«There are few idyllic people in the world, however, there are some», Bela Hamvas. Nada Žiljak's painting is »taken for granted», and this is not an uncommon position for artists in general - making them remain in the sphere of a passing impression and liking (and this may be the general reception of works of art). Nada herself can not, as is the case with a majority of painters, transfer this (surface only) perception into a higher standard one, nor do anything to make her paintings be evaluated in a radically different manner. Because she has never gone through drastic changes, nor did she make any efforts to be «different», «better», «newer». This is obvious. She did not go through various «phases»; perhaps she has only become more recognizable, i.e. she has made her painter's identity more profound. However, should this be taken as her weak side, her incapability or inertness? To date she has painted so many «similar» paintings which is more than obvious.

Her paintings often resemble each other. They have the same motives, the same «mise-en-scene», and occasionally a new «requisite». Does this only appear to be so or can it be said for other painters' works too? Is this proof of anything important? (Is it of any importance - as these words are not written by an art theoretician but a plain observer)? But no question should be underestimated from this perspective, because other observers pose it shyly. For instance: Do artists – in the same way as writers do - always paint the same picture/write the same novel, and why are they doing this, for what reason? And why there is no effect on the viewer and everything is reduced to silent accepting or rejection, and most often to not understanding. The first thing I notice when making the effort to determine a general definition of how Nada Žiljak's painting impresses me is that colors dissolve in her works in a kind of unawareness, ecstasy, void of «composing», like in a molten kaleidoscope that alters from painting to painting only in nuances, tone and lighting intensity.

However, the rhythm consistently, almost always remains the same. And the figures function in the same way in respect to those backgrounds; generally in pairs, with fragile joints, always in the same ethereal, floating movements. And they do not hover there as some sort of «decoration» but are there to express something. What is it? We shall try to answer this question. What are the titles? Is there an answer in those titles? They are always in more extensive series such as «The embrace» or «In ecstasy» telling us that they are only the common denominator, the external frame, the general mark, in one word: something not so very important for the artists, but nevertheless expressing the overpowering atmosphere of the works. My conclusion is that the titles also reflect what has been painted, perhaps even unconsciously, and thereby in a fully suitable manner. But what is this reality that is being painted by Nada Žiljak? This is the most important question; in any case it has been the one that has always really interested me. What is this «reality» about? What kind of «world» is it about? I sensed what would be the answer, I felt I was close to it; even more so, I was sure it was about being ORPHIC, I could even lamely articulate it, but I finally recognized it in making the analogy with the work of a thinker – Bela Hamvas. This kind of discovery is always a great pleasure because it is true in its essence.

Therefore, I started from the fact that Nada's paintings were of «orphic» character, and came to the conclusion that they are ruled by the same transcendent serenity (elusive and untouchable) suggested to us as a life credo by Hamvas, trying to make it real to the reader, in the same manner Nada makes it conscious to the viewers. However, this is not about mere aestheticizing, remaining juvenile infantilism in respect to beauty and pleasure nor a mere world of lust. No, on the contrary, this is about being sensible, i.e. refined and a different consciousness is necessary for that, a consciousness different in respect to a mere “artist's decision” to express something in a “painter's” manner. This can be achieved only by “WINDING ONE'S CHARACTER”, by straining one's own nature and being, and the final result of such an exhausting long journey is the invasion of TRANSCEDENCY into the world. Into a world that has been blunt, insensitive and deaf for a long time now. “In this immorality and unrestrained behavior that has been going on for two and a half thousand years, the sole and last foundation for order is the rapture of a piece of work in which a person lives and is the only and last thing in which he believes and for what he can make a sacrifice for with the remaining warmth of his half-frozen heart. A piece of work is a form of eternity. It may be the last one. A piece of work is glory. A piece of work ia the last crumb of the sacral being.” says Hamvas. Nada Žiljak is not a mere painting practitioner of such an orphic view of the world. Perhaps she is not even conscious of this orphic quality in her work, and her painting is even more so authentic. But for someone who is experiencing it externally, as an observer, viewer realizes that her painting is becoming more general, simpler, and more intense. At the same time it is more personal, and it has more layers, and many new nuances. Today it is more than ever the expression of an efficient existence of its author's real life. It is the expression of the artist's becoming authentic, of her credibility and original quality. How many artists have been capable of BECOMING AUTHENTIC while painting? This is impossible to achieve in the scope of a “project”, a plan. In order to understand this better it is necessary to observe two things.

By sticking to Hamvas's assertion that the world does not change, that it has its unique system being also its foundation, and (bearing in mind that there will never be any other foundation) any disturbance of this precise being will have incalculable consequences for man: loss of taste, disruption of customs, mental derangement. The answer to this state would be salvation, a unique, only piece of art in which an artist functions. This can not take place in the field of realism, but in the relationship between imagination and the subjective I. In any case, this and such realistic state is not true. To believe in the truth of realistic state is a misconception that applies to all people equally. «There are few idyllic people in the world, however, there are some», says Hamvas. “Those people who know how to sit peacefully, drinking wine or tea, those who are not in a hurry, those who lie in the grass and do not want anything. But the idyll itself is something different. It is the capability of man to be quiet, sit, and wait. Like idyllic trees. You can have an idyll by placing one glass jar on the shelf. A chair made of straw. Van Gogh. idyllic animals, a higher individual quality. The highest metamorphose. The door-step to reality. Still myself, but not the same. When man comprehends that the body is concentrated spirit, and that logic is concentrated magic, matter is concentrated non-matter, contents is concentrated form, and a miracle is concentrated reality.” And to conclude, if one wishes to understand the painting of Nada Žiljak, it will be most appropriate to dedicate one to understanding its stoic serenity. Dora Kinert Bucan


Patrik Ervell’s latest collection is ironically titled “Software”ADIDAS ORIGINALS TUBULAR SHADOW. In the notes from the presentation, Ervell says he was “interested in developing tension between nostalgia and sci-fi,NIKE ZOOM WINFLO 3” and even included ‘90s cyberpunk amongst his influences. Ervell developed this point of view by creating an imaginary software company called Idegen software systems. He then re-appropriated the company’AIR JORDAN XXXI MENs logo in several of the collection’s garments. Elsewhere,MBT TARIKI MEN mohair coats with oversized lapels made an appearance alongside mock neck tees,NIKE AIR JORDAN RETRO 5 police-inspired ribbed sweaters,MBT FORA GTX WOMEN flight bombers, and polyurethane leather coats. The setting was also suitably dystopian, and the resulting ambiance was something akin to if the creators of Deutschland ’83 and Hackers met up and decided to create a collection… We mean that as a compliment.Yesterday afternoon,JORDAN CP3 IX MEN artist JR spent the day working on his latest collaborative piece with Daniel Arsham in Greenpoint,NIKE AIR MAX 90 Brooklyn,MBT KIMONDO GTX MEN NYC. Connecting the lines between art, architecture, dance and theater, Daniel Arsham has been known to subvert existing architectural structures in unconventional,NIKE CLASSIC CORTEZ NYLON playful ways; confusing and confounding the expectations of space and form. Source: Street Art News .