- Podrobnosti
-
Uverejnené 8. 01. 2013
Erotika a mýtická dedina Kovačica Pavla Hajku
Národná banka Srbska a Nadácia Babka z Kovačice pozývajú na slávnostné otvorenie výstavy Pavla Hajku, insitného maliara z Kovačice pri príležitosti jeho jubileí: 60 rokov života a 40 rokov umeleckej práce. Vernisáž usporiadajú v utorok 15. januára o 19:00 vo výstavnej aule Národnej banky Srbska, Nemanjova 17. Výstavu otvorí guvernérka Národnej banky Srbska Jorgovanka Tabakovićová a veľvyslanec Slovenskej republiky v Srbsku J.E. Ján Varšo.
„Jestvuje jedna dedina, niekde na planéte, ktorá sa podľa mnohých
svojich charakteristík ponáša na banátsku dedinu Kovačicu, ba dokonca
má aj rovnaké pomenovanie. Tá dedina v mnohých svojich častiach má
podobné vlastnosti, má takmer rovnaký kostol, vôkol neho zoradené
rovnaké domy, podobné polia, rastliny a stromy, ľudí a zvieratá, ale, v
mnohom inom je v nej iná atmosféra, iné farby, iný rytmus. V tej dedine
suverénne vládne gigantický kohút, mocný vták pestrých farieb, mohutného
tela, údov a krku, rozkvitnutého silného chochla a ešte silnejšieho
hlasu, ktorým budí obyvateľov, zvoláva ich osláviť život, krásu a
plodnosť, ktoré sú všade vôkol nich. Tým hlasom on vyzýva aj na súboj,
vyhlasuje svoje mužské víťazstvá, predvádza svoju presilu. Niekedy
kohúta, predsa možno trochu prehnane sebavedomého, porazia ľudia, ženy,
zviažu ho, zabijú, ba dokonca rozopnú na kríž, ale jedno je isté: on je
hlavnou postavou, on je stredobodom všetkých udalostí a všetkých vecí,
okolo neho sa všetko krúti. Tá virtuálna dedina Kovačica, ktorá sa podľa
spôsobu svojho ustanovenia veľmi podobá mýtickej dedine Makondu , z
fantazijného románu Gabriela Garciu Márqueza „Sto rokov samoty“, žije v
dielach maliara Pavla Hajku, pravdepodobne najlepšieho a
najoriginálnejšieho žijúceho predstaviteľa kovačickej insity, maliara v
najlepších rokoch, avšak dostatočnej životnej a umeleckej zrelosti,
vlastného štýlu a svojského výtvarného jazyka a filozofie, aby mohol
predstavovať pevný most medzi kovačickým insitným maliarstvom v
minulosti a výtvarnou tvorbou budúcnosti...“
Dragan Milenković
EROTIKA I MITSKO SELO KOVAČICA SLIKARA PAVELA HAJKA
Postoji jedno selo, negde na planeti, koje po mnogim svojim
karakteristikama liči na banatsko selo Kovačica, pa čak ima i isto ime.
To selo u mnogim svojim delovima poseduje slične osobine, ima skoro
istovetnu crkvu, oko nje u redu poređane istovetne kuće, slična polja,
rastinje i drveće, ljude i životinje, ali, u mnogo čemu, poseduje
drugačiju atmosferu, drugačije boje, drugačiji ritam. Tim selom suvereno
vlada gigantski petao, moćna ptica jarkih boja, jakog tela, udova i
vrata, rascvetane snažne kreste i još moćnijeg glasa, kojim budi
stanovnike, poziva ih da proslave život, lepotu i plodnost, koji su
svugde oko njih. Tim glasom on poziva i na dvoboj, objavljuje svoje
muške pobede, demonstrira svoju nadmoć. Ponekad petla, ipak možda nekad
preterano samouverenog, pobede ljudi, žene, vežu ga, ubiju, čak i
razapnu na krst, ali je jedno sigurno: on je glavna ličnost, on je u
centru svih događanja i svih stvari, oko njega se sve vrti. To virtuelno
selo Kovačica, po načinu svog ustanovljenja veoma slično mitskom selu
Makondu, iz maštovitog romana Gabrijela Garsije Markesa “ Sto godina
samoće”, živi u delu slikara Pavela Hajka, verovatno najboljeg i
najoriginalnijeg živog predstavnika kovačičke naive, slikara u najboljim
godinama, ali dovoljne životne i umetničke zrelosti, razrađenog stila i
osobenog stvaralačkog jezika i filozofije, da predstavlja čvrst most
između naivnog slikarstva Kovačice u prošlosti i likovnog stvaralaštva u
budućnosti.
Pavel
Hajko ( 1952. ) je rođen u selu Kovačici, oazi Slovaka u Banatu, selu
osobenom po mnogo čemu, ali od šezdesetih godina pa do danas, planetarno
poznatom po svom razvijenom i originalnom naivnom slikarstvu. Imao je
sreću da u ranoj mladosti slikarstvo uči od jednog od najboljih slikara
naive iz Kovačice Martina Jonaša, od koga je delimično nasledio
originalnost u pristupu temi, ali i preuzeo neke simbole plodnosti na
svojim slikama: klip kukuruza i bundevu. I, možda je, od njega naučio
komunikaciju sa nebom. Sve ostalo što može da se vidi na njegovim
slikama je originalno i samo njegovo, ili dovoljno neupućeni posmatrač
druge uticaje ne može da prepozna – jer je Hajko jedan od obrazovanijih
slikara naivaca iz Kovačice ( završio je srednju stolarsku zanatsku
školu i mnogo čitao ).
Ono
što Hajka značajno izdvaja od drugih slikara naive, ne samo iz Kovačice
i sa teritorije bivše Jugoslavije, nego mnogo šire, je njegova
posvećenost erotici, kao jednoj od glavnih tema svoga rada. Naivu, to
važi za većinu slikara te orijentacije u svetu, karakteriše dečiji,
skoro nevini, pristup životu. Erotike u naivnom slikarstvu, u njenom
pravom smislu, skoro da nema, ili je dobro prikrivena. Petao je na
Hajkove slike “doleteo” 1975. godine, a negde tada je slikar, mladić u
punoj snazi, počeo da se bavi erotikom kao načinom da izrazi sopstveni
temperament, ali i da saopšti ona univerzalna osećanja i nagone, koje
poseduje svaki čovek.
Prva
reakcija posmatrača, naviklog na idilični prikaz života u Kovačici
Zuzane Halupove, njenih prethodnika i sledbenica, sigurno je želja da
šakama prekrije oči i od njih sakrije prizore nagog ženskog tela,
prizore telesne ljubavi, pa i neke vrste sladostrašća i egzibicioniozma,
na slikama Pavela Hajka. Ali, čak i onaj ko je možda to učinio ( a
takvi su verovatno retki ) vrlo brzo će razmaknuti prste ili potpuno
skloniti šake, da sebi omogući pogled na jedan potpuno novi, maštoviti
umetnički svet, koji je isto toliko živ i stvaran kao i prizori seoskih
običaja i dečijih igara kod drugih slikara.
Pavel
Hajko slika eksplicitne scene seksa, viđene ili zamišljene, svet
ljudskog često zaklonjenog života, koji on izbacuje u centar radnje, na
livadu, na poljanu, u prirodu. Nage ženske obline svugde gde se
okrenemo, često prikrivene u naslagama snega ili prevojima zemljišta,
seoske vile, rečne nimfe, devojke, žene, u svakodnevnom poslu, ili samo u
šetnji, u najneobičnijim situacijama – predstavljaju apoteozu ženskoj
lepoti i onome zbog čega je ona stvorena, seksu kao načinu postizanja
vrhunskog zadovoljstva, ali i načinu da se ostvari plodnost i tako
produži život – do večnosti.
Slikar pokazuje neverovatni smisao za humorističku grotesku, prošaranu
elementima fantastike, koja ponekad izgleda kao da je preneta iz
stvaralaštva Salvadora Dalija, ali većinom ima originalne
karakteristike. Sklonost igri, skoro šali, navodi autora da junake
svojih slika stavlja u neverovatne situacije ( posmatranje porno snimaka
na TV ekranu u prirodi, uz samozadovoljavanje, ili pripremu za ljubavni
čin; voajerizam svih vrsta, u koga su, čak, uključene i životinje ), a
svugde je neodvojivi učesnik kočoperni petao, posmatrač ili učesnik u
seksu, pravim orgijama, demonstracijama seksualnosti i muške snage, u
kojima partner može da mu bude prelepa naga devojka, ali, uz
posredovanje klipa kukuruza, kao jednog od simbola falusa, i neka
raskošna bundeva. Kako da se protumači taj odnos petla i devojaka, ako
ne kao kovačička verzija Lede i labuda?
Erotski prizori Pavela Hajka nikako nisu ni blizu granice pornografije,
koju je vrlo lako preći kada se bavite erotikom. Naprotiv, Hajko
pokazuje neverovatnu prisebnost i osećaj za meru, kada od onoga od čega
bi drugi napravili prostotu, uz pomoć maštovitih detalja, načini
demonstraciju svoje komunikacije sa univerzumom. Njegove slike nisu
jednostavne, jer on ima smisao za detalj, za priču, a većina njegovih
slika ima mnogo sporednih epizoda ( tako čestih kod japanskih slikara
erotskih grafika šunga iz kasnog Srednjeg veka ), tako da predstavljaju
dobro odmerene kompozicije.
Pavel
Hajko kao da namerno pokazuje svoju nesklonost ka idealizovanju
prošlosti, toliko prisutnu kod drugih kovačičkih slikara. Na njegovim
slikama ima mitologije, ali neke u širem značenju, a rodno selo koje
pokazuje je baš ono u kome živi – uz, naravno, dodatke iz svoje mašte. U
tom selu živi i petao, razmetljivi gospodar, seoski kavgadžija,
superpotentni vladalac ženskim telima, simbol svega što je muško,
snažno, erotsko, životno, svetlo, jasno, moćno. Petao komunicira sa
nebom i posebnim božanskim izvorima svetlosti, on komunicira sa
beskrajnim prostorom, bori se sa drugima za prevlast, stiže do meseca,
vrhova krive kule u Pizi i Ajfelove kule u Parizu. On je svugde i bez
njega se ništa ne može, a kad se iz mnogih uglova bolje zagleda, shvati
se da je petao ustvari simbolični autoportret samog slikara, deo njega
samog.
Dragan Milenković
EROTICA AND THE PAINTER PAVEL HAJKO’S MYTHIC VILLAGE OF KOVAČICA
There
is a village, somewhere on the planet, which according to its
characteristics looks like the Banat village of Kovačica, and even has
the same name. That village in many of its parts possesses similar
features, it almost has an identical church, surrounded by identical
houses, similar fields, vegetation and trees, people and animals, but
however, in many ways possesses a different atmosphere, different
colors, a different rhythm. The gigantic rooster governs sovereignly
over the village, the powerful bird of a bright, strong body,
extremities and neck, with a bloomed strong cockscomb and more powerful
voice, with which he awakens the inhabitants, calls them to celebrate
the life, beauty and fertility, that are all around them. With that
voice he also calls for a duel, announces his male victories,
demonstrates his superiority. Sometimes the rooster, nevertheless
sometimes exaggeratingly self-confident, is won by the people, women, he
is being tied, killed, even crucified, but one thing is for sure: he is
the main character, he is in the center of all the events and all
things, everything rotates around him. That virtual village of Kovačica,
according to the manner of its establishment is very similar to the
mythic village of Macondo, from the imaginative novel by Gabriel Garcia
Marquez “One Hundred Years of Solitude”, lives in the work of the
painter Pavel Hajko, probably the best and most original living
representative of the Kovačica naïve, the painter in his best years, but
with sufficient life and artistic maturity, elaborated style and
specific creative language and philosophy, to represent a stable bridge
between the naïve painting of Kovačica in the past and the artistic
creativity in the future.
Pavel Hajko (1952) was born in the village of Kovačica, the oasis of the
Slovaks in Banat, the village characteristic by many ways, but from the
1960s to today, famous around the planet by its developed and original
naïve painting. He was lucky to learn the art of painting while very
young from one of the best naïve painters from Kovačica Martin Jonáš,
from whom he partially inherited the originality in the approach to the
theme, but also took some symbols of fertility in his paintings: the
corn cob and the pumpkin. He may also have learnt from him the
communication with the heavens. Everything else which can be seen in his
paintings is original and only his own, but the insufficiently
experienced observer cannot recognize other influences – since Hajko is
one of the most educated naïve painters from Kovačica (he completed
secondary carpentry school and has read a lot).
What
distinguishes Hajko from the other naïve painters, not only from
Kovačica and the territory of ex Yugoslavia, but broader, is his
dedication to erotica, as one of the main themes of his work. Naïve
painting, which is common for most of the painters of that orientation
in the world, is characterized by a childish, almost innocent approach
to life. Erotica in naïve painting, in its real sense, almost does not
exist, or is well hidden. The rooster “flied” to Hajko’ s paintings in
1975, and it was then when the painter, as a young man in full power,
started dealing in erotica as the manner to express his own temperament,
but also to convey those universal feelings and drives that every human
being possesses.
The
first reaction of the observer, accustomed to the idyllic display of
life in Kovačica of Zuzana Halupova, her predecessors and successors, is
for sure the wish to cover the eyes with ones hands and hide the scenes
of corporal love, even some kind of lechery and exhibitionism, in the
paintings of Pavel Hajko. Even the one who may have done it (and those
are probably rare), will very quickly space the fingers or completely
remove the hands in order to enable their view on a completely new,
imaginative artistic world, which is also so vivid and real as are the
scenes of rural customs and children’s plays in other painters.
Pavel
Hajko paints explicit sex scenes, seen or imagined, the world of the
human often obscured life, which he brings to the center of action, to
the lawn, the field, the nature. The nude female curves wherever we
turn, often hidden in the layers of snow or the curvatures of the land
surfaces, the country fairy, the river nymph, the maiden, in everyday
work, or only on a promenade, in the most peculiar situations –
represent the apotheosis of the female beauty and for what it has been
created, sex as the manner of reaching the peak satisfaction, but also
the manner to have fertility achieved and hence prolong life – until
eternity.
The painter shows an incredible sense for humoristic grotesque, larded
with the elements of fantasy, which sometimes looks like being conveyed
from the creativity of Salvador Dali, but mainly has original
characteristics. The affinity towards the play, almost joke, leads the
author to place the heroes of his paintings into incredible situations
(watching porno films on the TV in the nature, with masturbation, or
preparation for the love act; voyeurism of all kinds, in which even the
animals are included), where the spry rooster as an inseparable
participant is always present, being either the observer or participant
in sex, real orgies, demonstrations of sexuality and male power, in
which his partner may be a beautiful nude girl, but with mediation of
the corn cob, as one of the symbols of the phallus, and some prodigal
pumpkin. How to interpret such a relation between the rooster and the
girls if not as the Kovačica version of Leda and the swan?
The erotic scenes of Pavel Hajko are by no way close to the fringe of
pornography, which can be easily crossed when dealing with erotica. On
the contrary, Hajko shows incredible sanity and feeling for good order,
when from something from which the others would make profanity, with the
help of imaginative details, he makes a demonstration of his
communication with the universe. His paintings are not simple, as he has
a sense for detail, for a story, and the majority of his paintings have
many secondary episodes (so often in the Japanese erotic graphic shunga
from the late Middle Ages), so they represent well measured
compositions.
Pavel
Hajko seems like deliberately demonstrating his non-affinity to
idealize the past, so much present with other Kovačica painters.
Mythology is present in his paintings, but somewhat in a broader sense,
and the native village he shows is exactly the one in which he lives –
with, off course, additions from his imagination. The rooster, the
flaunting master, the country ruffle, the super potent master of the
female bodies, the symbol of everything which is male, strong, erotic,
buoyant, light, clear, powerful also lives in that village. The rooster
communicates with the heavens and the special divine sources of light,
he communicates with the endless space, he fights with others for
predominance, reaches the Moon, the peaks of the Leaning Tower of Pisa
and the Eifel Tower in Paris. He is everywhere and nothing can be done
without him, and when looked closer from many angles, it is understood
that the rooster is really the symbolic self portrait of the painter
himself, the part of his own self.
Dragan Milenković
You have no rights to post comments