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http___galum.hr_izlozbe_izlozba_1748__1.xml
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Writing about Ivana Petan’s work, Marko Pogačnik makes an interesting observation and says that anyone who engages in ceramics is fortunate enough to work with the earth itself, but at the same time he asks whether the artist works only with the earth or, in so doing, also “cooperates with the Earth”.[1] The acute awareness of clay as a material suitable for very subtle, intuitive communication with the creative principle that permeates all beings and determines their layered interconnectedness is what makes Ivana Petan stand out among a growing number of artists who have chosen ceramics as their primary artistic practice. Thus, starting from the directness of contact and work with the material, the artist’s notion of the creation of an artwork is embodied in her personal relationship towards the experience of life and the world. At the same time, the final form of her works, whether they are individual sculptures or more complex spatial installations, is shaped in communication with the site-specific and temporal context in which she is working. It is precisely for this reason that Ivana Petan’s creative process always has a fluid portent, and is open to experiment in the formal and technological sense. Of course, we should be aware that this is an artist who has behind her some score of years of work and tireless investigation of technologies related to clay, an artist who is very familiar with various techniques, ranging from clay pit or electric kiln, smoked clay, Raku or Saggar firing processes, and in that sense the experiment does not mean the process of mastering a certain technique, but free creation and combination of acquired knowledge that is unencumbered by the potential limitations of material or processes. At the exhibition titled “From the Background”, Ivana Petan sets up installations in two distinctly different spaces. The artist interprets the open space of the museum’s atrium as a necessary connection with nature and installs two dozen or so ceramic sculptures on the lawn, the forms of which evoke an appearance of the noble pen shell. And indeed, this exceptionally important and endangered species that filters seawater was Ivana’s starting point in designing the installation, which is fully in line with her focus on nature and detecting the neuralgic points as necessary healing sites. This, however, is definitely not an illustration or a literal reproduction of a form from nature, rather it is a transformation of the entire space, precisely because the artist is primarily focused on the energetic and symbolic potentials of the art object. In the very process of creating the sculptures, Ivana consistently employs a transparent approach which underscores the natural beauty of clay, as well as the way it is processed, visible through the traces of adding and impressing the pliable material. Variations in the colour and textures of the surface further erase the boundary between the natural and the (wo)man-made, whereby artistic creation completely merges with the primordial, the creation of life. Ivana Petan treats the neutral, classic white cube exhibition space as a staging area with an almost ritual character. She installs small “floating” stylised heads into space, which almost invite to be cradled in the palms of one’s hands. These objects exude intimacy and tenderness, and given the fact that they were created over the last two extremely taxing years, the artist’s need for just such a process and final artwork form is clear. She mounts ceramic paintings on the walls, which convey the symbolism of the passage of time, the conscious and unconscious memory, while the large-format ceramic bowls are placed on pedestals. With these objects, Ivana Petan comes closest to her works in the field of applied ceramics, but she also clearly shows that for her the boundary between applied and art production is very fluid and that behind both cases lie intense reflections and creative processes. The associativity of such objects in the context of art installation inevitably leads us towards the early ritual uses of ceramics, and we can only hope to fill them with some symbolic elixir of life, a panacea that will wash away all the troubles of man and nature and bring us much needed healing. Jasminka Babić Ivana Petan (Zagreb 1974) has for the last two decades built a specific artistic approach to working with clay, and with her continuous work in the field of art and applied ceramics she occupies a prominent position on the contemporary ceramic art scene in Slovenia. From 1999 to 2001, she studied ceramics and pottery at the Magušar Pottery Workshop in Ljubljana. In 2000 she obtained a degree in social pedagogy from the Faculty of Education, University of Ljubljana. In 2011 she obtained a degree in geomancy from the School for Geomancy, Society for the Coexistence of Man, Nature and the Environment VITAA in Ljubljana. In 2015, she received her master’s degree in philosophy and theory of visual culture from the University of Primorska, Faculty of Humanities Koper, Slovenia. Since 2004, she has regularly participated in a host of ceramics exhibitions, workshops, symposia and residencies in Slovenia and abroad. Solo exhibitions (selection): 2020 Forma viva Magija gline 2020, Hrušica, Slovenia 2020 display window exhibition, Art Gallery Juha Studio keramike, Ljubljana 2019 Barke/Boats, Stari Grad Museum, Stari Grad, island of Hvar (with Bojan Brecelj) 2019 Walking on the Grass, park Kromberk Castle, Goriška Museum, Nova Gorica, Slovenia 2019 ◯ πr kvadrat, Exhibition of Contemporary Kinetic Ceramics, Vovk Garden, Kranj, Slovenia 2018 The Water Dragon of Venice, Zadar City Loggia, Croatia (with Bojan Brecelj and Marko Pogačnik) 2018 “6 exi” Gallery, Contemporary Ceramics, Thessaloniki, Greece 2017 Dominican Monastery of St. Peter the Martyr, Stari Grad, island of Hvar, Croatia (with Bojan Brecelj) 2015 Stari Grad Museum, Stari Grad, island of Hvar, Croatia 2015 Slovene Ethnographic Museum, Ljubljana, Slovenia 2014 Cultural Center Srečko Kosovel, Sežana, Slovenia 2014 XXX International Festival Sarajevo, Hanikah Gallery, Baščaršija, Sarajevo, Bosnia and Herzegovina 2013 Charlama Gallery, Sarajevo, Bosnia and Herzegovina 2012 Tropski vrt, Dobrovnik, Slovenia (with Bojan Brecelj) 2012 Grosuplje City Library Gallery, Grosuplje, Slovenia 2011 Tir Mostovna Gallery, Solkan, Slovenia 2010 Town Hall, Ljubljana, Slovenia 2009 Čokot Gallery, Split, Croatia 2007 Meduza 2 Gallery, Piran, Slovenia 2006 Magušar’s House, Radovljica, Slovenia 2004 Srečišče Gallery, Ljubljana, Slovenia (with Bojan Brecelj) [1] Pogačnik, Marko. Art, created of the Earth, in Ivana Petan: a story of clay 2002 – 2020. Society for the Coexistence of Man, Nature and the Environment VITAAA, 2020.
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Pišući o radu Ivane Petan Marko Pogačnik ističe zanimljivu misao da je svatko tko radi keramiku sretan jer radi sa zemljom, no istovremeno postavlja pitanje radi li autor/ica samo sa zemljom ili pritom također «surađuje sa Zemljom».[1] Izražena svijest o glini kao materijalu pogodnom za vrlo istančanu, intuitivnu komunikaciju s kreativnim principom koji prožima sva bića i određuje njihovu slojevitu međusobnu povezanost je ono što Ivanu Petan ističe među rastućim brojem autorica i autora koji su keramiku odabrali kao svoju primarnu umjetničku praksu. Tako, polazeći od neposrednosti kontakta i rada s materijalom, autorica proces stvaranja umjetničkog djela shvaća kao utjelovljene svog osobnog odnosa prema iskustvenom doživljaju života i svijeta. Pritom se konačna forma njezinih radova, bilo da je riječ o pojedinačnim plastikama ili složenijim prostornim instalacijama, formira u komunikaciji sa specifičnim prostornim i vremenskim kontekstom u kojem stvara. Upravo je zbog toga kreativni proces Ivane Petan uvijek fluidnog predznaka, otvoren eksperimentu u formalnom i tehnološkom smislu. Naravno, moramo biti svjesni da je riječ o autorici s više od dvadeset godina rada i neumornog istraživanja tehnologija vezanih za glinu, autorici koja dobro poznaje tehnike bez obzira bila riječ o pečenju u jami ili električnoj peći, dimljenju, raku ili saggar keramici, i u tom smislu eksperiment ne znači proces savladavanja određene tehnike već slobodnu kreaciju i kombinaciju usvojenih znanja neopterećenu potencijalnim ograničenjima materijala ili procesa. Na izložbi nazvanoj „Iz pozadine“ Ivana Petan realizira instalacije u dva bitno različita prostora. Otvoreni prostor muzejskog atrija autorica iščitava kao nužnu poveznicu s prirodom i na travnjak postavlja dvadesetak keramičkih skulptura čija forma evocira izgled plemenite periske. I uistinu, taj izuzetno značajni ugroženi pročišćivač mora bio je početna polaznica Ivani pri osmišljavanju instalacije, što je potpuno u skladu s njezinim fokusom usmjerenim prema prirodi i detektiranju neuralgičnih točaka kao potrebnih mjesta iscjeljenja. No ovdje definitivno nije riječ o ilustraciji i doslovnom reproduciranju forme iz prirode već o transformaciji cjelokupnog prostora, upravo zbog toga što je autorica primarno usmjerena prema energetskim i simboličkim potencijalima umjetničkog objekta. Pri izradi samih skulptura Ivana dosljedno zadržava transparentan pristup u kojemu ističe prirodnu ljepotu gline kao i način njezine obrade vidljiv kroz tragove adiranja i utiskivanja podatnog materijala. Varijacijama u boji i teksturama površine dodatno se briše granica između prirodnog i od čovjeka (žene) stvorenog, pri čemu se umjetnička kreacija u potpunosti pretapa s onom iskonskom, životnom. Neutralni, klasični white cube prostor izložbene dvorane Ivana Petan tretira kao mjesto inscenacije gotovo ritualnog karaktera. U prostor smješta «lebdeće» male stilizirane glave koje gotovo da pozivaju da ih se obujmi dlanovima. Riječ je o predmetima koji odišu intimnošću i nježnošću, a kada znamo da su nastali u posljednje dvije izuzetno zahtjevne godine, jasna je potreba autorice za upravo takvim procesom i konačnom formom umjetničkog rada. Na zidove postavlja keramičke slike koje prenose simboliku protoka vremena, svjesne i nesvjesne memorije, dok na postamente postavlja keramičke zdjele velikog formata. Ovim se predmetima Ivana Petan najviše približava svojim radovima u polju primijenjene keramike, no isto tako jasno pokazuje da je za nju granica između primijenjene i umjetničke produkcije vrlo fluidna i da u oba slučaja iza svega stoje vrlo bliska promišljanja i kreativni procesi. Asocijativnost ovakvih predmeta u kontekstu umjetničke instalacije vodi nas neminovno prema ranim ritualnim uporabama keramike, pri čemu se možemo samo nadati nekom simboličnom eliksiru života koji će ih ispuniti, panacei koja će sprati sve tegobe čovjeka i prirode i donijeti nam toliko potrebno izlječenje. Jasminka Babić Ivana Petan (Zagreb 1974.) već gotovo dva desetljeća gradi specifičan autorski pristup radu s glinom i svojim kontinuiranim radom na polju primijenjene i umjetničke keramike zauzima istaknuto mjesto u suvremenoj keramičkoj produkciji u Sloveniji. Od 1999. do 2001. godine učila je keramiku i lončarstvo u lončarskoj radionici Magušar u Ljubljani. Godine 2000. je diplomirala socijalnu pedagogiju na pedagoškom fakultetu Sveučilišta u Ljubljani. Diplomu geomantije je stekla 2011. godine na školi geomantije, Društvo za sožitje človeka, narave in prostora VITAA u Ljubljani. Godine 2015. je magistrirala filozofiju i teoriju vizualne kulture na Univerza na Primorskem, FHŠ Koper, Slovenija. Od 2004. godine redovito sudjeluje na nizu keramičkih izložbi, radionica, simpozija i rezidencija u Sloveniji i inozemstvu. Samostalne izložbe (izbor): Forma viva Magija gline 2020, Hrušica, Slovenija 2020. izlog umjetničke galerije Juha Studio keramike, Ljubljana Barke/Boats, Muzej Staroga Grada, Stari Grad, otok Hvar (s Bojanom Breceljem) Walking on the Grass, park Kromberk dvorac, Goriški muzej, Nova Gorica, Slovenija ◯ πr kvadrat, Izložba suvremene kinetičke keramike, Vovk vrt, Kranj, Slovenija The Water Dragon of Venice, Gradska loža Zadar, Hrvatska ( Bojanom Breceljem i Markom Pogačnikom) “6 exi” Galerija, Suvremena keramika, Thessaloniki, Grčka Dominikanski samostan Sv. Petra mučenika, Stari Grad, otok Hvar, Hrvatska (s Bojanom Breceljem) Muzej Staroga Grada, Stari Grad, otok Hvar, Hrvatska Slovenski etnografski muzej, Ljubljana, Slovenija Kulturni ceNtar Srečko Kosovel, Sežana, Slovenija XXX međunarodni festival Sarajevo, Hanikah galerija, Baščaršija, Sarajevo, BiH Galerija Charlama, Sarajevo, BiH Tropski vrt, Dobrovnik, Slovenija (s Bojanom Breceljem) Galerija knjižnice Grosuplje, Grosuplje, Slovenija Tir galerija Mostovna, Solkan, Slovenija Gradska vijećnica, Ljubljana, Slovenija Galerija Čokot, Split, Hrvatska Meduza 2 Galerija, Piran, Slovenija Magušarjeva hiša, Radovljica, Slovenija Srečišče galerija, Ljubljana, Slovenija (s Bojanom Breceljem) [1] Pogačnik, Marko. Umetnost, narejena iz Zemlje. u Ivana Petan: zgodoba o glini 2002 – 2020. Društvo za sožitje čoveka, narave in prostora VITAAA, 2020. str. 61. (prev.aut.)