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Nina Todorovic
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katalozi i kritike (izbor)
catalogues and reviews (selection)
English
(below)
Katalog izložbe "Tišine",
galerija KNU, 2000.
KOSE SENKE
O slikama Nine Todorovic
Moglo bi se reci da
vizuelno promišljanje gradjevina, arhitektonskih dela, pa cak i skulptura,
u najširem smislu - slikarske refleksije tvorevina ljudi sacinjenih sa
manjim ili vecim umetnickim ambicijama, cine posebnu familiju slika. To
su slike slika, slike "drugog stepena", zaustavljeni prizori
necega što nije priroda, ali se u našoj podsvesti, u podsvesti coveka
rodjenog i odraslog u gradu, odavno stopilo ili pretvorilo u prirodu.
Pojam "urbani pejzaži", cini se, dovoljno govori o tom psihološkom
izjednacavanju. Za gradskog coveka zavicaj nisu idilicni proplanci ili
rumene jesenje šume, vec iskrzan, haotican svet kontura, površina i perspektivnih
planova. I kao što tradicionalni pejsaž nije tek bilo koji kadar iz prirode,
tako ni gradske slike nisu slucajno izabrani fragmenti - to su privilegovani,
posebno odabrani planovi koji su sposobni da kažu nešto sasvim drugo,
nešto više od prenetog prizora.
Pošavši od podatka iz najbliže okoline - u konkretnom slucaju to su pogledi
iz klase -ateljea na portik susedne moderne zgrade i vizuelno podsticajni
delovi ogoljenog, svedenog enterijera - Nina Todorovic je u dugom i pažljivo
vodjenom procesu prevazišla faktografski sloj koji nudi predložak i odlucila
se da prati trag atmosfere koja se, pod odredjenim okolnostima stvara
oko njih. Taj put doveo ju je do procišcenih prizora i do oblasti u kojoj
je subjektivni doživljaj svetlosti, trenutak poslepodnevne tišine koju
tvore kosi, rumeni zraci zapravo ono što se nudi posmatracima ovih slika
kao iskustvo, utisak ili poetsko cvorište.
Slike Nine Todorovic razvijaju se u ciklusima - iskustva svodjenja prenose
se i na dela promenjene ikonogrfije, novih slika radjenih sa nove "osmatracnice".
Ta iskustva variraju se u platnima istog ikonografskog predloška: jedan
isti visoki kalkan ne ponavlja se samo uslovima promenjenog kolorita,
vec su te slikarske etide ujedno i varijacije psiholoških sadržaja.
Taj skoro melanholicni utisak koji u razlicitom stepenu obeležava sve
slike Nine Todorovic nije postignut lakim lazurima niti brzim potezom
koji na drugi nacin prenosi unutrašnju dinamiku. Površine njenih slika
jesu aktivne, slojevite i pigmentom zasicene zone. Pastelni tonovi i bogata
materija tu su da naznace utisak ugušcene tišine koja je utocište toliko
potrebno u vremenima buke i besa.
Mileta Prodanovic
Katalog izložbe "Konstruisanje
tišine", galerija SKC, Kragujevac, 2003.
Zoom in po meri coveka
Velicina malih slika
Nine Todorovic je njihova sposobnost da, preuzimanjem materijalne kulture,
a izostavljanjem figuracije, indirektno transcendiraju život pojedinca
u urbanoj datosti. Cityscapes nije samo celina koju autorka posmatra,
vec se u njoj reflektuje citav svet u kome ona jeste i iz kog preuzima
ugao gledanja na svoje okruženje. Arhitektura/univerzalno na njenim radovima
je transformisana u individualno proživljeno iskustvo. Upravo je zato,
antropomorfizam osnovni metaforicki proces prisutan u postupku. Kroz promatranje/promišljanje/
arhitekture koja je uvek efekat mikro/makro ideoloških sistema, senzitivan
pogled je sposoban da se vrati konkretnom pojedincu koji, tamo gde ne
ocekujemo, uspostavlja referentni sistem sa delovima tela. Opozicije spolja/unutra,
blizu/daleko, centar/periferija, aktivno/pasivno, svetlo/mracno, preuzeti
su iz organizacije tela i svedoce o humanom oku koje posmatra cityscapes
i prikazuje ga kroz antropometrijske kalkulacije. Otisci predjašnjih gradjevina
svedoce o procesu stalne konstrukcije naše sredine koji utice na formiranje
licne politike secanja. Iako im poreklo nije u prirodi, forme zgrada,
poput svakog pejzaza, razvile su se iz procesa transformacije sveta.
Rezultat preuzimanja anahrone arhitektonske strukture iz urbanog okruženja
koje je postalo tržnica znakova, jeste individualan, kontemplativan ritam
i slikarstvo koje je i po formatu, i po procesu intimno, uprkos cinjenici
da je inspirisano javnim prostorom. Geometrijska/hromatska apstrakcija
na slikama Nine Todorovic se uvek odnosi prema nekom spoljašnjem, odsutnom
dodatku, bilo da je to autorefleksivni subjekat ili fragmentarna refleksija
spoljašnjeg izvora svetlosti. Mogucnost da vidimo ove fragmente krije
u sebi jednu istinu: covekov pogled uvek je uokviren, izmedju mimezisa
i apstrakcije, a kljucno nam cesto izmice...
Maja Ciric
Danas, 06.04.2000.
Galerija KNU, Nina Todorovic - slike
Nina Todorovic (1973)
prvi put izlazi na likovnu scenu slikama, uljima na platnu. Motiv Nininih
slika je urbani pejzaž - arhitektura - svedena na bojene površine ciji
intenzitet zavisi od doba dana. Boja je cesto delikatna, faktura puna
sigurnosti, dok u samom gestu asocira na mladog Mondriana: Pošto je platno
ploha i slikarstvo koje ono prima je plošno, a sprovodnik je misli koja
je manje vezana za vreme i prostor, a više za odnos. Nina Todorovic teži
da ovaj odnos bude dinamican i da izražava asimetricnu ravnotežu. Na nekolicini
slika Nina podvlaci i otudjenost urbanog prostora. Te slike rešava kompozicionim
postupkom i hladnom atmosferom; elementi kompozicije namerno su postavljeni
u položaj koji stvara sukobe i izaziva potajno nespokojstvo. Tišina vibrira
u ocekivanju krika ili nekog strašnog treska. U srecnijim okolnostima
nego što su naše zapitali bismo se odkuda toliko ozbiljnosti kod mladih
slikara. Pošto znamo odgovor, možda ih radost tek ceka.
Gordana Vasiljevic
Danas, 15.05.2002.
Galerija FLU, Nina Todorovic, slike
Uhvatiti nebo
Ciklusom slika nazvanim
"Plavo nebo" (Blue skies), Nina Todorovic (1973) završava svoje
postdiplomske, studije na FLU u Beogradu. Pripada onoj generaciji mladih
Ijudi koji su emotivno, intelektualno i profesionalno stasavali u vremenu
osmišljenog državnog haosa što ih je usmerilo na razne puteve i ostavilo
dubok trag u svima. Oni koji sti prerano sazreli, a uspeli da u tom haosu
sacuvaju licnu stabilnost, spas su potražili u predanom radu. Tu svakako
spada i Nina Todorovic, slikar i po obrazovanju i po vokaciji, vredna,
promišljena i preozbiljna.
U svet umetnosti ušIa je sa "Tišinom", ciklusom urbanog pejzaža
megalopolisa gde je covek prisutan, ali nevidljiv a potom je i taj nevidljivi
nestao, a Nina je poželela da dodirne ono što niko nije dodirnuo, a to
je nebo. Po prirodi taktilno radoznala osmišljavala je i znalacki stvarala
"Plavo nebo" koje je pred na-ma. I u ovom ciklusu ima urbanog
pejzaža koji Nina tretira na sasvim nov nacin. Njen pristup je sada pristup
kamermana i Nina (pod snažnim uticajem Antonionija, odnosno njegove likovnosti
u filmu) pronalazi vezu izmedju dva razlicita medija stvara-juci sopstvenu
poetiku, dolazeci do originalnih rešenja bez obzira na uzore.
Nina Todorovic znalacki prilazi definisanju forme, organizacije boje cime
postiže osoben senzibilitet ritmova, a logicka posledica navedenog je
dobro re-šen problem prividne suprotnosti izmedju konstrukcije i izraza.
Njena kompozicija je procišcena, uskladjena, smirena, usmerena ka jednom
rešenju ka sažimanju slikarskog i filmskog izraza (kadriranje od detalja
do totala). Ona sasvim uprosti šemu i nacrt svoje teme, a istovremeno
ukrašava sliku najsuptilnijim nijansama trenutka koji prolazi. Sa nekoliko
jednostavnih linija, u akordu hladnih i prodornih boja, Nina definiše
,,dan posle", metafizickog prostora ostavljenog da traje bez coveka
ukletog. Tišina vibrira u ocekivanju krika. U hladnoj arhitekturi lebdi
duh ispunjen misterijom i invencijom.
Gordana Vasiljevic
Vecernje novosti,
26.05.2002.
TESKOBNA TIŠINA
Izložba Nine Todorovic u Galeriji FLU
Ocito je da je moto
izložbe Nine Todorovic »Ono što slika prikazuje, razlikuje se od
onog o cemu ona svedoci«, koju je izrekao Paskal Bonitze, dobro
odabrala i u potpunosti pokrila. Surovost koju njene slike otkrivaju,
bez zazora da ce biti pogrešno shvacene, sprovedena je do kraja. Tema
fasada, slikanih debelim namazima i snažnim potezima, jasno govori o otudjenosti
u koju je covecanstvo zapalo.
Nema ljudskog bica, kao da su nestali. Pojedine slike nose nazive »Dan
posle« verovatno aludirajuci na istoimeni film sa temom o uništenju
svega živog. Zgrade su bezlicni svedoci nekadašnje civilizacije. Još ih
nisu nanosi zatrpali i ne cekaju nove generacije arheologa, koje ce pokušati
da prodru u tajnu života ovih zgrada.
U katalogu ona navodi da je ciklus koji izlaže proistekao iz tišine. Zato
ne treba zaboraviti da je, bar po sada važecim mišljenjima, ceo univerzum
proistekao iz tišine. Tek pojava glasa, ili bolje zvuka, tišinu ranjava
i oblicima daje druga svojstva. Tišina kao da prethodi svemu, ali i da
je kraj svega.
I ono što arhitekti i urbanisti nikad nece shvatiti - da je priroda osnov,
a da njihovo delo treba da bude neprimetno u toj prirodi. Doista, mi se
divimo Partenonu, ali, pitam se, da li bi to brdo bilo lepše bez gradjevina.
Oduzmite ljude i nekadašnje i današnje, koji su uglavnom turisti, te velelepne
gradjevine bi delovale otudjeno i pusto, bez svoje svrhe.
»Zen-vrtovima vlada kontrolisana slucajnost«, kaže slikarka
u katalogu. Cini mi se da je kontrolisana slucajnost lažna. No, toga na
njenim slikama nema. One su prave, one svojim cutanjem razaraju gledaoca,
a svedeni kolorit mu uliva jezu. Teskoba pritiska, što je autor i želeo.
Vasilije B. Sujic
Dodatak:
English
Catalogue for the "Silences" solo exhibition, Kolarac Foundation
Gallery, Belgrade, 2000.
SLOPING SHADOWS
About Nina Todorovic's paintings
It could be possibly
said that visual comprehension of buildings, of works of architecture
and even of sculptures, in the most general sense - reflections of painters
of human creations incorporating smaller or grater artistic ambitions,
form a specific family of paintings. Those are paintings of images, "second
degree" paintings captured scenes of something that is not nature,
but that in our sub - consciousness, sub - consciousness of a man born
and grown up in town melted into and transferred into nature, long ago.
It seems that notion "urban landscapes" sufficiently speaks
about this psychological identification by itself. For an urban man homeland
is not a vision of idyllic clearings or of reddish autumn forests but
of a shabby, chaotic world of contours, of surfaces and of perspective
plans. And as a traditional landscape is not only whichever fragmental
scene of the nature thus are neither urban images unintentionally chosen
fragments - those are privileged, specially chosen plans apt to express
something quite different, something more than just a transmitted spectacle.
Starting from the nearest surrounding views - views from a classroom in
this case - from a studio, of a nearby modern building portico and visually
initiating parts of a naked reduced interior - Nina Todorovic overcame
factorial layer offered by proposal and decided to follow trace of an
atmosphere that is under certain conditions formed around them, in a long
and carefully developed process. This process induced to purified scenes
and to a zone in which subjective experience of light is a moment of afternoon
quietness created by oblique pink rays, namely what is offered to an observer
of these paintings as an experience, impression or poetic practice.
Paintings made by Nina Todorovic are developed in cycles - experiences
of deducting are carried over to works with a changed iconography as well,
new paintings, made from a new "observing point". These experiences
are varied on canvases with an identical iconographic proposal: the same
high wall is not reappearing only under conditions of a changed choice
of colors but these painting exercises are psychological content variations
at the same time.
This almost melancholic impression that to a different degree is attributed
to all Nina Todorovic's paintings is achieved neither by applying thin
colour layers nor by quick brush touches that in another way reflect inside
dynamics. Surfaces of her paintings are active, pigment saturated zones
in layers. Pastel tones and a rich stuff are there to point out impression
of a thickening silence and tranquillity a sanctuary so much desired at
times of noise and rage.
Mileta Prodanovic
Catalogue for the
"Constructions of Silence" solo exhibition, Gallery of the Students'
Cultural Center, Kragujevac, 2003.
Zoom in by Anthropometric
Calculations
The greatness of Nina
Todorovic's small scale works is in their ability to indirectly transcend
the life of the individual in an urban setting, by excluding the human
figure and taking over the material culture. Cityscapes is a world that
the artist is observing in its entirety, reflected in what she sees from
her overall perspective, and presented through different vantage points.
The architecture/universal in her work is transformed into an individual
living experience, and utilizes anthropomorphism as a primary metaphoric
process in the execution. By observing / meditating on the architecture,
which is always an effect of micro/macro ideological systems, a sensitive
glance is capable of bringing you back to the individual who, where we
don't expect, establishes an anthropometrical referral system. Oppositions
out/in, near/far, center/periphery, active/passive, light/dark are taken
from the organization of a body and testify to the human eye that observes
Cityscapes and presents it through anthropometrical calculations. Marks
of previous buildings testify to a process of permanent construction in
our environment. A process that influences the creation of personal politics
of memory. Although their origin is not in the nature, forms of buildings,
as every landscape, have developed from the process of transforming the
World.
The result of taking over the timeless architectural structure from the
urban environment that became commercialized, is an individual contemplative
rhythm. And painting is, in scale and process intimate, despite the fact
that it is inspired by structures occupying a public space. The geometric/chromatic
abstractions in Nina Todorovic's works are always referring to some exterior,
or a missing piece, whether it is an auto-reflective subject or a fragmentary
reflection of an external source of light. The possibility of seeing those
fragments hides one truth: human sight is always found between mimesis
and abstraction, and the essence often slips away...
Maja Ciric
DANAS, April 6th,
2000
Kolarac Foundation Gallery – Nina Todorovic – Paintings
Nina Todorovic (1973)
appears for the first time on scene of fine arts with pictures – oil paintings.
Motif of her paintings is an urban landscape – architecture reduced to
different intensity coloured surfaces depending on period of day. The
colour is frequently delicate, structure is very convincing while in gesture
itself it reminds of young Mondrian: since the canvas is a plate, painting
it receives is plate–like, and is a transmitter of thought that less refers
to time and space and more to a relationship. Nina Todorovic tends to
present this relationship as a dynamic one and that it expresses an asymmetrical
balance. Some of Nina's paintings emphasise urban space alienation as
well. She resolves these paintings by a compositorial approach and by
a cold atmosphere; elements of the composition are deliberately presented
in a position that creates conflict and provokes a hidden restlessness.
The quietness is vibrating in expectation of a scream or of an awful crash.
Under circumstances happier than ours we would demand ourselves where
such a high degree of seriousness of a young painter comes from. Since
reply is known to us, it might be that they will encounter a forthcoming
happiness.
Gordana Vasiljevic
DANAS, May 15th, 2002
Gallery of the Faculty of Fine arts,
Nina Todorovic - Paintings
To grasp the Sky
With cycle named »Blue
Skies«, Nina Todorovic
(1973) completes her post graduate studies – Belgrade University – Faculty
of Fine Arts. She belongs to that generation of young people who matured
emotionally and intellectually and professionaly in times of deliberately
created state chaos what directed them towards different roads leaving
a profound trace within everyone. Those who prematurely grew up, succeeding
to preserve personal stability in that chaos, looked for salvation in
devoted work. Nina Todorovic is undoubtedly one of them, a painter by
education and by vocation, diligent, skilful and too serious.
She entered world of art with »Silences« – a cycle of megalopolis
urban scenery where man is present but invisible, while even this invisible
one disappears as well, while Nina wished to grasp something no one grasped
before – the sky. Very curious by nature she devised and expertly created
the »Blue sky« that is in front of us. There is an urban scenery
in this cycle as well, that Nina treats in a completely new manner. Her
approach is now approach of a cameraman and Nina (under strong influence
of Antonioni and his pictorial expression) finds a link between two different
media creating her own poetics by finding original solutions regardless
of the models.
Nina Todorovic expertly approaches definition of form and of colour organisation,
achieving a recognisable sensibility of rhythms while as a logical consequence
she well resolves problem of apparent conflict between construction and
expression. Her composition is purified, co-ordinated and serene, directed
towards one aim – condensing of painting and of film expression ( studying
from details to a total ). She completely simplifies scheme and design
of her theme while decorating the painting with the most subtle shades
of a passing by moment at the same time. With several simple lines in
accord of cold and penetrating colours, Nina defines the »day after«
of metaphysical space left to last without cursed man. The quietness vibrates
in expectation of a scream. In the cold architecture there soars in the
air a spirit charged with mystery and invention.
Gordana Vasiljevic
»Vecernje Novosti«,
May 26th, 2002
Suppressive Silence
Nina Todorovic's exhibition in the Gallery of the Faculty of Fine Arts
It is obvious that
motto of Nina Todorovic's exhibition »What painting represents is
different from matter it is a witness of« proclaimed by Pascal Bonitzer,
is well chosen and completely comprised. Brutality disclosed by her paintings
without fear to be inadequately comprehended is conveyed to its utmost.
Theme facades, painted in thick colour layers and powerful brush strokes
speaks about alienation humanity is stuck into.
There are no human beings present, as if they disappeared. Some paintings
have title »A day after« most probably alluding to film with
same title and treating theme of destroying of all living species. The
buildings are impersonal witnesses of preceding civilisation. They are
not yet covered with deposits in layers, they do not wait arrival of new
generation of archaeologists who will try to penetrate into life secrets
of these buildings.
In accompanying catalogue she explains that the exhibited cycle emerges
out of silence. Therefore it should not be forgotten that whole universe,
by presently adopted attitudes originates in silence. Only emerging of
voice, or even better of sound, breaks the silence and grants some other
properties to forms. It seems that silence precedes everything and that
it is an end of it all.
And what architects and urbanists will never comprehend – that nature
is basis and that their creations should be imperceptible in that nature.
Really, we do admire Parthenon, but I am asking myself would that hill
be more beautiful without buildings. Eliminate past and present humans,
mostly tourists, these most beautiful buildings would seem alienated and
empty without their purpose.
»The Zen gardens are governed by controlled incidents« says
the painter in her catalogue. It seems to me that controlled incidents
are false. However, this can not be seen on her canvases. They are real,
they destroy spectator by their silence while a reduced colouring makes
him shiver. Suppression is burdening exactly as the author wanted it to.
Vasilije
B. Sujic
 
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