m at e r i a
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Materia Lidia Boševski
sadržaj / content
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Materija, mater, izvor / uvodni tekst Nike Pavlinek Arhiva prirodnih materijala / Collection of Natural Materials Paleta boja glina / The Range of Clay Colours Različite vrste materijala / The Variety of Materials Prirodne glazure / Natural Glazes Procesi / Processing Lokacije / Sites Material, Matter, Source / written by Nika Pavlinek O umjetnici / About the artist
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MATERIJA, MATER, IZVOR Nika Pavlinek
Opus magnum, najznačajnije je djelo jednog alkemičara a isti se naziv odnosi i na najznačajnije djelo umjetnika. Opus summum podrazumijeva zrelo djelo, ono u kojem autor svoje dugogodišnje iskustvo i znanje pretače u zbirno djelo. U alkemiji i filozofiji, prima materia izvorni je materijal potreban za alkemijski opus. To je čista, primitivna, bezoblična baza svih tvari, koju se uspoređuje s nebom i zemljom, s tijelom i duhom a sadrži u sebi sve boje i sve metale. Ona zameće i rađa samu sebe i u sebe pretvara sve nesavršene tvari koje dotakne. Pramaterija zauvijek ostaje jer nema prostora koji nije njome prožet. Ne teže svi umjetnici ni alkemičari među njima njenim nedostižnim transmutacijama. Ne bojeći se zaroniti u sirovu tvar, neki joj pridaju formu i značaj kroz memoriju koja je utkana duboko u njih. Čine to bez unaprijed određenog cilja, vodeći se porijeklom i strukturom medija u kojem rade. Vjerujući dodiru, puštaju da se vanjske percepcije i unutrašnji osjećaji isprepletu. Puštaju da materija samu sebe formira, da samu sebe rodi.
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Lidia Boševski prolazi lokacijama diljem zemlje. Međutim, ona zemlju poznaje na drugi način, na način tla – materije. Zemlja je u ovom slučaju iskonska supstanca. Sva ovdje dotaknuta mjesta češće su pronalazila nju nego ona njih. Ne skrivajući se, šuljala se duž eksploatiranih glinokopa, kamenoloma, gradilišta, niz puteljke, ceste, more i rijeke, od Lastova do sjevernih obala, središnje Hrvatske, Like, Moslavačke gore pa sve do Slavonije i Baranje. Njezin rad razumije i prevodi nam što se događa i u drugim kulturama zato što ih apstrahira, ne odozgo nego odozdo, sa zemlje i kroz zemlju. Uranjajući ruke u svako mekano tlo koje primijeti na putu, stvara djela koja su spoj okolnih utjecaja i intimnih događaja. U traganjima za još jednom grudom divlje i nepoznate tvari, vadi novi grumen, sasvim mali, koliki već stane u platnenu torbu koju s malom lopaticom uvijek nosi sa sobom i nastavlja graditi svoj prirodni opus summum.
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Istražuje zapise o lokacijama, povijest i geologiju, karakteristike svakog pronađenog materijala i uobičajene načine korištenja. Testiranje i proces nisu školski, stručni, niti znanstveni. Svaki materijal proučava neposredno, uz pomoć svog vrijednog alkemijskog saveznika – peći, koja sve razotkriva i svemu presuđuje. Za nju su svi slojevi zemlje upotrebljivi, bilo kao gradivni materijal ili nanos, bilo kao doživljaj ili iznenađenje. Pročišćenom glinom kao slikarskim pigmentom boji platna, čiste materijale pretvara u prah. Zatečene materijale gradi i nadograđuje slobodnim nanosima te miješa od njih prirodne glazure. Sa svima se igra slobodno i suvereno, kao dijete i kao znalac, neopterećena ishodom, ali podržana bogatim iskustvom. Pred njom materija sama titra i pokazuje put. Na kraju sve što dotakne hrabro podvrgava temperaturama visokim do 1260°C kad se kamen, pepeo, mulj, šljunak, pijesak i humus pretvaraju u osebujne teksture i glazure, koje osim taktilnosti i ljepote znače upotrebljivost.
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Od pronađenih materijala gradi otvorene forme: ćupove, zdjele, posude. Sve one služe da se živa tvar obgrli, istakne i na neko vrijeme zadrži. Forme koje sadrže, čuvaju i nude, privode materiju svojoj arhetipskoj, ali i kulturološkoj ulozi – svakodnevnom korištenju. Utjelovljena materija na taj način transponirana oplemenjuje svoj novi urbani dom. Lidia glini pristupa sa skromnošću, posvećenošću i dubokim poštovanjem, koje se vidi u svakom njenom pokretu ruke. Možda se, kao enformelisti, želi osloboditi tereta klasičnog i tradicionalnog. Nema manifest niti program koji bi okarakterizirao njen rad u cjelini. Konformist je, ne u društvenom, već u prirodnom smislu i poretku stvari. Priroda je medij i učitelj svakome tko je može čuti, a po nastalom radu čini se da je priroda vječni optimist i osnova estetskog, jer je iskusiva – osjetilna. Lidia je prirodni estet, jer njeguje sposobnost opažanja na osnovi osjećaja. Od iskopanih materijala gradi predmete koji nas dotiču na razini koja nije racionalna. Oni govore jezikom prirodne duše, koja svakog od nas na trenutak može učiniti estetom, tj. osjetljivim.
Mnogi štuju majku zemlju kako bi bili bliže prirodi, svojoj unutrašnjoj i onoj vanjskoj. Neki to čine klanjanjem, neki molitvom, a ova umjetnica to čini vraćajući joj: ‘Previše toga očekujemo, previše joj uzimamo i primamo zdravo za gotovo.’ Ovi radovi neće biti progutani od zemlje, oni joj se unaprijed predaju. Ne kao žrtve, već kao darovi koji prirodi sugeriraju sebe samu. Onakvu kakvu možda ni ona još ne poznaje. U svijetu keramike Lidia će uvijek biti neka vrsta autsajdera, bez obzira na nagrade i izložbe u kojima je sudjelovala. Pored svega što se u urbanom kontekstu zbiva, ona zadržava svoju pećinu – pećinu s peći – koja baš kao i priroda neprestano proizvodi nove slojeve, bez obzira koliko joj vremena za to treba. Neopterećena neuspjehom spontanih eksperimenata, neizbježnih za radoznale i spremne na učenje, putuje kroz materiju, a svaki se rad uspoređuje samo sa svojim izvorom: ‘I nepovezani rezultati imaju nam nešto za reći.’
Ova je izložba poticaj na aktiviranje, promatranje, proučavanje i korištenje lokalnog blaga, ne puko pokazivanje gotovih radova, već jedne osobite suradnje i čudesnog dijaloga čovjeka i prirode. Dugogodišnji proces traženja, sabiranja i eksperimentiranja došao je do točke kada nema više kamo nego van – traži komunikaciju. Svaki od ovdje korištenih materijala je dragocjen i otkriva paletu svih drugih materijala koje je moguće koristiti, paletu prirodnih glazura koje su bitan prikaz kompleksnih transformacija važnih u radu s keramikom. U ovom malom dijelu dostupnih materijala sadržane su godine procesa, opus summum, koji će se razvijati doklegod će umjetnica raditi, a nastala paleta ostat će kao poticaj svima koji osjećaju materiju i učiti nas o životu, smrti i obnavljanju. Možda je ovo tek početak.
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Arhiva prirodnih materijala
Collection of Natural Materials
Arhiva osim lokalnih glina sadrži i druge vrste materijala kao što su; kamen, pijesak, mulj, ljekovito blato, humus, ukupno oko 150 uzoraka iz cijele Hrvatske. Svaki od njih nastojim mineraloški i geološki istražiti te ih testirati na različitim temperaturama. Nakon testiranja odlučujem se na koji ih način preraditi i upotrijebiti.
Besides local clays, the collection features some 150 samples of materials such as rock, sand, silt, peloid mud and humus, gathered all over Croatia. My job is to study their mineral and geological characteristics and test them at different temperatures. After testing, I decide how to process and use each material.
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Uzorci pronađenih materijala
Samples of found materials
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Uzorci pronađenih materijala paljeni na različitim temperaturama
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Samples of found materials fired at different temperatures
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Jedna od prvih zdjela izrađenih od lokalne gline iz Grabovnice, sada čuva ostale uzorke gline.
One of the first bowls made from local clay from Grabovnica, now serves as a guardian for other samples of clay.
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Uzorci pronađenih materijala iz Blatuše paljeni na različitim temperaturama
Samples of found materials from Blatuša fired at different temperatures
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Paleta boja glina
Paleta se formirala iz želje da pokažem bogatstvo i raznolikost prirodnih boja glina, koje se osim u keramici – kao materijal za građenje, boju, sastav u prirodnim glazurama – mogu koristiti i u slikarstvu kao pigment.
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Prirodne boje glina i uzorci paljeni na 1250 °C
The Range of Clay Colours
It was my intention to show the wealth and diversity of natural clay colours. Clays are used in ceramics primarily for constructing objects, but also for colour, for mixing natural glazes, and as pigment in painting.
Natural colours of clays and samples fired at 1250°C
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Ćupovi od neprerađenih glina iz Bedekovčine i Petrinje
Pitchers made from unprocessed clay found at Bedekovčina and Petrinja
Ćup od neprerađene gline iz Kozjače
Pitcher made from unprocessed clay found at Kozjača
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Glina s otoka Paga
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Clay from the Island of Pag 21
Glina iskopana ispod moje kuće, Voćarsko naselje, Zagreb
Clay dug-up in front of my house, Voćarsko naselje, Zagreb
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Prirodno uslojene gline: Ovo je pokušaj da sačuvam iskopane slojeve onako kako su nastajali u prirodi, pečeno na 1260 °C (Blatuša)
Naturally layered clay: This is an attempt of preserving dug-up clay layers just as they were formed in nature, after firing at 1260°C (Blatuša)
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Reciklirana glina: Ostatke svih vrsta glina sakupljam u isti kontejner i recikliram pa na taj način dobivam novi materijal.
Recycled clay: By collecting the remains of all different types of clay in one container and then recycling them, I get a whole new material.
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Gline iz Blatuše
Clays from Blatuša
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Miješane gline s različitih lokacija
Mixed clays from different locations
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Gnijezdo je forma kojoj se uvijek vraćam. Ovim načinom izrade testirala sam lokalne gline (Blatuša, Kozjača, Petrinja), njihovu izdržljivost i konzistenciju.
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The nest is the form I keep returning to. I used the form to test local clays (Blatuša, Kozjača, Petrinja) for strength and consistency.
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Različite vrste materijala
Prikazani uzorci su neobrađeni. U upotrebi neke koristim usitnjene, neke kakvi jesu, neke dodajem u tijelo gline, a neke pretvaram u prah i koristim za izradu prirodnih glazura.
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Neobrađeni uzorci različitih vrsta materijala i njihove transformacije na 1260 °C
The Variety of Materials
The samples on display are in their original state. I use them crushed, some I use as they are, I add some to the body of clay, and some I make into powder for natural glazes.
Raw samples of different types of materials and their transformations at 1260°C
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Različite vrste materijala zajedno: Utiskivanje više vrsta materijala u baznu glinu rezultira jasnom slikom njihovih karakteristika, različitosti i međuodnosa, paljeno na 1260 °C
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Various materials together: Pressing different materials into the base clay results in a clearer picture of their characteristics, differences and relationships, after firing at 1260°C
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Neobrađeni mulj iz Supetarske Drage na otoku Rabu, nanesen kao dodatak na tijelo gline pokazuje bogatstvo organskih tvari i minerala, koji pročišćavanjem bez dodataka drugih materijala mogu biti svojevrsna glazura paljena na 1260 °C.
Unprocessed silt from Supetarska Draga on the island Rab is applied on clay showing the richness of organic substances and minerals that after purification, without adding other materials, may be used for glazing when fired at 1260°C.
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Razmrvljena stijena iz Rudopolja Bruvanjskog, utisnuta u glinu
Crushed rock from Rudopolje Bruvanjsko, pressed into the clay
Granit i ksenolit iz kamenoloma Pleterac i Miklouš, pretvoreni u prah i sitnu granulaciju, naneseni su kao sloj na baznu glinu.
Granite and xenolith from Pleterac and Miklouš quarries, in the form of powder or small granules, applied in a layer on the basic clay ground.
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Usitnjeni škriljevac iz Blizneca u Zagrebu, utisnut u glinu
Crushed slate from Bliznec in Zagreb, pressed into clay
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Sloj granita iz kamenoloma Miklouš apliciran na glinu
A layer of granite from Miklouš Quarry applied on clay
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Neobrađeni mulj iz Supetarske Drage na otoku Rabu
Unprocessed silt from Supetarska Draga on the Island of Rab
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Prirodne glazure
Natural Glazes
Glazure su napravljene od kombinacija više različitih materijala. Zanimljivo mi je kada se jedan materijal ponaša kao glazura i kroz svoje nesavršenosti pokazuje karakter. Cilj mi nije napraviti tehnički ispravnu glazuru, već ostati što bliže izvoru i istaknuti karakteristike materijala.
Glazes are a mix of several different materials. I find it intriguing when a material used for glazing shows its character, with all its imperfections. My goal is not to make a technically correct glaze but to stick as close as possible to the original material and accentuate its characteristics.
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Testovi prirodnih glazura na različitim glinama
Tests of natural glazes on different types of clay
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Posudice s uzorcima prirodnih glazura
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Containers with different samples of natural glazes
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Procesi
Processing
Proces obrade i pripreme za svaki je materijal drugačiji. Neki materijali su već pronađeni čisti pa ih upotrebljavam takve kakvi jesu. Gline treba dovesti do kakvoće za modeliranje, a neke treba obrađivati; usitniti, prosijati u različite granulacije, pretvoriti u prah za glazure.
The preparation and processing varies according to the material. Some materials are already found in their pure state and I use them as they are. Clays need to be of a quality suitable for modelling. Some require processing: crushing, sieving to extract different granulations, some need grinding into powder to be used for glazing.
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Testiranje gline
Clay testing
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Priprema gline
Preparation of clay
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Usitnjavanje materijala u različite granulacije 62
Crushing and sieving into different granulations
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Pročišćena glina koja se prosušuje do kakvoće za modeliranje Purified clay dried to modeling quality
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Kalciniranje, paljenje materijala da bi ih se pročistilo i pretvorilo u prah, prethodi izradi prirodnih glazura.
Calcination, the firing of materials in order to purify them and turn them into powder, as preparation for making natural glazes.
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Procesi obuhvaćaju različite pripreme materijala ovisno o načinu korištenja. Osim pročišćavanja gline, uključuju i usitnjavanje kamenja u različite granulacije, prosijavanje, kalciniranje, pretvaranje materijala u prah za izradu glazura i raznih testiranja.
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Processes involve different material preparations depending on the method of use. In addition to clay purification, it includes crushing stones into different granulations, sifting, calcination, turning the material into powder for making glazes and a lot of testing.
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Lokacije
Sites
Dio lokacija pronalazila sam u zapisima, a mnoge sasvim slučajno. Veseli me testirati različite vrste materijala, a ne samo one koji se u keramici uobičajeno koriste. Prijatelji koji razumiju tu strast počeli su mi ih donositi iz raznih dijelova Hrvatske, iskreno sam im zahvalna.
I looked for sites having consulted historical records, but I came across many sites quite by accident. It gives me great pleasure to test different materials, not only those traditionally used in ceramics. Friends with an appreciation for my passion bring me samples from all over Croatia and I am sincerely grateful to them.
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Rtina Miočići
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Rtina Miočići 74
Gorica, Otok Pag
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Blatuša, Petrova gora
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Samoborsko gorje
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Flint sand Kremeni pijesak Brezovi Rebar, Karlovac 80
Voćarsko naselje, Zagreb
Uzorci paljeni na 1100 °C i 1260 °C
Samples fired at 1100°C and 1260°C
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Bruvno 82
Rudopolje Bruvanjsko
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Kamenolom Gorica, Pag
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Grabovnica
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Petrinja
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MATERIAL, MATTER, SOURCE by Nika Pavlinek
Opus magnum is the most crucial work of an alchemist, and the same term applies to the most important work of an artist. Opus summum is the mature work embodying all of the author’s extensive experience and skill. In alchemy and philosophy, prima materia is the source material needed for an alchemist’s opus. It is the pure, primitive, formless base of all substances, comparable to the heaven and earth, body and spirit, containing all colours and all metals. It fertilises and gives birth to itself and transforms all imperfect things it touches. First matter remains forever, for there is no space it does not fill. Not all artists or alchemists among them strive for its unachievable transmutations. Not afraid to dive into the raw matter, some attach to it form and significance by way of deep memory. They proceed without a clear goal, guided by the origin and structure of the medium at hand. Trusting their sense of touch, they allow external perceptions and internal feelings to intermingle. The matter is permitted to shape itself, to give birth to itself.
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Glina iz Parka Maksimir, Zagreb
Lidia Boševski travels around locations all over the country, but she knows the country through the earth, the soil, as the matter. To her, earth is the original substance. More often than not, all the places mentioned here have found her, rather than being found by her. Without hiding, she sneaked through clay pits, quarries, building sites, along paths, roads, across the sea and rivers, from the island Lastovo to the north shores of the Adriatic, then around central Croatia, Lika, Moslavačka gora, and on to Slavonia and Baranja. Her work embraces and translates for us what is happening in other cultures because she abstracts them, not from above but from below, from and through the earth. Dipping her hands in every bit of soft ground that she finds on her explorations, she goes on to create works that combine the surrounding influences and intimate experiences. Searching for yet another handful of some wild and unfamiliar substance, she uses her small trowel to deposit her precious finds in a canvas bag that she always carries, all in an effort to expand the building of her opus summum.
Clay from Maksimir Park, Zagreb
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Lidia studies the records relating to different sites, Using found materials she constructs her favourite their history and geology, the characteristics of each open forms; pitchers, bowls, and other vessels. They found material and its typical uses. Her testing and serve to embrace, contain and accentuate a real live processing of the found materials are not a scholarly, substance. These shapes hold, keep and offer, lending scientific, or expert exercise. She studies each material the matter an archetypal and also a cultural aspect directly, with the help of her mighty alchemist’s collab- – everyday utility. Thus transposed matter enriches orator – her kiln, which reveals everything she wants its new urban home. to know and passes a final judgement on everything. Lidia’s treatment of clay demonstrates humility, deFor her, all layers of the earth are useful as suitable votion and deep respect that are detectable in every constructive materials or as coating, often promising motion of her hand. Inspired, perhaps, by the Enfora new experience or a total surprise. She uses purified mel artists, she strives to steer clear of the classic clay as pigment for colouring canvas, and occasionally and traditional approaches. There is no manifesto or she grinds pure materials into powder. Accidentally programme embracing her overall output. She is a found samples serve as construction materials, often conformist, not in the social sense, but in her conformity applied in free layers. Some are mixed to get natural to the natural order of things. Nature is the medium glazes. Her play is free and competent, she is both a and the teacher to all those able to listen. Judging child and an expert, unburdened by the outcome but by her work, nature is an eternal optimist and the supported by her extensive experience. Under her foundation of the aesthetic experience, because it touch, the material quivers and points to her the way affects the senses directly. Lidia is a natural aesthete, to go. In the finishing stage, she fearlessly subjects for her ability to observe is nurtured by feelings. The the created objects to temperatures reaching 1260°C, objects made from dug-up materials touch us on a at which rock, ash, silt, gravel, sand and humus ac- level that is not rational. They speak with a language quire extraordinary textures with unexpected glazes. of the spirit of nature that can make each one of us Beautifully tactile objects find their use in real life. an aesthete, a particularly sensitive creature, at least for a brief moment.
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Many people worship Mother Earth in order to feel closer to nature, both their own, and the surrounding nature. Some bow to her, some pray. Lidia worships by returning something to nature: ‘We expect too much, we take too much from her and take it for granted.’ These works will not be swallowed by the Earth, rather they give themselves back to her. Not as offerings, but as gifts revealing to nature what she herself may not yet know. In the world of ceramics Lidia will always remain a sort of outsider, despite the prizes and exhibitions she has participated in. In contrast to everything going on in the urban context, she keeps to her cave, so to speak, a cave with her kiln in it, constantly making new layers, just as nature does, without regard for the time they may take. Unperturbed by the failures in her spontaneous experiments, inevitable for those curious enough and willing to learn, she ‘travels’ through her matter, comparing each work with its source: ‘Even unrelated results have something to say.’
This exhibition is meant to encourage activity, observation, study and utilisation of the local treasures found in nature rather than being a mere display of finished works. It is a demonstration of a particular collaboration, a dialogue between man and nature. The many years of searching, collectingw and experimenting have reached the point of bursting – into communication. Each used material is precious. Many have found their place on the list of suitable glazing materials, such an important and complex means of transformation in ceramic work. This limited selection of available materials embodies years of processing and work. The artist’s opus summum is bound to expand for as long as she keeps working and be an incentive to all those who feel matter, speaking about life, death and renewal. Perhaps this is just the beginning.
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o umjetnici
about the artist
Lidia Boševski završila je Školu primijenjene umjetnosti u Zagrebu. Diplomirala je na Tehnološkom fakultetu – studij Dizajna tekstila i odjeće. Početkom 90-ih usredotočena je na slikarstvo kombiniranim grafičkim tehnikama, kada ostvaruje niz samostalnih izložbi. Godine 2002. fokus širi na medij keramike.
Lidia Boševski graduated from the School of Applied Arts in Zagreb and earned a degree from the Faculty of Textile Technology. In the early 1990s she started exploring painting by using various graphic techniques, followed by a number of solo exhibitions. In 2002, her interest turned to ceramics.
Radovi i projekti Lidije inspirirani su prirodom, teksturama, strukturama i prirodnim oblicima. Otvaranjem ateljea Owl 2005. godine razvija nove kreativne pristupe umjetničkog izražaja i dizajna, kroz istraživanja i upotrebu prirodnih lokalnih materijala. Na tom području ostvaruje 10-tak samostalnih te sudjeluje na 40 grupnih izložbi keramike. Članica je HDLU-a, ULUPUH-a i HZSU-a.
Lidia’s works and projects are inspired by nature, its textures, structures and shapes. After opening the Owl atelier in 2005, she has broadened her approach to art and design by studying and using local natural materials. Ten solo exhibitions and 40 group ceramics exhibitions testify to the major body of her output. She is a member of a number of national artists associations in Croatia.
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samostalne izložbe / solo exhibitions
skupne izložbe / group exhibitions
projekti i suradnje / projects & collaborations
rezidencije / residences
2015 Materia, Galerija EContemporary, Trst, Italija / Gallery EContemporary, Trieste, Italy; 2014 Arteluce, Međunarodna izložba: Lidia Boševski, Sanja Sašo, Marco Zanuso i Maddalena Boero, Spazionat, Trst, Italija / International exhibition: Lidia Boševski, Sanja Sašo, Marco Zanuso and Maddalena Boero, Spazionat, Trieste, Italy; 2010 Ritam prirode / Rhythm of Nature, Botanički vrt, Zagreb, Hrvatska / Botanical garden, Zagreb, Croatia; 2006 Vali, Galerija Modulor, Zagreb, Hrvatska / Gallery Modulor, Zagreb, Croatia; 2005 Iz zemlje / From the Earth, Gliptoteka HAZU, Zagreb, Hrvatska / Croatian Academy of Sciences and Arts Glyptotheque, Zagreb, Croatia; 1992 Gallerie Daghoffer, izložba slika, Leoben, Austrija / painting exhibition, Leoben, Austria; 1991 Century Gallery, izložba slika, Henley on Thames, Engleska / painting exhibition, Henley on Thames, England; 1989 Kingfisher Gallery, izložba slika, Edinburg, Škotska / painting exhibition, Edinburgh, Scotland
2020 Art eco, Šuma / Art eco, Forest, Galerija ULUPUH, Zagreb / ULUPUH Gallery, Zagreb; Magični botanički vrtovi, Galerija ULUPUH, Zagreb / Magical Botanical Garden, ULUPUH Gallery, Zagreb; 2018 Mare modul, keramička staništa za podmorje, Tehnički muzej Nikola Tesla, Zagreb; galerija Juraj Klović, Rijeka; dvorac Frankopan Kraljevica, stalni postav pod morem / ceramic marine habitats, Nikola Tesla Technical Museum, Zagreb; Juraj Klović gallery, Rijeka; Frankopan Castle Kraljevica, permanent display under the sea; Art space Dao, Xian, izložba radova sa rezidencije stalni postav u FuLe International Art Museum, Fuping, Kina / Residency works, permanent display at the FuLe International Art Museum, Fuping, China; Homofaber, Best of Europe, Michelangelo fondacija, Venecija, Italija, Michelangelo Foundation, Venice, Italy; 18 Design District, Re-boot backstage of Progress, izložba dizajna, Zagreb, Design exhibition, Zagreb; 2017 52. Zagrebački salon / 52th Zagreb salon of Applied Arts and Design, Muzej Mimara, Zagreb Mimara Museum, Zagreb; 2016 Open to art Officine saffi, Milano, Italija / Officine saffi, Milano, Italy; Datoteka tekstura, Galerija Modulor, Zagreb / Texture Database, Modulor Gallery, Zagreb; 2013 Solid Acts, Dizajn iz Hrvatske, Tjedan dizajna, Temporary museum for new design, Milano, Italija / Design from Croatia, Design Week, Temporary museum for new design, Milano, Italy; 2010 45. Zagrebački salon ‘Market’ / 45th Zagreb Salon of Applied Arts and Design ‘Market’, Meštrovićev paviljon, Zagreb / Meštrović Pavillion, Zagreb; 2007 Handled with care, izložba dizajna, Designboom, London, Engleska / Design exhibition, Designboom, London, England; 2006 BIO, Bienale industrijskog dizajna, Ljubljana, Slovenija / The Biennial of Design, Ljubljana, Slovenia; THAW 2006, izložba dizajna, Edmonton, Canada / Design exhibition, Edmonton, Canada
2018 Mare modul, keramička staništa za podmorje, projekt u suradnji sa 9 keramičara i eko biolozima / ceramic marine habitats, project in collaboration with 9 ceramists, ecologists and biologists; 2017 More clay less plastic, organizacija internacionalne izložbe i hrvatskih keramičara u suradnji sa Lauren Moreira / international exhibition organization with Croatian ceramists and Lauren Moreira; 2016−2019 Sa glinom u prirodi / In Nature with Clay, serija radionica u prirodi, održavanih u Zagrebu, Italiji, Sloveniji, Portugalu / series of outdoor workshops, held in Zagreb, Italy, Slovenia and Portugal; 2016 Datoteka tekstura / Texture database, organizacija datoteke i grupne izložbe galerija Modulor, Zagreb / database group exhibition organization, Modulor gallery, Zagreb; 2015 Tatara porculan / Tatara porcelain, radionica s Mami Kato (Japan) / workshop with Mami Kato (Japan), atelier Owl, Zagreb; Earth pot, radionica s Mami Kato (Japan) / workshop with Mami Kato (Japan), atelier Owl, Zagreb
2018 FLICAM, umjetnička rezidencija u Fuping Pottery art village, FuLe International Art Museum, Fuping, Kina / artist residency in Fuping Pottery Art Village, FuLe International Art Museum, Fuping, China
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Lidia Boševski MATERIA 13. – 26. 09. 2021. Tehnički muzej Nikola Tesla Zagreb / Technical Museum Nikola Tesla, Zagreb, Croatia / publisher ULUPUH, Hrvatska Udruga likovnih umjetnika primijenjenih umjetnosti / Croatian Association of Artists of Applied Arts, Preradovićeva 44, Zagreb
naklada
300
/ print run
Zagreb, Croatia, 2021. isbn
978-953-327-204-7
nakladnik
/ for the publisher Ivana Bakal, predsjednica ULUPUH-a / ULUPUH President za nakladnika
Kad ulovim ritam, već kreće neki novi ritam i od dotadašnjeg ja više nemam koristi.
urednica i autorica teksta
/
editor, written by
Nika Pavlinek / photography Boris Berc (7–11, 13, 17–57) Lea Boševski (12, 92) Lidia Boševski, privatna arhiva fotografije
lidia boševski
When I catch a certain rhythm, there is already another and I have no more use for the familiar one.
dizajn i prijelom kataloga
/
catalog design and layout
Hamper studio Ivana Vučić Tom Jura Kaćunić dizajn i postav izložbe
/
cip
zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001110300. / A CIP catalogue record for this book is available from the National and University Library in Zagreb under 001110300. Realizacija izložbe i kataloga omogućeni su sredstvima Gradskog ureda za kulturu Grada Zagreba i Ministarstva kulture i medija RH. / Exhibition and catalogue were financially supported by Zagreb City Office for Culture and the Ministry of Culture of the Republic of Croatia. Posebne zahvale Nadi Benc Štuka na pomoći i zahvale svim prijateljima na sakupljenim materijalima. / Special thanks to Nada Benc Štuka for her help and thanks to all my friends for gathering materials.
exhibition design and set-up
Zoran Boševski / translation Martina Horvat
prijevod
/ printed by Kerschoffset tisak
/ contact Lidia Boševski, Atelier Owl Vlaška 81a, Zagreb, Croatia (+385) 91 881 86 70 lidia.bosevski@gmail.com ceramic_and_nature Ceramic and nature Lidia Boševski kontakt
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