katalog

4. Jezero, 2016., oslikana svila / Lake, 2016, painted silk
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LJERKA NJERŠ
Novi ciklusi
Staklo, keramika, svila
New Cycles
Glass, ceramics, silk
9. - 23. lipnja 2016.
June 9 - June 23, 2016
Studio Moderne galerije
“Josip Račić”
Margaretska 3, Zagreb
www.moderna-galerija.hr
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8. Plava ptica, 2016., oslikana svila / Blue Bird, 2016, painted silk
NOVI CIKLUSI
Keramika, staklo, svila – nešto kao zemlja, voda,
zrak: od težine prvobitne tvari, „iz koje dolazimo i u
koju se vraćamo“, preko udjela svjetlosti u
preobrazbi te težine, do lebdeće lakoće vjetra i krila.
Od vatre izgaraju metafore, da bi se plamen mogao
obnavljati. S tridesetak djela u keramici, staklu i svili
Ljerka Njerš prikazuje izbor iz posljednjih dviju
godina svoga rada. Neodoljiv izazov tvari ovdje je
utrostručen. Tvar nudi poticaj svojih svojstava, ali se
i pokorava autoričinoj volji, ugrađujući se u
jedinstven i nadređen svijet njezinih oblika. Ljerka
Njerš – koja je diplomirala slikarstvo na zagrebačkoj
Akademiji likovnih umjetnosti, prošavši školu kod
naših najznačajnijih likovnih umjetnika, sa završnim
udjelom Marina Tartaglije – oduvijek je osjećala
poziv nekih „drugih“ materijala. Ne toliko platna,
papira, neutralne podložne tvari: premda se i po
njima kretala suvereno, s velikim crtačkim darom i
kolorističkim nagnućem. Od prvog samostalnog
predstavljanja, 1962., do danas, posebno je zanima
odnos tzv. „čiste“ i „primijenjene“ odnosno
„uporabne“ umjetnosti. Ona „čista“ ponuđena je na
tanjuru, ona „primijenjena“ prevedena je na
naduporabnu razinu. Drevna povijest pečene
zemlje, keramike, porculana – a onda i stakla i
tekstila – našla je u djelu Ljerke Njerš dionicu
kontinuiteta i obnove.
NEW CYCLES
Ceramics, glass and silk – something like earth,
water and air: from the weight of the primal
substance 'from which we come and to which we
shall return', via the part taken by light in the
transformation of this gravity to the hovering levity of
wind and wing. Metaphors burn up from the fire, for
the flame to be able to be renewed. With some thirty
works in ceramics, glass and silk, Ljerka Njerš
shows a selection made from the last two years of
her work. The irresistible challenge of substance is
here tripled. Substance, matter, offers the stimulus
of its properties, but also bends to the author's will,
incorporated into the unique and superior world of
her forms. Ljerka Njerš, who took a degree in
painting at the Academy of Fine Arts in Zagreb,
having learned from Croatia's most important artists,
with the finishing touch placed by Marino Tartaglia –
has nevertheless always heeded to the call of some
other materials. Not so much canvas and paper,
neutral support materials, although she ranged over
them freely, with a great gift for drawing and
propensity for colourism. Ever since her first
independent appearance, in 1962, she has been
particularly interested in the relationship between
what is called pure and applied or use art. The 'pure'
is offered, as it were, on a plate, the 'applied' is
translated to a level above that of use. The
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Predmeti „primijenjene“ umjetnosti, makar artefakti
po sebi, podnosili su tijekom povijesti intervencije
one „čiste“. Ta „čista“, naročito kad je riječ o
oslikavanju, rasprostirala se po njihovoj epidermi
kao neka vrsta „dodane vrijednosti“. Tako je slikana
intervencija na obliku i tvari šalice, tanjura, vaze…
predstavljala svojevrsnu nagradu uz neposrednu
službu. Ona je naglašavala prisutnost i osobnost
predmeta, i u isti čas, nekom ugrađenom
sanjarijom, odvodila od njega. Slika je uporabom
često nestajala, pokrivena voćem, cvijećem,
hranom, pićem. Kad bi se predmet oslobodio
službe i vratio se sebi, vraćala se i slika. Stvaralo se
tako polje nestalne prisutnosti. Ako je pak predmet
već u projektu bio oslobođen „praktične“ uporabe,
ako je od nje pamtio samo oblik, svejedno je od te
preskočene pripadnosti rodu u njemu, poput
mirodije, ostajala ta mala dvosmislica, neka mala
napetost u definiciji, neki mali prkosni odmak od
metafizične ponude platna ili papira. Oslikan tanjur.
Divni renesansni prizori puni okera i modrine. Čemu
on služi? On je slika. Ali slika koja se nudi s
atavizmom funkcije. Koja sugerira neposredniju
komunikaciju i ostvaruje intimniji status u životnom
prostoru. Keramika Ljerke Njerš prošla je vrlo
različite faze, ali i kad se pojavljivala u zapamćenim
oblicima za praktične službe bila je uvijek dragocjen
predmet sa svojim jedinstvenim postojanjem kao
The ancient history of fired earth, ceramics,
porcelain – and then of glass and textile – has found
in the work of Ljerka Njerš both continuity and
renovation.Objects of applied art, even if they are in
themselves artefacts, have during history
undergone interventions from the 'pure'. This 'pure',
particularly when it is a matter of decoration, has
spread across their epidermis as a kind of added
value. Thus the painted intervention on the form and
matter of the cup, the plate and the vase was a kind
of reward on top of the immediate service. It
emphasised the presence and personality of the
object and at the same time, by virtue of some inbuilt
dream vision, led away from it. In use, the picture
would often vanish, concealed by fruit, flower, food
and drink. When the object was liberated from its
service and brought back to itself, the picture too
would come back. Thus a field of inconstant
presence was created. But if the object, in the very
design and purpose, was liberated from practical
use, if only the shape of it was remembered, all the
same, what would be linger of this omitted
belonging ness to a kind would be, like a spice, just
this little ambiguity, some little tension in the
definition, some small defiant distancing from the
metaphysical offer of canvas or paper. A painted
plate. Wonderful Renaissance scenes full of ochre
and azure. What is it for? It is a picture. But a painting
6. Dva akta, 2015., staklo, fuzija / Two Nudes, 2015, glass, fusion
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svrhom. Plohe su mogle biti glatke ili volumeni do
krajnosti razgibani, glazure i lazure trajno su upijale
pogled bogatim i istodobno nježnim kolorizmom, a
sve hrapavosti svijeta otisnule su se na neiscrpnim
mijenama površina. U djelima Ljerke Njerš veoma je
plodna igra projekta i slučaja, tehnologije kao
sudionika u konačnoj likovnosti djela. Nešto od
secesijskog povjerenja u neočekivano uključeno je
u autoričine namjere. Nije čudo što je posebno u
Klimtu nalazila povijesnog srodnika, u spajanju
preciznosti i prelijevanja, čitkog narativnog motiva i
ornamenta, crte i obojenog vala. Svakako u
panoramu sklonosti i poticaja spada umjetnost
dalekog Istoka, koja se razabire u brzini i točnosti
bilježenja vidljivog motiva, kao pred vječnošću, i u
aluzivnim, ideogramiziranim prostorima. Ljerka
Njerš ne zapostavlja ni izvanjske ni unutrašnje
površine predmeta, navodeći oko da klizi i da se
spušta u dubine i šupljine. Svaki njezin predmet
angažira vrijeme i doživljava se kao putovanje.
But a painting that is given with an atavistic sense of
a function.That suggests immediate communication
and attains a more intimate status in the
space of life. The ceramic art of Ljerka Njerš has
gone through very various phases, but even when it
appeared in the remembered forms for practical
service, it was always a precious object, with its own
unique existence as purpose. The surfaces could be
smooth or volumes that were ultimately supple, the
glazes and finishes lastingly absorbed the look with
their rich and yet tender colourism, and all the
roughness of the world was imprinted on the
inexhaustible changes of the surfaces. In the works
of Ljerka Njerš there is a very fruitful play of intended
design and fortuity, of technology as sharer in the
ultimate artfulness of the work. There is something of
the Art Nouveau trust in the unexpected included in
the artist's intentions. It is not surprising that it was in
Klimt in particular that she found historical kinship, in
the blending of precision and spilling, of legible
9. Crveni krajolik, 2016., oslikana svila / Red Landscape, 2016, painted silk
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17. Objekt 4, 2016., keramika, obvara / Object 4, 2016, ceramic, obvara
Posebno poglavlje svjetlosnih putovanja
predstavljaju stakla. Duša tvari intenzivira snagu
boje, ljepota prelijevanja otvara neke zračne zone
snažnih lirskih naboja. Jednako vrijedi i za oslikane
svile, koje rasprostiru bajkovite krajolike u
pravokutu slike ili ovijajući tijelo. Druženje s tvarima
zahtijeva određenu tišinu. U ovim predmetima
izloženo je mnogo autoričine tišine. Ali ta je tišina
vrlo muzikalna, što će svakako razaznati oko koje
sluša.
Željka Čorak
narrative motif and ornament, of line and coloured
wave. And the art of the Far East absolutely comes
within the panorama of her affinities and
promptings, discerned in the speed and accuracy of
her notation of the seen motif, as well as before
eternity, and in the allusive ideograms of space.
Ljerka Njerš neglects neither the exterior nor the
interior surface of the object, inducing the eye to
glide and yet to descend into the depths and the
voids. Every object of hers engages time and is
experienced as a journey. A separate chapter of her
luminous travels is composed of the objects in
glass. The soul of the substance intensifies the
power of colour, the beauty of iridescence opens up
some aerial zones of powerful lyrical charges. The
same thing holds true for the painted silks, which
spread forth fabulous landscapes either in the
rectangle of the painting or when enveloping the
body. Companionship with substances requires a
certain quietness. In these objects, much of the
author's silence is on display. And yet this stillness is
extremely musical, which will certainly be discerned
by the eye that listens.
Željka Čorak
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5. Objekt 1, 2015., keramika, obvara / Object 1, 2015, ceramic, obvara
OBVARA (Ab-Vara) je keramička tehnika iz 19.i 20.
stoljeća porijeklom iz Bjelorusije, a proširena je
sada i po svijetu. Vrlo je slična tehnici rakua, ali se
koristi druga mješavina tekućine nakon paljenja na
960 ˚C. Usijana keramika uranja se u fermentiranu
tekućinu sastavljenu od vode, brašna, šećera i
kvasca u određenim omjerima.
OBVARA (Ab-Vara) is a 19th-20th century
Belarusian ceramics technique involving scalding
the finish on the pottery to seal the porous surface.
The bisqued piece is heated to approx 950 °C , then
removed and dunked into the Obvara mixture and
then dunked in water to rapidly cool. It is similar to
the raku technique, but uses a different liquid after
heating: a fermented mixture of water, flour, sugar
and yeast.
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16. Objekt 3, 2015., keramika, obvara / Object 3, 2015, ceramic, obvara
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10

2. Djevojka u cvijeću, 2015., staklo, fuzija / The Flower Girl, 2015, glass, fusion
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11. Cvijeće, 2016., oslikana svila / Flowers, 2016, painted silk
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21. Rijeka, 2016., oslikana svila / River, 2016, painted silk
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7. Objekt 2, 2015., keramika, obvara / Object 2, 2015, ceramic, obvara
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LJERKA NJERŠ, slikarica i keramičarka,
diplomirala je slikarstvo 1961. godine na Akademiji
likovnih umjetnosti u Zagrebu u klasi prof. Marina
Tartaglije, završivši prije toga Školu primijenjenih
umjetnosti u Zagrebu u klasi keramičarke Blanke
Dužanec. Djeluje kao profesionalna likovna
umjetnica izlažući na brojnim skupnim i
samostalnim izložbama u zemlji i svijetu, sudjelujući
na međunarodnim stručnim skupovima,
simpozijima i likovnim kolonijama, usavršavajući se
studijskim boravcima u inozemstvu. Jedan od
takvih značajnih studijskih boravaka bio je i onaj
1987. u Portugalu, gdje je radila u tvornici kamenine
Santana u Lisabonu. Već iduće godine bila je
pozvana na umjetničku rezidenciju u renomiranu
tvornicu porculana Vista Alegre u Ilhavu u Portugal.
Godine 1988. radila je u čuvenom Curwen studiju u
Londonu (voditelj Stanley Jones), gdje je
specijalizirala litografiju. Jedna od tamo nastalih
litografija bila je izabrana za prestižnu Ljetnu izložbu
Kraljevske umjetničke akademije (Royal Summer
Exhibition). Od 1985. sudjeluje i na aukcijama
suvremene keramike poznatih londonskih
aukcijskih kuća Christies i Bonhams. Također, u
Engleskoj, uz svoju sestru Jadranku Beresford-
Peirse, sudjeluje u radu Međunarodne zaklade za
hrvatske spomenike (The International Trust for
Croatian Monuments). Prvu monografiju 1980.
godine napisao je Vladimir Crnković pod nazivom
„Njerš: Keramika i slike Ljerke Njerš“. O keramici i
slikarstvu Ljerke Njerš Grafički zavod Hrvatske
1990. godine izdao je monografiju iz pera Josipa
Depola (Biblioteka Prizma, knjiga 18, ur. Božo
Biškupić). Godine 2012. veliku monografiju „Ljerka
Njerš, Stvaralačka avantura u boji i vatri“ napisala je
Ivanka Reberski a izdavač je bio ULUPUH. Animirani
dokumentarni film „Umjetnost gline i vatre“ godine
1983. snimio je Ernest Gregl u produkciji Zagreb
filma, a kratkometražni dokumentarni film „Ljerka
Njerš“ 1991. godine Eduard Galić za HRT. Dobitnica
je mnogih nagrada i priznanja, od kojih spominjemo
Nagradu grada Zagreba 1994. godine, nagrade u
kategoriji keramike, stakla, porculana i terakote na
međunarodnoj izložbi „Umjetnost minijature“ u
Majdanpeku u Srbiji 2010., nagradu 24.
zagrebačkog salona. Odlikovana je Redom Danice
hrvatske s likom Marka Marulića za doprinos u
kulturi. Članica je Vojničkog i bolničkog reda sv.
Lazara Jeruzalemskog. Uz slikarstvo i keramiku,
Ljerka Njerš bavi se ilustracijom i opremom knjiga.
Članica je HDLU-a i ULUPUH-a Zagreb, te
londonskog Society of Designers and Craftsman.
Živi i radi u Zagrebu.
LJERKA NJERŠ, From a very early age, Ljerka
Njers knew that she wanted to devote her life to
something in the field of the arts and therefore took
a five-year course in ceramics at the renowned
School of Applied Arts in Zagreb under Professor
Blanka Duzanec. This was followed later by a
course in painting at The Academy of Fine Arts in
Zagreb, under Professor Marino Tartaglia. Ever
since, Ljerka has worked as a professional artist,
exhibiting continuously at home and abroad. In her
long career, she has held over 80 one-man shows
and participated at many other group exhibitions.
She has travelled extensively, attending workshops
and symposia. In 1987, Ljerka worked in the
Santana Stoneware Factory in Lisbon and the
following year Ljerka was the "artist in residence" at
the most famous porcelain factory in Portugal, Vista
Alegre. In 1988, Ljerka worked with Stanley Jones
at the Curwen Studio in London and one of her
lithographs made there was exhibited at the Royal
Academy Summer Exhibition in London in 1989.
One of Ljerka's most important exhibitions abroad
must be the comprehensive show of paintings,
drawings, prints and ceramics held at the Leighton
House Museum in London in 1984. Following this
exhibition, Ljerka was invited by Cyril Frankel to
participate at sales of Contemporary Ceramics at
Christie's and then at Bonhams. Ljerka's most
important exhibition at home was held at the
Museum of Applied Arts in Zagreb in 2007. The
catalogue was written by Ivanka Reberski and the
exhibition, supported by the Museum of Applied
Arts. The first monograph, entitled, “Ljerka Njers,
Ceramics“ was written by Vladimir Crnkovic and
published in 1980. In 1990, a monograph by Josip
Depolo, edited by Bozo Biskupic, was published by
Graficki zavod. In 2012 Ivanka Reberski's
monograph under the title,“Ljerka Njerš, An
Adventure in Colour and Fire“ was published by the
Association of Croatian Artists of Applied Arts.
Ljerka is a member of the Association of Croatian
Artists of Fine Arts and of Applied Arts and a
member of the Society of Designer Craftsmen in
Britain. Ljerka has received many awards, including
the Award of the City of Zagreb in 1998 and the
Order of the Morning Star, with the figure of Marko
Marulic in 1994 - for her contribution in the field of
the arts. Several short documentary films have
been made abaut the ceramics and paintings of
Ljerka Njers, including an animated documentary
film The Art of Clay and Fire by Ernest Gregl. Ljerka
Njers lives and works in Zagreb.
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RIJEČ UMJETNICE
Od kad znam za sebe nešto sam
stvarala. Nakon što sam kao jako mlada
izabrala slikarstvo i keramiku, to me
p o t p u n o o b u z e l o . Te h n o l o š k e
mogućnosti, kao i načini rada u keramici
koje sam proučavala, učinili su da sam
zavoljela keramiku, posebno tehniku
rakua. Posljednjih godina to je obvara...
Teme koje najviše koristim su ženski lik,
cvijeće ili lišće, koji se uvijek uklapaju u
zadani krug ili kvadrat. Zašto? Linija koja
stalno izvire iz motiva moja je glavna
preokupacija... Zatim je tu krajolik koji mi
pruža nebrojene mogućnosti. Ti se svi
motivi izmjenjuju i u mom slikarstvu,
keramici ili staklu. Radeći vidim nešto što
će pružiti veselje gledatelju. Nakon 50
godina kontinuiranog rada znam da će
puno ostati iza mene jer keramika je
nešto što može opstati stoljećima. Moja
je želja i potreba stalno raditi ono što me
veseli a ujedno znači nešto i drugima.
Inspirira me sve što me okružuje a što je
lijepo: zalazak sunca, otisak lista u glini...
ARTIST'S STATEMENT
I have been creating since I remember.
The inexhaustible possibilities of today's
technology, combined with ancient
techniques, made me simply fall in love
with ceramics, especially RAKU and
OBVARA. My favourite subjects are the
female body, flowers and leaves, which
always have to fit within a given shape.
The line of the drawing is my main
concearn. As I work, I anticipate the
happiness my creation will give to the
viewer. All the beautiful things which
surround me inspire me: the setting of
the sun, the impression of a leaf on wet
clay...
adress: Palmotićeva 29a, Zagreb
mob: +385 91 526 96 22
e-mail: ljerka.njers@gmail.com
www.ljerkanjers.com
Foto: Višnja Serdar
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KATALOG/CATALOGUE:
1. Cvjetna dolina, 2015., staklo, fuzija, 130 x 111 cm
Valley of Flowers, 2015, glass, fusion, 130 x 111 cm
15.Djevojka s pticom, 2015., oslikana svila, 100 x 100 cm
Girl with Bird, 2015, painted silk, 100 x 100 cm
2.Djevojka u cvijeću, 2015., staklo, fuzija, 60 x 27 cm
The Flower Girl, 2015, glass, fusion, 60 x 27 cm
16.Objekt 3, 2015., keramika, obvara, 28 x 25 cm
Object 3, 2015, ceramic, obvara, 28 x 25 cm
3.Plavi krajolik, 2016. oslikana svila, 100 x 100 cm
Blue Landscape, 2016, painted silk, 100 x 100 cm
17.Objekt 4, 2016., keramika, obvara, 38 x 28 cm
Object 4, 2016, ceramic, obvara, 38 x 28 cm
4.Jezero, 2016., oslikana svila, 100 x 100 cm
Lake, 2016, painted silk, 100 x 100 cm
18.Objekt 6, 2016., keramika, obvara, 26 x 22 cm
Object 6, 2016, ceramic, obvara, 26 x 22 cm
5.Objekt 1, 2015., keramika, obvara, 32 x 24 cm
Object 1, 2015, ceramic, obvara, 32 x 24 cm
19.Crveno cvijeće, 2015. oslikana svila, 100 x 100 cm
Red Flowers, 2015, painted silk, 100 x 100 cm
6.Dva akta, 2015., staklo, fuzija, 50 x 30 cm
Two Nudes, 2015, glass, fusion, 50 x 30 cm
20.Jutro, 2016., oslikana svila, 100 x 100 cm
Morning, 2016, painted silk, 100 x 100 cm
7.Objekt 2, 2015., keramika, obvara, 27 x 25 cm
Object 2, 2015, ceramic, obvara, 27 x 25 cm
21.Rijeka, 2016., oslikana svila, 100 x 100 cm
River, 2016, painted silk, 100 x 100 cm
8.Plava ptica, 2016., oslikana svila, 95 x 95 cm
Blue Bird, 2016, painted silk, 95 x 95 cm
22.Objekt 7, 2015. keramika, obvara, 25 x 19 cm
Object 7, 2015, ceramic, obvara, 25 x 19 cm
9.Crveni krajolik, 2016., oslikana svila, 100 x 100 cm
Red Landscape, 2016, painted silk, 100 x 100 cm
23.Objekt 8, 2015., keramika, obvara, 35 x 23 cm
Object 8, 2015, ceramic, obvara, 35 x 23 cm
10.Plava plitica, 2016., staklo, fuzija, 27 x 24 cm
Blue Dish, 2016, glass, fusion, 27 x 24 cm
24.Akt, 2015., staklo, fuzija, 50 x 30 cm
Nude, 2015, glass, fusion, 50 x 30 cm
11.Cvijeće, 2016., oslikana svila, 85 x 85 cm
Flowers, 2016, painted silk, 85 x 85 cm
25.Objekt 3, 2015., keramika, obvara, 28 x 25 cm
Object 3, 2015, ceramic, obvara, 28 x 25 cm
12.Golubica, 2015., oslikana svila, 90 x 90 cm
Dove, 2015, painted silk, 90 x 90 cm
26.Objekt 2, 2015., keramika, obvara, 27 x 25 cm
Object 2, 2015, ceramic, obvara, 27 x 25 cm
13.Dvije gospođe, 2015., oslikana svila, 90 x 90 cm
Two Ladies, 2015, painted silk, 90 x 90 cm
27.Objekt 1, 2015., keramika, obvara, 32 x 24 cm
Object 1, 2015, ceramic,obvara, 32 x 24 cm
14.Tri šešira, 2015., oslikana svila, 100 x 100 cm
Three Hats, 2015, painted silk, 100 x 100 cm
28.Četiri ptice, 2015., oslikana svila, 100 x 100 cm
Four Birds, 2015, painted silk,100 x 100 cm
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Izložba/Exhibition
Ljerka Njerš
Novi ciklusi / New Cycles
Keramika, staklo, svila/Ceramics, glass, silk
Studio Moderne galerije „Josip Račić“/ The Josip Račić Studio of the Modern Gallery
Margaretska 3, Zagreb
Edicija/Edition
STUDIO
Nakladnik/Publisher
Moderna galerija/Modern Gallery
Andrije Hebranga 1
Zagreb
www.moderna-galerija.hr
Za nakladnika/For the Publisher
Biserka Rauter Plančić
Tekst/Text
Željka Čorak
Fotografije/Photos
Marko Čolić
Prijevod/Translation
Graham McMaster
Tina Rukavina
Lektura i korektura/Copy Editing and proofreading
Mateja Fabijanić
Kustosica/Curator
Lana Šetka
Odnosi s javnošću/Public relations
Lana Šetka
Likovni postav izložbe/Exibiton layout
Ljerka Njerš
Lana Šetka
Grafičko oblikovanje/Graphic design
Ljerka Njerš
Tehnička ispomoć/Technical associate
Ivan Butorac
Tisak/Printing
Ars kopija d.o.o.
Naklada/Print order
200
ISBN 978-953-348-029-9
CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000935341.
©Moderna galerija, Zagreb, 2016.
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8. Plava ptica, 2016., oslikana svila / Blue Bird, 2016, painted silk
19

Studio Moderne galerije
“Josip Račić”
Margaretska 3, Zagreb
www.moderna-galerija.hr