BZK GALERIJA PREPOROD KREATIVNI CENTAR VIZUELNIH UMJETNOSTI MIRSADA BALJIĆ BIOGRAFIJA MIRSADA BALJIĆ Atelje: Branilaca Sarajeva, 16/V; 71000 Sarajevo, BiH, Tel. +387 (0) 61 304 134 www.mirsadabaljic.com, E-mail:art@mirsadabaljic.com Rođena u Čapljini 15 februara 1961.god.(BiH) A Višići su dom njenog odrastanja, prostor prvih spoznaja i interesa za slikarstvo. Poslije završene Gimnazije definitivno ulazi u svijet umjetnosti. Prvu izložbu je imala u Čapljini 1985. god. Što je i početak njenog dugogodišnjeg aktivnog umjetničkog stvaralaštva.U Neumu i Sarajevu otvorila je i uspješno vodila jedan period „Angkor Vat“ i „Baljić“ galerije. Tokom cijelog ratnog perioda u Sarajevu, rukovodilac je u umjetničkoj četi i organizator više izložbi i umjetničkih projekata. Ima priznat status istaknutog samostalnog umjetnika od strane Federalnog i Kantonalnog ministarstva kulture. Član je Udruženja umjetnika Bosne i Hercegovine(ULUBIH). Akvarel je njena dominantna slikarska tehnika. Živi i radi u Sarajevu. Voditelj je Galerije Preporod - Multimedijalnog Edukativnog Centra. Organizator je značajnih kulturnih manifestacija: • „Umjetnici Sarajeva za slobodnu BiH“ –Sarajevo ( Oktobar 1992), Ljubljana ( Decembar 1994) i Maribor (Januar 1995. godine) Kao i mnogih izložbi u Sarajevu u tom periodu. • Prve Olimpijske BiH kuće – Sidney 2000g, izložba „Olimpijsko Sarajevo – Olimpijskom Sidneyu“, kao i mnogih drugih internacionalnih izložbi. • Suorganizator je projekta-izložbe BiH umjetnika u 2007god „800 godina Dželaludin Rumi Mevlana“ Sarajevo, Mostar, Bihać, Tuzla i Konya- Turska. • Internacionalne likovne kolonije. „Hercegovina 200 -Počitelj“ koja je tradicionalna. „Bjelašnica 2006“, „Herceg Novi- Igalo 2007“, Bihać Una-Kiro-Rafting 2008. Samostalno izlagala na 40 izložbi: • • • • • • • Bosna i Hercegovina: Čapljina, Neum, Sarajevo, Tuzla, Fojnica, Bihać, Mostar, Zenica Hrvatska: Dubrovnik, Zagreb Crna Gora: Herceg Novi, Pljevlja, Kotor,Herceg Novi-Igalo Njemačka: Berlin Austrija: Beč USA: Los Anceles, Washi.gton Tursk`- Gaziantep. Sudjedovala na preko 70 kolektivnih izložbi: • • • • • • • • • • • • Bosna i Hepcegovina: Čapljina, Sarajevo, Zenica, Mostar, Bihać, Tuzla, Pocitelj Turska: Ankara, Izmir, Istanbul, Konya Austrija – Beč Maroko – Casablanca Egipat- Cairo Libanon – Beirut, Australija – Sidney, Sidney-Manli, Njemačka – Rostock, Hrvatska – Rijeka, Slovenija – Ljubljana, Maribor, Kostanjevica na Krki, Italija – Biella, Crna Gora- Herceg Novi. -Igalo /U povodu izložbe MISTIČNI PLES ISTOKA I ZAPADA, Mirsade Baljić/ Moglo bi se ustvrditi, s svim argumentima, kako ja pratim već godinama ovo slikarstvo, kako sam u više navrata pisala, govorila, otvarala izložbe,promatrala kako nastaju ovi čudesni vrtovi. I mogla bih se, s pravom, ponoviti. Eh, ali, slike Mirsade Baljić uvijek me iznova inspiriraju da govorim iz početka, i drugačije. Da ih uvijek iznova gledam i doživim. Za mene je to bitna značajka umjetnosti općenito: uvijek joj se vraćati, nikad je ne konsumirati do kraja i definirati kao završenu u percipiranju. Dogledati. Dočitati. Umjetnost je komunikacijski proces I kao takva živuća. Dakle, kao što se dade vidjeti, a znademo i iz ranijih susreta, jer to već jest prepoznatljiv stil i dominantno specifično izražajno sredstvo ove slikarice, riječ je o akvarelima. Tehnici koja se doima lagahna, prozračna, u pokretu, a ipak podrazumijeva vrlo vještu ruku i koncept. Osobito umijeće da se ovlada i izrazi kistom s kog lijeva i razlijevaju se boje koje se spajaju u novo, u nepredvidivo i fascinantno.I kao da se taj uzbudljivi proces stvaranja zadržava i nastavlja u životu slike.U ritmu. U kompoziciji. U koloristici.Ova Slikarica, očigledno je, suvereno vlada tehnikom akvarela. Druga specifika njezina slikarstva je motiv: CVIJEĆE. I to ne klasične floralne kompozicije s dekorativnom namjerom i namjenom, koje su česte u slikarstvu općenito. Ne, ovi cvjetovi su daleko dublja istraživanja cvijeta-bića, i u mističnom, i u simboličkom segmentu, između ostalih. I upravo u tome akvarel biva najprimjerenija tehnika. Život biljke,cvjetanje kao posebna faza, cvijet kao fenomen, bivaju u interakciji s svjetlošću, Suncem i Mjesecom, ali i vodama u vječnom kruženju voda. Metamorfoza koja se ritmično ponavlja. Koja jest slika života samog.Simbolika cvijeta veli kako je cvjetna čaška, kao i kupa, stjecište nebeske aktivnosti, a simbolizira također i razvoj pojavnog svijeta.U tantričko-taoistički simbolizamu je postignuća nekog duhovnog stanja,također cvjetanje je rezultat unutarnje alkemije, spoja biti i daha, vode i vatre.Ili u aztečkoj civilizaciji, cvijeće je uz ukras, užitak i nadahnuće, bilo i obilježje brojnih hijeroglifa i faza kozmogonijske povijesti. Dakle, oni su pisali cvijećem i to vrlo bitne stvari. i još da pomenem kako je cvijet, u svojoj kompleksnoj simbolici, i arhetipski lik duše i duhovno središte.Ovo je parafraziranje vrlo malog dijela složene simbolike cvijeta, Cvijet je za nas vječno tajanstvo, a Slikarica ga prisno rastvara , rascvata u svojim slikama. Začarava ga u pokret, poredak, znakovlje. Iz njega titra osobita energija i plodna pelud. Ovo cvijeće zrači i znači. Traži i osvaja nove i nove prostore. I njegov mistički ples, za mene je ne po horizontali istok-zapad, već po vertikali zemljanebo. Pozadina je uvijek nebo, ali ne tek pasivna, već također u interakciji, i kompozicijskoj i simboličkoj. Kad smo već kod strana svijeta, mene ove slike oduvijek živo asociraju na jug i južna ozračja, otkud nam Mirsada Baljić dolazi. I koji uvijek ostaje posebna žudnja umjetnika, i obilježje viđenja pojavnosti u umjetničkom iskazu. Vrlo često na ovim slikama titraju i kreću se mimoze, simbol sunca i svjetlosti, raskoši i moći. Asociraju na radost, jug, navješćuju proljeće. U svom mističnom plesu, gracilnom pokretu, nekoj čudesnoj arabeski.Kao da same od sebe grade kompozicije, vlastiti život i igru.Ipak, iza njih stoji vješt kist pun sunčeve boje. I ono još nešto što se ne dade, a ni ne treba definirati do kraja. Ono nadahnuće, ili dar od Boga, koje nosi istinski ushit, i bol, i kod umjetnika i kod konsumenta. Što još ima novoga? Posve nova ljubičasta boja, sve prisutnija na novijim slikama. Sve izrazitija barokna kompozicija, kako je zamjetio naš prijatelj i vrstan slikar Džeko Hodžić. I nešto što se javlja već prije kao cvijet, a eto sad i kao plod: NAR. Nar je svojevrsno čudo koje svakad uhiti slikara u neku svoju čaroliju. Teško da mu se može oduprijeti. Ali ima tu još nešto: svete knjige nam vele kako nar iscjeljuje od zavisti i mržnje. Nije li nam u ovim vremenima više nego li potrebno takvo iscjeljenje? A ono što nam Mirsada Baljić ponajprije nudi svojim rascvjetanim akvarelima jest pozitivna energija koju oni obilato emaniraju.Moguće su otud, iz cvjetova nara, nastali i sazreli plodovi koji iscjeljuju. Moguće otud i ljubičasta, boja vidovitosti, ravnoteže izmeđ nebeskog i zemaljskog, strasti i razuma, ljubavi i mudrosti.Što nam eksplicite predstavlja i ova izložba: jedno zrelo, samosvojno, u punom cvatu, slikarstvo Mirsade Baljić. Strastveno, mudro, i puno ljubavi.Prema cvijetu, i prema svijetu kojemu to biva sve potrebnije. Ljubica Ostojić Sarajevo, 21 marta 2011. “Mimoza i Most” “Mimosa and Bridge” “The Touch of Mimosa” “Dodir Mimoze” “Tajna Mimoze” “The Secret of Mimosa” “The Dance of Mimosa “ “Ples Mimoze” “Mistični ples Istoka i Zapada” 10 “The Mystic Dance of East and West” “The Smell of Mimosa” “Miris Mimoze” 11 “Cvijeće za majku” 12 “Flowers for Mother” “The Poppies of My Childhood” “Makovi iz mog djetinstva” 13 Iz ciklusa “Makovi III” 14 14 From the collection “Poppies III“ “To him who wanders among my thoughts” “Njemu, koji putuje mojim mislima” 15 16 16 “Njima, zaustavljenim u sijećanju” “To those who remain in my memory” “A Dedication to my friends” “Prijateljima posvećeno” 17 “Sestri na dar” 18 18 “A gift for my sister” “The children from my family´s garden” “Djeci iz moje Avlije” 19 20 “Očev najdraži dar” “A gift from my deasest father” “Touch” “Dodir” 21 “Cvjetna muzika za moju braću” 22 “The music of flowers for my brother” From the collection „Poppies II“ Iz ciklusa “Makovi II” 23 “Nar” 24 “Pomegranate” “The Sound of Silence” “Zvuk tišine” 25 atelje Mirsade Baljić RESUME Mirsada Baljić Outstanding Independent Artist Atelier : Branilaca Sarajeva 16/5, 71000 Sarajevo, Bosnia and Herzegovina Tel: +387 061/304-134; Email: art@mirsadabaljic.com; Website: www.mirsadabaljic.com Born in Bosnia and Herzegovina on 15 February 1961, and raised in Višići where she first became acquainted and interest in painting. After graduating from high school, she unreservedly entered the world of art. Her first exhibition in Čapljina 1985 marked the beginning of many years of active artistic creative work. For a period of time she succesfully ran her galleries ‘Angkor Vat’ and Baljić’ in Neum and Sarajevo. She spent the entire war period in Sarajevo managing the troops of artists and organizing a number of exhibitions and artistic projects. She has been awarded the status of an outstanding freelance artist by the Federal and Cantonal Minstries of Culture. Member of the Association of artists of Bosnia and Herzegovina (ULUBIH). Her main technique is watercolor. She lives and works in Sarajevo, where she administrates the Multimedia Educational Center Gallery ‘Preporod’. 26 Organizer of numerous significant cultural events, including: • The International Art Colony, an annual event which takes place in various locations: Počitelj, Bjelašnica, Bihać, Herceg-Novi. • Co-organizer of exhibitions of B&H Artists in 2007 entitled ‘800 Years of Mewlana Rumi’ displayed in Sarajevo, Mostar, Bihać, Tuzla (all in BiH) and Konya (Turkey). • ‘The First Olympic BiH House’ in Sydney in 2000, the exhibition ‘Olympic Sarajevo to Olympic Sydney’ in Sydney 2000, and other workshops and exhibitions. • ‘Artists of Sarajevo for Free Bosnia and Herzegovina (BiH)’ Sarajevo, October 1992; Ljubljana, December 1994; and Maribor, January 1995. 40 solo exhibitions between 1985 - 2010: • Bosnia and Herzegovina: Čapljina, Neum, Sarajevo, Tuzla, Fojnica, Mostar, Zenica, Bihać • • • • • • Croatia: Dubrovnik, Zagreb Montenegro: Herceg Novi, Pljevlja, Kotor, lgalo Germany: Berlin Austria: Wien USA: Los Angeles, Washington Turkey: Gaziantep Participation in over 70 group exhibitions 1985 – 2010 : • • • • • • • • • • • • Bosnia and Herzegovina: Čapljina, Sarajevo, Zenica, Mostar, Bihać, Tuzla, Počitelj Turkey: Ankara, Izmir, Istanbul, Konya Austria: Wien Morocco: Casablanca Egypt: Cairo Lebanon: Beirut Australia: Sydney, Sydney-Manly Germany: Rostock Croatia: Rijeka Slovenia: Ljubljana, Maribor, Kostanjevića on the Krka River Italy: Biella. Montenegro: Igalo, Herceg Novi 27 In regard to the exhibition THE MYSTIC DANCE OF EAST AND WEST by Mirsada Baljic. It is possible to claim with all arguments that I have followed for many years this art work, and that I have been writing, talking, and opening many exhibitions about the creation of these amazing gardens. Rightly so I could have repeat myself, however paintings by Mirsada Baljic, are always inspiring me to start talking from the beginning and differently. To watch these paintings and experience them as it was for the first time. For me it is generally important characteristic of art: always to return to it, never to consume it fully or define it as finalized in perceptions. Art is a process of communication and as a such always alive. Therefore, as it is possible to be seen and know from previous occasions it is recognizable style and it is dominantly specific way of expression of this artist, in question are aquarelles, technique that is perceived as being easy flourishing in movement but requires a capable hand and concept. Particular ability to guide and express by brush from which color drips, and flows being united in new unexpected and fascinating color. This exciting process of creation has been kept and continued in the life of the painting. In the rhythm. In the composition. In the color. This artist obviously has mastered the technique of aquarelle. Another specific of her paintings are motives: flowers, but not classic floral composition with decorative intention and purpose, which are often in paintings. These flowers however represent much deeper exploration between flower and being in a mystical and symbolic segment in between others. Due to that aquarelle is the most applicable technique. Life of a plant blooming in a specific phase, flower as a phenomenon are in interaction with light, sun and moon in endless circulation of water. Metamorphoses, which is being rhythmically repeated. Being a picture of life itself. Symbolic of flower tells us how that a flower sepal as well as petal are center of godly activity and symbolize appearance of the visible world. In Tao symbolism reaching of spiritual state of blooming is a result of internal chemistry touching of essence of breath, water and fire. In Aztec civilization flower is a ornament which represents, pleasure and inspiration as well as sign found in many hieroglyphs and cosmic history. Therefore they were writing with flower very important things and to mention as well that flower in its very complex symbolic represents soul and spiritual center. This is paraphrasing of a small part of complex symbolism of a flower. 28 Flowers for us are forever secret and artists are gently disposing and blossoming her in paintings. It is mystically putting into movement, order, symbolism. From it derives amazing energy and plentiful anther. This flower radiates and has meaning. It is searching and conquering new, and new spaces. Its mystical dance for me does not go horizontally east and west, rather vertically land and sky. Backstage is always sky, but not passive, rather in interaction, in composition and symbolic. Since we are on the side of the world for me these paintings vividly associate me with south and southern surroundings where Mirsada Baljic ,comes from and which always remain particular desire of artist and symbol of perception in artistic expression. Very often on these paintings flutter and movement are mimosas, symbol of sun, richness and power. They associate with happiness with south and are announcing spring. In its mystic dance in elegant movement and in magicial arabesque, like that they are making composition, they life and play. However, behind them are capable brush of sunny color and something that is hard to define and it is not needed to be fully described, inspiration or gift from God, which consist of true inspiration and pain equally presented by artists and consumer. What else is new are particular violet color, very present in new paintings. The more expressed baroque composition as being stated by our friend and known painter Dzeko hodzic, and something what has been appearing first as a flower and now as a fruit: pomegranate is amazing fruit which is drawing a painter to its magic. It’s hard to resist to it. There is also something else telling us in holy books that pomegranate is medicine against jealousy and hatred. Aren’t we all in this time, more than ever in need of such a cure. And that what Mirsada Baljic is offering to us in its blossoming aquarelles is a positive energy which is being hugely emanated. It is possible then, to have from the flower of pomegranate fruit that is healing. It i possible from there are violet color, visionary color, color of balance between holy and earthy, affection and reason, love and wisdom. That is what represents this exhibition, mature, self aware in full blossom paintings of Mirsada Baljic, affectionate, smart, full of love towards the flower and towards the world which is in need of it. Ljubica Ostojic Sarajevo, 21 Mart 2011 29 30