never dies. The third or the first content of the exhibition I perceive as the miracle, created by ceramist Ivana Petan, here in Stari Grad for the second time. Her ceramic artworks are connecting me with a new place, a new element in which life develops; life waters, connects and transfuses in a different way than “usual”. My perception of it is as something between the element of the earth and the element of the air. The easiest way for me to experience it is in the middle of the sea, the space there is freer and more contemplative.
The exhibited sculptures of Ivana Petan I perceive as central and all encompassing, embracing the space between Ionian Islands and the Venetian Lagoon, and at the same time they speak of something that is present throughout the planet.
Bojan Brecelj
Rukama gradim određeni oblik, neki novi prostor, racionalno u meni još potpuno neodređen i nedefiniran. Moj put stvaranja je često takav. Ne znam kamo će me oblik odvesti ovaj put, lebdi u svijesti ne moje glave nego mojih ruku koje slijede intuiciju. Usmjereno se prepustim vodstvu u nepoznato. To je odnos bez riječi, odnos kroz dodir. Nakon rada kući odlazim preispitujući svoj osjećaj prema radu. Da li zaista harmonija i skladnost leže u strogoj simetriji? Znatiželjna i s povjerenjem, iz dana u dan, usprkos racionalno još nepoznatom, onom što se rađa tek u trenucima stvaranja, nastavljam to putovanje, biram pretežno recikliranu glinu, koja dozvoljava iznenađenje boje završenog djela, mjerim dužinu djela koji odgovara premjeru peći, lijepim zmiju gline na sljedeću i sljedeću, sate i sate obrađujem. Na samom kraju rada izostane siguran zaključak “to je to”. Još uvijek se ispitujem da li da još možda malo promijenim gore, dolje…ostavim tako? Razum teško šuti. Napipavam pravi kraj, možda ga ne mogu dosegnuti? I odjednom padne odluka “kraj!”, koja bi u nekom drugom trenutku lako mogla biti tek još jedna stanka u obrađivanju?
Ivana Petan
By hand, I’m building a certain and definite shape, a new space, in my mind still completely uncertain and undefined. My way of creating is often like this. I do not know where this shape will take me this time, it hovers in the conscious, not in my head, but in my hands that follow the intuition. Focused, I let myself be lead by the unknown. It is a relationship without words, a tactile relationship. Walking home, filled with a questioning feeling regarding my emerging work. Does harmony really live only in strict symmetry? Curious and confident, day by day, despite still rationally unknown and being born only in the moments of creation, I continue this path, mostly choosing recycled stoneware, which makes the color of the finished work a surprise, measuring the length of the work that fits my kiln’s width, coiling one piece of the stoneware on the other, shaping for hours and hours. Almost at the end of the work, the assured feeling of “this is it” is missing. I still question myself should I still reshape a bit up, down…or leave it like this? The mind hardly stays quiet. I aim to touch the right finish, perhaps I cannot reach it? And then, suddenly, there comes a decision “the end!”, which could have easily in some other moment be just one more pause in reshaping?
Ivana Petan
ivana petan 