Tonko Maroevic about Nadi Žiljak

Although Nada (Kinert) Žiljak had grown up in a painter's environment and had very soon matured by becoming aware of her own capabilities to express herslef, she had relatively slowly made her decision to come out in public with her works. However, when she had started with exhibition projects after more then some ten years of working and growing in the separatness of a studio, she had a series of individual presentations in different techniques and disciplines, and she presented herself with a row of separate cycles of expressive iconographic programs and ambitious motive-linked incentives. After she had resolved the question of her own identity, in respect to her father's karizma and teacher's authority, and also in respect to the possible twin complex, she came out with her own views on everything that her lyrical drive and visual arts temperament made possible: on love and death, on growth and linking, on biological constants and changes in nature, on the life-giving germ and fruitful mixing, on earthly backgrounds and cosmic breakthroughs, on forming harmonies and colorist concords.

Her individual flair is evident primarily in the movement character, in the manner the lines are drawn and in drawing the trail, sign. He character may also be seen from the way she manifests her comprehension of space, in treating the surface as a screen of intimate, onerous projections, and a palette of exceptionally contrasting relations between warm and cold colors, without prejudice or fear of the striking register of high and squeaky tones. Every stroke she makes on paper is not an indifferent cut and slash, a dynamic print of an almost ecstatic mood, and the whites and voids keep stored the tension of the privileged moments and keep the intensity from being lost in hypertrophy and saturation, filth and vagueness. Nada Žiljak's “cuneiform writing” not only possesses the elementariness of an ideogram, perhaps even the directness with which the prehistoric hunter once fixed the energetic impulses of the wanted animals, but even that emanation “kept forces of beings” that have been carried on through faraway millenniums by petrified fossils of fishes and birds.

The almost pathetic seriousness of approach does not take for granted an exaggerated and morphological originality. Indeed, the artist promotes a completely personal dictum, but being aware of the enormous historical debts; the ones on the ontogenetical abscise but also the ones on the phylogenetic ordinate. Together with her direct predecessor (father), critics in her case think of Klee, Wols, Chagal and even Arcimboldo and Rhotko (and of Dora, adds gently her twin sister Dora). The wide scope of those associated tells us on one hand that it is not a question of an unambiguous loan, but of various assimilated affinities and the quest for one's own position in the crossing point of ordinarily divergent approaches and stylistic options. The basic culturological premises, therefore, could be set as the heritage of surrealism and enformel . The picturesque quality would be achieved in the sphere of some cursive figuration, and the autonomy of the gesture aims at voluntarism of abstraction.

Nada Žiljak's drawing syntax creates sentences of evident darting and flaring, and the chromatic scale hence builds additional elements of appealing and apparition. Transcending physical limitations of the used means and iconic references she can not be merely illustrative even when she sets before herself those very tasks. Hence it is not strange that she makes her decision to have thematic circles of strong symbolic tension, by choosing verse of texts of bible origin, i.e. motifs and cycles of the cosmological, religious inspiration. For example and it is a well chosen example, when she chooses to do a visual art interpretation of Karol Wojtyla's opus. Better known as the Roman pope, this writer was an authentic interpreter and spokesman for a strong vision of God's presence among people, and even the sublimation of the existential anxiety in the widest ontological perspective. Even if she can not compete in everything with the theological implications of the Holy Father's words, our artist can follow him on equal terms in the metaphysical openness of the provoked images, i.e. bravely and humbly (in an almost equal measure) and reply to the provocation of the other-sidedness that is represented (set) by numerous phenomenon of earthly existence.

If we observe the range of viewing and resurrection in the cycle inspired by Wojtila's poetry, we will be surprised by the profusion and variety. True, exalted hymn voices and solemn coral linking of elements prevail, but Nada Žiljak is skillful in making concrete each event, whether it is a question of mostly anthropomorphic accumulations ( Suputnici, Misao je cudnim prostranstvom ), or about intertwined pieces or structures mirroring elements of nature ( Pjesma o neiscrpnom suncu, Pjesma o sjaju vode ). We could also make a polarization having in mind the stronger introspective or extrovert accentuations. ( Otpocinje razgovor sa samim sobom, Otpocinje razgovor s Bogom ), and perhaps also in respect to the initial extremities ( Bojazan koja pociva u pocetku, Nada koja nadilazi kraj ).

Quite true, in this sign of homonymy, Nada, the artist wishes to overpower the limitations of her media and to share her participation with all people of good faith. Perhaps in this she identifies a bit with the Old-Testament or New-Testament sections of prophesized mercy. In any case, with her rhythms and harmonies, her anxieties and vibrations she falls into step with the relevant spiritual heritage, and with her testimony she fulfills her role of engaged, partial evidencing.

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 .