Trnoružičnjak – suiteRadovi nastali u periodu od 2005-2018.

Selma Đulizarević

National Gallery of Bosnia and Herzegovina

Prevod: Vera NedićDizajn: Zoran ĐorđevićFotografije: Branimir KaranovićVladimir Perić TalentLuka KlikovacMilica StojanovŠtampa: INPRESS

Autorka izložbu posvećuje svojim roditeljima Mustafi Đulizareviću i

Šemsi Gavrankapetanović

Živiš s onim kartama koje ti život podeli. Mi smo ti koji moramo da učinimo

stvari odgovarajućim.Bob Dilan, “Hronike”

Mentalni ekranŠta je intelektualni, a šta vizuelni realizam, odnosno, da li crtamo/slikamo stvari onakve kakve znamo da jesu (i čime je strukturirano to naše znanje) ili ih slikamo onakve kakve nam izgledaju, filosofsko je pitanje (od Platona do egzistencijalizma). Ova dilema prati slikarku Selma Đulizarević Karanović još od sredine 90-ih godina, na početku njene karijere, kada fundira poetiku sopstvenog rada na tradicijskom poimanju slike; slikano polje kao mentalni ekran na kojem se projektuje jedan složeni svet odnosa ljudi, ideja, situacija, pojava... Možemo verovati u staru istinu da nema velikih i malih ili zastarelih tema već se koncepti i teze zasnivaju, pre svega, na pitanju umetničke ideje, njene elaboracije, provodljivosti sistema i situiranja problema u kontekst vremena.

Stvarno i/ili moguće Traganje za idealima zajedničkog/porodičnog života i ambijentom lične sreće usmerio je i tematski okvir ovog slikarstva ka porodičnim scenama i fragmentima privatnog života sa elementima

“You live with the cards life’s dealt you.We are the ones to make

things right.”Bob Dylan, The Chronicles

Mental ScreenWhat is intellectual, and what visual realism, or, do we draw/paint things the way we know they are (and what structures that knowledge) or do we paint them the way they seem to be – is a philosophical question (from Plato to existentialism). This dilemma has been shadowing Selma Djulizarevic Karanovic, the painter, since the mid-nineties, from the beginning of her career, when she founded the poetics of her own work upon the traditionalist comprehension of a painting; a painted space, like a mental screen where a complex world of human relations, ideas, situations, occurrences is projected… We may believe the old truth that there are no big and small or outdated subjects; the concepts and ideas are founded, first of all, on the basis of the artist’s idea, its elaboration, penetrability of the system, and on the positioning of the problem within a time context.

Actual and/or PossibleSearching for ideals of a mutual/family life and ambient of personal happiness directed the thematic framework of these paintings towards family motives and fragments of private life

autobiografskog. U vazduhu već lebdi otvoreno pitanje o principu ne/zadovoljstva Persone i Senke. Reklo bi se, Selma Đulizarević upravo kroz slikarski rad nastoji da razreši dualitet stvarno i/ili moguće, lični život i projekciju svoje unutrašnje slike u spoljašnji svet rizikujući, pri tom, ne/razumevanje i pogrešnu percepciju Drugih. Kroz rad pokušava da savlada opasnosti i zamke koje određene konvencije nose kada se traži adekvatni grafički i pikturalni ekvivalent.

Šta sve žene trpe radi lepoteDanas je vidljiva potreba Slikarke da njen rad ovlada prostorom - ambijentom, a bajkovitost sa elementima subverzivnog stukturiše idejni koncept novih kolaža i krinolina. Svoj afinitet za scensko i scenično ona razvija u dijalogu sa istorijskim kostimom i vremenima žena-dama, kada se gospodstvo ogledalo i u pažljivom dres-kodu. Projekat sa korestima-objektima vodili su dalje u još razvijeniji sistem posvećen vizuelnoj igri sa krinolinama i kreacijama scenskih kostima po sopstvenoj estetskoj meri.

Krinolina-kavez (ili pitanje identiteta i integriteta)dugačka suknja ili haljina obeležila je žensku modu kroz vekove. Haljina-kavez u kojoj je žena nedodirljiva, pravi se od čvrstih obruča preko kojih se spušta podsuknja, a potom gornji sloj čipke ili nekog drugog finog materijala. Pobornici veće slobode

with autobiographical elements. The open question of the principle of dis/satisfaction of the Person and the Shadow is suspended in the air. One could say that Selma Djulizarevic Karanovicis trying, through her art, to overcome the duality of the actual and/or possible, the duality of her personal life and the projection of her inner self into the outside world, risking, at the same time, a non/comprehension and wrong perception on the part of the Others. She is trying, through her work, to overcome dangers and traps that come with certain conventions when searching for an adequate graphic and pictorial equivalent.

The Things Women do for BeautyThe Painter’s need to dominate the space with her art is visible in her present work, and fairy-tale atmosphere with subversive elements gives structure to the concept of new collages and crinolines. Selma develops her affinity towards the stage and stage-like in a dialogue with historical costume and times of women-ladies, when nobleness was reflected in an immaculate dress code. The projects with corset-objects progressed into an even more developed system dedicated to the visual play with crinolines and creations of scenic costumes in line with Selma’s own aesthetics.

Crinoline-cage (or, the matter of identity and integrity)A long skirt or dress has been present in female fashion throughout centuries. A dress-cage, in which a woman is untouchable, is made of firm loops covered with an underskirt

stalno se sa svakim novim detetom i novim piscem iznova rađajući od praistorije do danas.” (G.Olijić, Poetika bajke)

Trnova Ružica u đul-bašti Obilje cveća postaje metafora ljubavi i rajskih vrtova. Na pitanje: čime hranite Vaš rad? Slikarka bi verovatno odgovorila elementima floralnog i folklornog, persijskim tepisima i ružama, modelima naše kulture. I zaista, u koloristički raskošnim i mirisnim đul-baštama Selme Đulizarević žive princeze (iz bajki) spremne da ulepšaju i naše snove. Trnova Ružica je jedna od njih. Bajka, riznica arhetipova „iskonskih slika“ i simbola koji dolaze iz kolektivno nesvesnog (Jung) sadrži toliko otkrivajućeg i oslobađajućeg. Na taj način figure iz bajke postaju nosioci naših sopstvenih projekcija, a u doživljaju bajke krije se izlečenje.

Psihoanalitičar dr Bruno Batelhajm predstavlja provokativno i stimulativno istraživanje najpoznatijih bajki. On otkriva pravi sadržaj priča i pokazuje kako ih deca mogu iskoristiti da bi se izborila sa svojim zbunjujućim osećanjima i strepnjama. 

Trnova RužicaI Slikarkina Trnova Ružica je metafora za jedno istorijsko vreme i sećanje na nekadašnje lidere, vođe, (Princ, Kralj, Lenjin, Tito). Cvetovi su zajednički imenitelj u čitavom autorkinom slikarskom radu. I kao etno-aplikacije, rasuti

fairy tale that has been going on and on since the time immemorial, reborn with every new child and new writer.“ (G. Olujic, Fairy Tale Poetics)

The Sleeping Beauty in a Garden of RosesAbundance of flowers becomes a metaphore of love and gardens of Eden. If asked: “What does your work feed on?“ The Painter would, most likely, answer: “On floral and folklore elements, on Persian rugs and roses, on models of our culture“. And really, in colouristicallymagnificent and fragrant rose gardens painted by Selma Djulizarevic Karanovic, there live princesses (from fairy tales) ready to grace our dreams. The Sleeping Beauty is one of them. A fairy tale, a treasure chest of archetypal “primal images“ and symbols that come from the collective unconscious (Jung) is most revealing and liberating. The fairy tale figures thus become carriers of our own projections, while the fairy tale itself shields the cure.

Psychoanalyst Dr. Bruno BettelheimHe represents a provocative and stimulative research of the best-known fairy tales. He reveals the true content of the stories and goes on to show how children can use them to overcome confusing feelings and apprehensions.

The Sleeping BeautyThe Painter’s Sleeping Beauty is also a metaphore for a historical era and a memory of the past leaders (the Prince, the King, Lenin, Tito). The flowers are the common denominator in the author’s painting art. They have the form of ethnic embellishments,

za žene optuživali su kreatore da su ženu namerno stavili u kavez i tako joj dodatno vezali ruke. Kako bilo ko može dobro da se oseća ako nosi gomilu čelika na sebi (ma kako on bio lak), i preko toga još metre i metre materijala? Pravi je izazov nositi krinolinu, ali uprkos svim teškoćama, u njoj se pripadnice lepšeg pola osećaju sasvim posebno, jedno je od mišljenja današnjih kreatora venčanica.

Ka Trnovoj Ružici Slikarski čin - koordinacija psihomotornih aktivnosti - služi artikulaciji opažanja, sećanja, osećanja i drugih doživaljaja koji se mogu povezati sa detinjstvom i vremenom igre. Sami koreni estetskih iluzija vezuju se za rano detinjstvo, životni period u kojem su sva deca likovno darovita. Na neki način ovo aktivno ponavljanje pasivnih doživljaja osujećuje sudbinske dileme o Dobitnicima i Gubitnicima a jedinstvo, ravnoteža i stabilnost ličnosti, makar u fragmentima, osvajaju novi životni prostor. Tu su bajke prevedene u privatne situacije i modifikovane u poetski zgusnuta stanja.

Bajke se, kao i snovi, služe jezikom simbola, a simboli nam dolaze iz dubina nesvesnog. „Bajka u kojoj se raskoš jedinstva sveta u punoj meri ogleda nije supstitut, već legitimni oblik sveta detinjstva u kome čuda ne prestaju da traju, baš kao što ni bajka ne prestaje da traje,

and topped by layers of lace or some other fine material. Advocates of woman’s freedom have accused fashion designers of intentional imprisonment of the woman in a cage, with her arms tied. How can anyone feel well with so much steel on themselves (however light), covered with metres of material? Wearing a crinoline is a genuine challenge, but, in spite of all difficulties, ladies feel special in it, at least that is what designers of wedding dresses believe.

Towards the Sleeping BeautyThe act of painting – coordination of psychomotor activities – serves the articulation of noticing, remembering, feeling and other experiences that can be traced back to childhood and the time of play. The very roots of aesthetic illusions can be associated with the early childhood, a period in life where all children can draw. In a way, this active repetition of passive experiences, subdues the pivotal dilemmas on Winners and Losers, and the unity, equilibrium and stability of a person, albeit fragmented, are conquering a new life space.There, the fairy tales are poetically condensed and transformed into private situations.

Fairy TalesThey too, like dreams, use the language of symbols, and symbols come from the depths of the unconscious. “A fairy tale that wholly reflects the splendour of the world unity is not a substitute, but a legitimate form of a childhood world where wonders never stop, just like a

i zašiveni na korsete, Titovu sliku, kolaže, a dominiraju i crtežima. Više od istine koju živimo je da se utopijskim projektima prolitičara može uspavati ne samo princeza već i čitav narod. Socijalni i drugi tabui koji provociraju, vuku se za nama. Službeno istorijsko pamćenje postaje retrogradno. Projekt o spasiteljskoj ljubavi Trnove Ružice blizak je senzibilitetu femine.

Trnova Ružica Braće GrimPoručuje: Ljubav i plemenitost pobeđuju. Ne treba biti osvetoljubiv. Bajke su bile integralni deo detinjstva stotinama godina. U tom komunikacijskom kodu Selma Đulizarević stvara ambijentalnu bajku za i decu i odrasle. Inteligentno i provokativno u kolažima i krinolinama mimikrijskim i subverzivnim sredstvima stvara ugodnu ambijentalnu bajku koja očekuje povratak princeza i heroja-prinčeva. Ideološki fenomeni i socijalni plan zaklonjeni su umetničkim konceptom u znaku obilja cveća koje referiše na ljubav i rajske vrtove. Aritmija vremena obeležena je rasutom pažnjom, zgusnutom svakodnevicom i stereotipima. Uprkos svemu, Selma Đulizarević Karanović je deo generacije ubeđene da se i umetnošću svet može menjati.

Ljiljana Ćinkul

scattered and sewn onto corsets, Tito’s image, collages; they also dominate the drawings. It is more than a simple truth that utopic politicians’ projects can put not just princesses to sleep, but the whole nations. Social and other provocative taboos are dragging behind us. Official historic memory becomes retrograde. The project on the love that saved the Sleeping Beauty is close to the sensibility of the femina.

The Sleeping Beauty by the Brothers GrimmIt sends the message: the love and noblenesswin. We should not be vindictive. Fairy tales have been an integral part of childhoods for centuries. In that communication code, Selma Djulizarevic Karanovic creates her ambient fairy tale for children and adults. Intelligently and provocatively, in collages and crinolines, she creates, with mimicking and subversive means, a pleasant ambient fairy tale that awaits the return of princesses and heroes-princes. Ideological phenomena and a social agenda are hidden behind the artistic concept marked by an abundance of flowers with reference to love and gardens of Eden. The arrhythmia of time is marked by inconsistent attention, condensed everyday life and stereotypes. Despite all this, Selma Djulizarevic Karanovic believes that art can change the world.

Ljiljana Ćinkul

Selma Djulizarevic Karanovic

Selma Djulizarevic Karanovic was born in Sarajevo, Yugoslavia in 1967. She studied Art History at Belgrade Faculty of Philosopy.She acquired BA at the Belgrade Faculty of Fine Arts – Painting Department in 1994. At the same department, she gained Master of Arts in 1997, as well as PhD Arts in 2012. Since 1995 she has been a member of ULUS (the Association of Visual Artists of Serbia). She has also been a member of OISTAT/Costume Design Group since 2010.

She won the following awards: the Golden Palette in 2013 - awarded by ULUS, the Honorable Mention of the International Jury of the 10th International Biennial of Miniature Art in Gornji Milanovac, Serbia in 2010, the White Angel of Milesheva in Prijepolje, Serbia in 2010. As a student she gained four awards of the Belgrade Faculty of Fine Arts - for a drawing in 1991, for a portrait in 1993, for mosaics in 1993 and the Great Award for Painting in 1994. Since 1991 she has had 18 solo exhibitions in Serbia, Montenegro, Bosnia and Herzegovina and Belgium. She has participated in numerous important exhibition of ULUS since 1995 and international exhibitions such as: the Biennial

Selma Đulizarević Karanović

Rođena u Sarajevu 1967. godine. Studirala na Odseku za istoriju umetnosti na Filozofskom fakultetu u Beogradu. Diplomirala na Slikarskom odseku Fakulteta likovnih umetnosti u Beogradu, 1994. godine. u klasi profesorke Milice Stevanović. Na istom fakultetu završila poslediplomske studije 1997. godine. Stekla je zvanje doktora umetnosti iz oblasti slikarstva pod mentorstvom profesorke Anđelke Bojović 2012. Godine. Član je ULUSa od 1995. Godine. Samostalno je izlagala 20 puta u Srbiji, Crnoj Gori, Bosni i Hercegovini i Belgiji od 1991. godine. Učestvovala je na preko 30 grupnih izložbi u zemlji i inostranstvu. Učestvovala na važnijim grupnim izložbama ULUSa od 1995. godine. Učestvuje na izložbama kao što su Međunarodni bijenale umetnosti minijature u Gornjem Milanovcu, Internacionalni bienalni festval portreta (INTERBIFEP) u Tuzli, Bosna i Hercegovina i Hanga Forum u Japanu. Učestvovala na Simpozijumu i radionici u organizaciji OISTAT (International Organisation of Scenographers, Theatre Architects and Technicians), sa članovima CDG (Costume

of Portrait INTERBIFEP in Tuzla (BiH) and the International Biennial of Miniature Art, Gornji Milanovac (Serbia) and Hanga Forum in Japan. She took part in Symposium and Workshop organized by OISTAT in Istanbul:Cultural Exchange Betveen East and West-Kaftan and Its Influence in Fashion.

She has been working at the Belgrade Faculty of Applied Arts since 2000. As assistant-trainee she worked at Applied painting Department and at the Department for Conservation and Restoration, as assistant she worked at the Costume Department (Modul Stage Costume and Modul Fashion Design). Since 2007 she works as a docent at the Graphic Department, teaching Drawing and Painting (Module Printmaking and book design, Modul Animation, Module Photography and Modul Graphic Design). She became Associated professor in 2014, attached to the Graphic Department teaching Drawing and Painting. Three works of Selma Djulizarevic Karanovic belong to the Collection of Belgrade City Museum and one has recently purchased by Ministy of Culture of Serbia for the Gallery Nadezda Petrovic Collection of Contemporary Art, Cacak, Serbia.

Design Group), u Istanbulu 2010. godine, pod nazivom Cultural Exchange Between East and West: Kaftan and Its Influence in Fashion. Radi kao vanredni profesor na Fakultetu primenjenih umetnosti u Beogradu na Grafičkom odseku.

Samostalne izložbe / Independent exhibitions:

1991 - Galerija Centra za kulturu Stari grad, Beograd - crteži

1994 - Galerija Studentski grad, Novi Beograd - slike i crteži

1998 - Galerija FLU, Beograd - slike1999 - Galerija Sue Ryder, Herceg Novi -

slike2002 - Galerija Zadužbine Ilije M. Kolarca,

Beograd - slike - Galerija Sopoćanska viđenja, Novi

Pazar - slike - Galerija Vladimir Maržik, Kraljevo -

slike - Galerija Preporod, Sarajevo - slike2004 - Galerija Savremene likovne

umetnosti, Salon 77, Niš - slike2005 - Prodajna galerija Beograd, Beograd

- slike - Moderna galerija, Lazarevac - slike2007 - Galerija Biblioteke grada Beograda

Atrium, Beograd - slike2008 - Likovni salon Doma kulture, Čačak - slike2011 - Galerija FLU, Beograd - doktorska

umetnička izložba2011 - Galerija Izlozi , Beograd - doktorska

umetnička izložba2012 - Musée des Beaux-Arts de Vevriers,

Belgija - objekti, crteži i slike2013 - Centar za kulturu Mostar - objekti - Galerija Preporod, Sarajevo - objekti

Contact Information:Address: Jurija Gagarina 197, 11 070 Novi Beograd, Republic of SerbiaEmail: djulizar.selma@gmail.comTel: +381 61 667 6047 +381 11 2151 985

2014 - Prodajna galerija Beograd, Beograd - objekti

2016 - Moderna galerija, Gornji Milanovac – crteži i objekti

2017 - Galerija Milorad Bata Mihailović, Pančevo – crteži i objekti

- Galerija ULUS – crteži i objekti2018 - Galerija Narodne biblioteke Novi

Bečej, Novi Bečej – crteži i objekti Nagrade / Awards:

1991 - Nagrada FLU za crtež iz Fonda Đurđa Teodorovića, slikara i profesora

1993 - Nagrada FLU za portret iz Fonda Đorđa Bošana, slikara i profesora, Nagrada FLU za mozaik iz Fonda JIK banke

1994 - Velika nagrada FLU za slikarstvo iz Fonda Riste i Bete Vukanović

2010 - Pohvala Međunarodnog žirija na X međunarodnom bijenalu umetnosti minijature, Gornji Milanovac

2011 - Plaketa Beli Anđeo - ravnopravna nagrada Umetničke kolonije Mileševa 2010

2013 - Zlatna paleta ULUSa na Prolećnoj izložbi 2013