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ANA BEŠLIĆ EMANCIPACIJA FORME Katalog Izložbe emancipacija f orme ANA BEŠLIĆ emancipacijaf orme ANA BEŠLIĆ Ι EMANCIPACIJA FORME Skulpture u javnim zbirkama i muzejskim kolekcijama: Izbor 1954‒2001. ANA BEŠLIĆ Ι EMANTIPATION OF FORM Sculptures in Public and Museum Collections: Selection (1954‒2001) Autorka i kustoskinja izložbe / Exhibition Author and Curator mr Suzana Vuksanović Dizajn / Design Mirjana Dušić Lazić Producent / Producer Jovan Jakšić Tehnička služba / Technical Services Đorđe Popić, Pajica Dejanović Muzej savremene umetnosti Vojvodine u Novom Sadu Museum of Contemporary Art Vojvodina in Novi Sad Dunavska 37, Novi Sad 24. februar – 19. mart 2015. ANA BEŠLIĆ emancipacijaf orme Skulpture u javnim zbirkama i muzejskim kolekcijama: Izbor 1954–2001. Autoportret II, 1959. Ι Self-portrait II, 1959 vl. Muzej grada Beograda Ι owner: Belgrade City Museum Torzo, 1954. Ι Torso, 1954 vl. Galerija Matice srpske, Novi Sad Ι owner: The Gallery of Matica srpska, Novi Sad Veliki torzo, 1958. Ι Large Torso, 1958 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Otvorena forma IIa, 1967. Ι Open Form IIa, 1967 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Otvorena forma 4 (Žuta), 1967. Ι Open Form 4 (Yellow), 1967 vl. Muzej savremene umetnosti, Beograd Ι owner: Museum of Contemporary Art, Belgrade Otvorena forma 8a, 1967. Ι Open Form 8a, 1967 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Dvobojna skulptura 2A, 1970. Ι Dichromatic Sculpture 2A, 1970 vl. Narodni muzej, Beograd Ι owner: National Museum, Belgrade Otvorena forma 10, 1968. Ι Open Form 10, 1968 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Otvorena površina 25, 1972. Ι Open Space 25, 1972 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Reljef I, 1973. Ι Relief I, 1973 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Reljef II, 1973. Ι Relief II, 1973 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Otvorena forma, 1969. Ι Open Form, 1969 vl. Muzej Zepter, Beograd Ι owner: Zepter Museum, Belgrade Skulptura 2a, 1973. Ι Sculpture 2a, 1973 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Skulptura 1, 1972. Ι Sculpture 1, 1972 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Skulptura 1a, 1972. Ι Sculpture 1a, 1972 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Crna skulptura, 1975. Ι Black Sculpture, 1975 vl. Muzej savremene umetnosti Vojvodine, Novi Sad Ι owner: Museum of Contemporary Art Vojvodina, Novi Sad Crveno ‒ crno, 2001. Ι Red ‒ Black, 2001 vl. Muzej rudarstva i metalurgije, Bor Ι owner: Museum of Mining and Metallurgy, Bor Sanja u beretki, 1979. Ι Sanja with A Beret, 1979 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Ljubinka, 1979. Ι Ljubinka, 1979 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Prijatelj iz Kanade, 1979. Ι A Friend from Canada, 1979 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Marija Crnobori, 1979. Ι Marija Crnobori, 1979 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Milena Barili, 1979. Ι Milena Barili, 1979 vl. Narodni muzej, Beograd Ι owner: National Museum, Belgrade Slikar Gabrijel Stupica, 1979. Ι Painter Gabrijel Stupica, 1979 vl. Galerija Matice srpske, Novi Sad Ι owner: The Gallery of Matica srpska, Novi Sad Tina Tarner, 1979. Ι Tina Turner, 1979 vl. Gradski muzej, Subotica Ι owner: Municipal Museum of Subotica Jastuk, 1988. Ι Pillow, 1988 vl. Narodni muzej, Kraljevo Ι owner: National Museum, Kraljevo Jastuk, 1988. Ι Pillow, 1988 vl. Muzej savremene umetnosti Vojvodine, Novi Sad Ι owner: Museum of Contemporary Art Vojvodina, Novi Sad Jastuk VI, 1988. Ι Pillow VI, 1988 vl. Galerija Matice srpske, Novi Sad Ι owner: The Gallery of Matica srpska, Novi Sad Suzana Vuksanović Emancipacija forme Podsećanje Ana Bešlić je diplomirala 1947. na vajarskom odseku Akademije likovnih umetnosti u Beogradu. Postdiplomske studije završila je 1949. kod profesora Tome Rosandića. Bila je saradnica u Majstorskoj radionici Tome Rosandića (1950–1955) zajedno sa Jovanom Soldatovićem, Ratimirom Stojadinovićem, Olgom Jančić, Antom Gržetićem, Savom Sandićem i Milicom Ribnikar. Prvu samostalnu izložbu imala je 1954, kada je izlagala sa Đorđem Bošanom u Subotici. Učesnica je brojnih umetničkih kolonija i simpozijuma, a izlagala je i na značajnim izložbama jugoslovenske umetnosti u inostranstvu.1 Istoričarka umetnosti Katarina Ambrozić prva je retrospektivno i studijski obradila rad Ane Bešlić. U svojoj studiji, objavljenoj 1983. povodom retrospektivne izložbe,2 ona je naznačila, i danas primenljiva, četiri perioda Bešlićkinog rada i umetničkog razvoja: Školovanje (do 1954), Asocijativna forma (1954–1962), Prelazni period (1962–1966) i Razdoblje sfere (od 1966) sa ciklusima Bojena lopta, Portret i Disk. Novo čitanje radova Ane Bešlić donela je studija Miška Šuvakovića,3 gde je, sa stanovišta feminističke istorije umetnosti, primećeno da asocijativni oblici Ane Bešlić vode ka poimanju „ženskog“ doživljaja skulptorskog tela kao rodnog (gender) tela. Rodna, gotovo genitalna, asocijativnost bitna je odrednica njene skulptorske emancipacije i uloženog napora u prevazilaženju formalizma, ka otvaranju forme i relativizaciji odnosa „unutrašnje–spoljašnje“ u skulpturi, ali i u životu (odnosno ženskom telu). 1 Videti Biografiju Ane Bešlić u ovom katalogu. 2 Katarina Ambrozić, Ana Bešlić, Gradski muzej Subotica, Subotica 1983. 3 Miško Šuvaković, „Ana Bešlić i kontradiktorni narativi o modernoj umetnosti“, u: M. Šuvaković, J. Denegri, Ana Bešlić (1912–2008), TOPY, Beograd 2008. 35 Predstavljanje „Na poslednjem Trijenalu jugoslovenske umetnosti uvrstili su me u grupu Nove tendencije. Verujem da to nije učinjeno toliko iz ubeđenja koliko iz nedoumice gde zapravo pripadam… …Kada govorim o svom radu to može da bude samo o onom delu aktivnosti koji se odvija pod kontrolom svesnog – a verujem da je to jedan manji deo. Sva ona druga zbivanja koja utiču na opredeljenje u mom radu događaju se negde na granici domašaja mojih saznanja. O njima govore moje skulpture. … …Obla forma uprošćena je i zatvorena do te mere da je bio potreban jedan fizički zahvat – jedan usek u glatku površinu da bi se ona otvorila i sa nastalim nabubrelim površinama otkrila svoju unutarnju napetost.“4 Ana Bešlić je imala opušteni, relaksirani pristup svom radu i razvoju svog skulptorskog jezika. Radoznalost, maštovitost, igra, istraživački/eksperimentalni poriv pre nego ambicija, nestrpljivost, nervoza, žurba i/ili racionalan stav, karakterišu njeno bavljenje skulpturom. Prijatnost i zadovoljstvo u radu, a ne grčevito i grozničavo tragalaštvo. Imajući Arpa i Brankusija duboko u svesti, kako je sama govorila, i pouke Tome Rosandića o istinitom kao jedino lepom i velikom, oslanjala se na vlastitu intuiciju radije nego na neki određeni umetnički ili ideološki program. Izložba saradnika Majstorske radionice Tome Rosandića, održana 1954. u Umetničkom paviljonu na Kalemegdanu: „Kao prva kolektivna izložba skulpture u Srbiji posleratnog perioda, prva je pokazala slobodnu težnju mlade generacije umetnika za osvajanjem savremene plastičke problematike.“5 U izbor od osam skulptura Ane Bešlić, prilično heterogenih stilskih i tehničkih karakteristika, nastalih 4 Ana Bešlić, Anketa – vajari, Umetnost, 1970, br. 22, 40. 5 K. Ambrozić, n. d., 22. 36 tokom četiri prethodne godine učenja i rada kod maestra Rosandića, uvršten je i izvanredni Sedeći torzo (1953), skulptura koja svojom zrelošću i pokrenutom novom problematikom jasno progovara o intenciji umetnice da radikalnom redukcijom smelo potraži/nađe put, preko asocijativne forme do autonomnog, apstraktnog tela skulpture. Suštinu postupka Ane Bešlić za nalaženje idejnih i radnih odgovora sasvim realno je objasnio Mića Popović još te 1954: „Samo na letimičan pogled izgleda da skulptura Ane Bešlić živi od racionalnog, unapred određenog plana. U osnovi to su duhovite stilizacije jedne široke i mnogostrane ljubopitljivosti, koju nekad nose asocijacije, nekad kultura, koja nekad pronađe najsrećnije rešenje, a nekad se zamrsi u preforsiranim transplantacijama.“6 Sedeći torzo svojom jednostavnošću, glatkoćom i posebnim senzibilitetom bio je lokomotiva za dugu i kreativnu kompoziciju radova u kojoj će slediti skulpture poput Torza (1954), Materinstva (1956) i Velikog torza (1958), a potom i čitavog niza otvorenih formi i dvobojnih skulptura, u okviru velikog i izuzetno važnog ciklusa nastajalog počevši od 1966/67. godine. Velika izložba skulptura i crteža Henrija Mura, održana 1955. u Beogradu, imala je preloman značaj u smislu uspostavljanja nove paradigme „organske“ i „vitalističke“ apstrakcije koja će podstaknuti razvoj socijalističkog modernizma u skulpturi. Ujedno, Murova poseta Rosandićevoj radionici, uz prethodna studijska putovanja u zemlji i inostranstvu saradnika Radionice, izvršiće direktan i presudan uticaj na proces formiranja prve posleratne generacije vajarki i vajara. Nakon Murove izložbe i susreta s njim u Rosandićevom ateljeu, za Anu Bešlić nije bilo više nikakve dileme. Tome su doprinela iskustva i saznanja sa studijskih putovanja, posebno poseta Parizu 1952, kao i obilazak 27. venecijanskog bijenala 1954. godine, kada je Arp bio predstavljen u paviljonu Francuske i kada je dobio nagradu za skulpturu. 6 Mića Popović, Izložba saradnika Majstorske radionice Tome Rosandića, NIN, Beograd, 4. april 1954. 37 Sledeći prvo primere Konstantina Brankušija i Hansa Arpa, a potom i dobijeno i usvojeno pojašnjenje negativnog volumena od strane Henrija Mura – ta trojica
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