Izlaganje skulpture kao društvena praksa: park skulptura Simpozijuma Beli Venčac u Aranđelovcu

Abstract

U tekstu se razmatra praksa izlaganja skulpture na otvorenom prostoru u kontekstu jugoslovenske umetnosti i kulture 1960-ih i 1970-ih godina kroz studiju slučaja o nastanku i razvoju parka skulptura u okviru Simpozijuma skulpture Beli Venčac u Aranđelovcu. Ostvarivši izuzetno značajna dostignuća u domenu afrimacije i negovanja moderne skulpture, kako na užem umetničkom, tako i na širem društvenom planu, ovaj Simpozijum predstavlja jednu od ključnih stanica za razumevanje kompleksnog razvoja i funkcije modernističke skulpture na jugoslovenskom prostoru. Simpozijum je osnovan 1966. godine, kada su u belom mermeru, materijalu koji je karakterističan za lokalno podneblje, skulpture izveli jugoslovenski umetnici Oto Logo, Matija Vuković, Mira Jurišić, Angelina Gatalica, Raja Nikolić, Jovan Soldatović i Šošana Hajman (Shoshana Heiman) iz Izraela. Dela nastala u okviru Simpozijuma iste godine trajno su postavljena u parku Bukovičke Banje u Aranđelovcu, čime je inaugurisana izlagačka praksa skulpture na otvorenom prostoru koja traje do danas. Uvođenjem skulptura u prostor parka transformisan je identitet ovog (banjskog) mesta – park je dobio moderni karakter u funkciji novoostvarenih kulturnih potreba društva, a kao rezultat promene kursa jugoslovenske kulturne politike šezdesetih godina dvadesetog veka pod geslom „umetnost za sve“. Uključivši različite aktere iz umetničkog, političkog i privrednog života, oslanjajući se na prirodne resurse lokalne sredine, Simpozijum skulpture Beli Venčac funkcioniše kao primer aktiviranja potencijala jedne zajednice sa idejom stvaranja autentične slike-pejzaža njene društvene savremenosti u kojoj umetnost u javnom prostoru ima veoma značajnu funkciju.

The text discusses the practice of exhibiting sculpture in open space in the context of 1960s and 1970s Yugoslav art and culture, looking at the establishment and development of the sculpture park comprising works made at the Beli Venčac Symposium of Sculpture in Aranđelovac as a case study. With its outstanding contribution to the affirmation and cultivation of modern sculpture, both in the domain of art and in a broader social context, the Symposium constitutes a key juncture in understanding the complex development and function of modernist sculpture in the Yugoslav cultural space. The Symposium was inaugurated in 1966, when the first sculptures were made, using white marble, a material that is traditionally associated with the local area, by the Yugoslav artists Oto Logo, Matija Vuković, Mira Jurišić, Angelina Gatalica, Raja Nikolić, and Jovan Soldatović, and the Israeli artist Shoshana Heiman. Works made at the first Symposium were permanently installed in the Bukovička Banja park in Aranđelovac, which thereby saw the inauguration of an open space sculpture exhibition practice that continues to this day. The introduction of sculptures to the park transformed the identity of this (spa) town – the park acquired a modern character, serving Yugoslav society’s newly found cultural needs, as a result of a change in Yugoslavia’s cultural policy during the 1960s, under the motto of “Art for All“. Involving various agents from artistic, political, and business life, making use of its local natural resources, the Beli Venčac Symposium of Sculpture serves as an example of activating the potentials of a community with the intent of creating an authentic landscapeview of its social contemporaneity wherein art in public space performs a highly important function.