Široka ulica 7, 20000 Dubrovnik, +385 (0)20 323 242, www.muzej-marindrzic.eu

Izdavač | Publisher: Dom Marina Držića | House of Marin DržićZa izdavača | For the Publisher: Nikša Matić

Koncepcija izložbe i predgovor | Exhibition concept and foreword: Marin Ivanović Prijevod na engleski jezik | English translation: Kristina Juričić

Likovno oblikovanje | Design & Layout: Nedim Meco - Mec dizajn DubrovnikFotografije | Photographs: Stephan Lupino i Željko Gašparović

Tehnička realizacija | Technical support: Marita DuževićTisak | Printed by: Stega tisak, Zagreb

ISBN: 978-953-7905-07-1CIP zapis dostupan u računalnom Skupnom katalogu

hrvatskih knjižnica pod brojem 560919019

Dubrovnik, rujan 2016.

SIMBIOZAIvana Komel

Životopis

Za sve ono što jesam, za sve darovane, sačuvane emocije svojih obojanih snova, a pretočene u stvarnost, zahvalna sam svojoj baki. Rođena sam u Novskoj 1975. godine gdje i danas živim i stvaram... Moja umjetnost i dječja mašta rasle su zajedno sa mnom. Umjetnost je danas moja životna pra-tilja, a ponekad sam ja njezina. U tom pretakanju, novom kreiranju i oblikovanju ideja u novu vizualnu formu, vodi me trenutni kreativni impuls, kako u odabiru medija, tako i tehnike, ali kroz crtež i slikarstvo ponajprije. Tako su moje dominantne tehnike ulje i akrilik na staklu. Radove sam izlagala na mnogim skupnim izložbama (njih dvadesetak) u Hrvatskoj.

Samostalne izložbe sam imala u Novskoj 1993., 1997., 2000., 2004. i 2013. godine, u Sisku 1997. godine, u Zagre-bu 2001. i 2011. godine, u Dubrovniku 2012., 2013. i ove 2016. godine. Izradila sam i nekoliko ilustriranih naslovni-ca za knjige. Također u oživljavanju svojih ideja pronalazim se i kroz trodimenzionalna oblikovanja gdje koristim razne industrijske materijale, bijeli portlandski cement, gips, že-ljezo, žicu te organske materijale koje pronalazim u prirodi. Bavim se i dizajnom, izrađujem ogledala i nakit u tiffany i kombiniranoj tehnici. Također volim dizajnirati odjeću pa tako izrađujem modele za modne revije i kostime za pred-stave, a radim kao i šminker i stilist u suradnjama s mnogim fotografima.

Curriculum vitae

I am grateful to my grandmother for all that I am, for all the given, stored emotions of my colored dreams, that were translated into reality. I was born in Novska in 1975 where I am still living and working. My art and child’s imagina-tion grew along with me. Art is now my life’s companion, and sometimes these roles are reversed. In transferring, creating and forming ideas in a new visual form I am led by the current creative impulse, both in selecting the medi-um and the technique, but primarily through drawing and painting. The dominant techniques in my work are oil and acrylic on glass. I have exhibited in many group exhibitions (around twenty) in Croatia.

I had solo exhibitions in Novska in 1993, 1997, 2000, 2004 and 2013, in Sisak in 1997, in Zagreb in 2001 and 2011, in Dubrovnik in 2012, 2013 and 2016. I have illustrated several book covers. One of the ways of bringing my ideas into life are the three-dimensional designs where I use a va-riety of industrial materials, white Portland cement, plaster, iron, wire and organic materials found in nature. I have also designed and created mirrors and jewelry using the tiffany and the combined technique. I love designing clothes so I make models for fashion shows and costumes for plays, and also work as a makeup artist and stylist in collaboration with many photographers.

ISBN: 978-953-7905-07-1

DOM MARINA DRŽIĆA, DUBROVNIK 30. 9. – 20. 11. 2016.

SIMBIOZASYMBIOSIS

Ivana Komel

Široka ulica 7, 20000 Dubrovnik, +385 (0)20 323 242, www.muzej-marindrzic.eu

Izdavač | Publisher: Dom Marina Držića | House of Marin DržićZa izdavača | For the Publisher: Nikša Matić

Koncepcija izložbe i predgovor | Exhibition concept and foreword: Marin Ivanović Prijevod na engleski jezik | English translation: Kristina Juričić

Likovno oblikovanje | Design & Layout: Nedim Meco - Mec dizajn DubrovnikFotografije | Photographs: Stephan Lupino i Željko Gašparović

Tehnička realizacija | Technical support: Marita DuževićTisak | Printed by: Stega tisak, Zagreb

ISBN: 978-953-7905-07-1CIP zapis dostupan u računalnom Skupnom katalogu

hrvatskih knjižnica pod brojem 560919019

Dubrovnik, rujan 2016.

SIMBIOZAIvana Komel

Životopis

Za sve ono što jesam, za sve darovane, sačuvane emocije svojih obojanih snova, a pretočene u stvarnost, zahvalna sam svojoj baki. Rođena sam u Novskoj 1975. godine gdje i danas živim i stvaram... Moja umjetnost i dječja mašta rasle su zajedno sa mnom. Umjetnost je danas moja životna pra-tilja, a ponekad sam ja njezina. U tom pretakanju, novom kreiranju i oblikovanju ideja u novu vizualnu formu, vodi me trenutni kreativni impuls, kako u odabiru medija, tako i tehnike, ali kroz crtež i slikarstvo ponajprije. Tako su moje dominantne tehnike ulje i akrilik na staklu. Radove sam izlagala na mnogim skupnim izložbama (njih dvadesetak) u Hrvatskoj.

Samostalne izložbe sam imala u Novskoj 1993., 1997., 2000., 2004. i 2013. godine, u Sisku 1997. godine, u Zagre-bu 2001. i 2011. godine, u Dubrovniku 2012., 2013. i ove 2016. godine. Izradila sam i nekoliko ilustriranih naslovni-ca za knjige. Također u oživljavanju svojih ideja pronalazim se i kroz trodimenzionalna oblikovanja gdje koristim razne industrijske materijale, bijeli portlandski cement, gips, že-ljezo, žicu te organske materijale koje pronalazim u prirodi. Bavim se i dizajnom, izrađujem ogledala i nakit u tiffany i kombiniranoj tehnici. Također volim dizajnirati odjeću pa tako izrađujem modele za modne revije i kostime za pred-stave, a radim kao i šminker i stilist u suradnjama s mnogim fotografima.

Curriculum vitae

I am grateful to my grandmother for all that I am, for all the given, stored emotions of my colored dreams, that were translated into reality. I was born in Novska in 1975 where I am still living and working. My art and child’s imagina-tion grew along with me. Art is now my life’s companion, and sometimes these roles are reversed. In transferring, creating and forming ideas in a new visual form I am led by the current creative impulse, both in selecting the medi-um and the technique, but primarily through drawing and painting. The dominant techniques in my work are oil and acrylic on glass. I have exhibited in many group exhibitions (around twenty) in Croatia.

I had solo exhibitions in Novska in 1993, 1997, 2000, 2004 and 2013, in Sisak in 1997, in Zagreb in 2001 and 2011, in Dubrovnik in 2012, 2013 and 2016. I have illustrated several book covers. One of the ways of bringing my ideas into life are the three-dimensional designs where I use a va-riety of industrial materials, white Portland cement, plaster, iron, wire and organic materials found in nature. I have also designed and created mirrors and jewelry using the tiffany and the combined technique. I love designing clothes so I make models for fashion shows and costumes for plays, and also work as a makeup artist and stylist in collaboration with many photographers.

ISBN: 978-953-7905-07-1

DOM MARINA DRŽIĆA, DUBROVNIK 30. 9. – 20. 11. 2016.

SIMBIOZASYMBIOSIS

Ivana Komel

2

Svakom novom izložbom o Marinu Držiću koju po-stavlja Dom Marina Držića, postajemo svjesni slože-nosti značenja Držićevog djela, jednako kao i širokog

raspona vizualnih mogućnosti koje ta tekstualna podloga omogućava. Možda nam se, u spoznajnoj očaranosti tim bogatstvom različitih umjetničkih interpretacija, može činiti kako je njihovo postojanje samorazumljivo, kako su one oduvijek bile tu i kako je „planet Držić“ uvijek bio jed-nako napučen Držićevim dramskim licima i njihovim por-tretima. Budući da tako zasigurno mislimo, onda je ovo pri-goda podsjetiti na činjenicu da su likovna iščitavanja Držića i njegovih djela fenomen novijeg datuma. Naime, sve do izložbe Mi tebi kako ti nami koja je također organizirana u okrilju Doma Marina Držića 2015. godine, a koja je temati-zirala Držićev lik i njegova djela, slike i crteži s tom temom bile su niz ilustrativnih, sasvim banalnih fascinacija onim najpovršnijim kod Držića – prizorima iz predstava. Upravo su te kompozicije s kazališnih pozornica, među kojima se moglo prepoznati i neke od najvažnijih nositelja Držićevih uloga (kao što je Bela Lugosi cijeloga života ostao filmski Drakula, tako je u kolektivnoj memoriji najvrsnija uloga Skupa bila ona Izeta Hajdarhodžića) bile likovni „obraz“ Držića i kočnica svakom ozbiljnijem posvećenju njemu kao vrlo dubokoj, misaonoj temi. Skulpture su prošle nešto bolje; iako su brojnošću svedene na razinu statističke po-greške, ipak su svojom prisutnošću u javnome prostoru (pri čemu gotovo isključivo mislimo na Meštrovićev i Augustin-čićev spomenik) držale upaljenom luč sjećanja na Držića kao nekoga tko nenametljivo promatra svijet oko sebe, ali i nakon ovoliko stoljeća ima o njemu što reći. Spomenuta skupna izložba, kao i nekoliko samostalnih (prije i poslije nje), bila je prekretnica u postupku oživljavanja vrijedno-sti Držićevog nasljeđa kao inspirativnog vrela za likovne

postupke pa u ovome trenutku svjedočimo zanimanju za Držićeve tekstove bez presedana u dosadašnjoj umjetnosti. (Ovome je prethodilo nekoliko vrlo uspjelih pojedinačnih slikarskih, medaljarskih i skulpturalnih ostvarenja iz obljet-ničke 2008. godine, ali oni u javnosti nisu bili ni približno dostatno predstavljeni pa je i njihov utjecaj na šire društvo bio zanemariv.)

Stoga nas ne treba čuditi da se broj umjetnika okupljenih oko Doma Marina Držića i njegove nove društvene uloge kontinuirano umnaža, a da i oni koji su se već predstavljali izložbama, poput Ivane Komel, stalno iznalaze nove načine da bljeskove novih spoznaja o Držićevim idejama materija-liziraju slikom ili skulpturom. Njeni prethodni radovi bile su skulpture razvedenih formi i krhke strukture koja kao da se „otapala“ od središnje mase (to si najbliže možemo predočiti ako ih kompariramo s tretmanom vanjske povr-šine kod Vanje Radauša), čime se stvarao dojam nestalnosti i mekoće, čak do razine da o skulpturi govorimo kao o sli-ci koja je sfumatična i titrava. Zatim se predstavila slikama koje su bile u većoj mjeri narativne, a nadahnute Držićevim rečenicama poput „srce nose pri očima“ ili „stav’te pamet na komediju“. Ako je njihovoj doslovnosti možda i nedostaja-lo slojevitosti, ta je manjkavost nadoknađena zanimljivim i nesvakidašnjim postupkom crtanja sličnog vitražnoj slici i bogatim koloritom. U ovom najnovijem ciklusu, autorica je ostvarila visoku razinu interpretativne moći, kombinira-jući izravnost motiva s metaforama ideja, koncepata. Tako je njena skulptura Žena s darom istovremeno figura koja drži predmet. Ako prihvatimo da je taj predmet mozak, od-nosno simbol umnosti, inteligencije, onda žena nije samo „s darom“, nego je i „darovita“, dakle nadarena, ona kojoj je dar poklonjen, a ne ona koja ga nosi nekome drugome. Mnoge druge pojednosti na ovim djelima (skulptura Me-

SIMBIOZAIvana Komel

3

With every new exhibition on the subject of Marin Držić held at the House of Marin Držić we be-come more aware of the complexity of the signif-

icance of Držić’s works, as well as of a wide range of visual possibilities that this textual background offers. It may seem to us, taking into account the cognitive enchantment with this wealth of various artistic interpretations, that their ex-istence is self-evident, that they have always been there and that “the Držić planet” has always been equally populated by Držić’s dramatic characters and their portraits. Since we certainly think so, then this is the occasion to remind of the fact that the artistic reading of Držić and his works is a rather recent phenomenon. In fact, up to the exhibition entitled Giving Back to You for All that You Have Given Us, which was also organized under the patronage of the House of Marin Držić in 2015 and which dealt with Držić’s char-acter and his works, the paintings and drawings around this theme were a series of illustrative, quite ordinary fascina-tions with what is most superficial in Držić – scenes from the plays. It was exactly these compositions taken from a theater stage, among which one could recognize some of the most important holders of Držić’s roles (just as Bela Lugosi remained Dracula all his life, it is also collectively acknowledged that the masterpiece role of the Miser was the one performed by Izet Hajdarhodžić), that represent-ed Držić’s artistic “face” and an obstruction to any serious dedication to him as a very deep and intellectual subject. The sculptures have had it somewhat better; although their abundance made them fall to the level of statistical error, their presence in the public space (referring here almost ex-clusively to the monuments by Meštrović and Augustinčić) has kept alive the memory of Držić as someone who qui-etly observes the world around him, and yet, even after all

these centuries, he has something to say about it. The above mentioned group exhibition, as well as several solo exhibi-tions (before and after the group one), was a milestone in the process of reviving the values of Držić’s legacy as an in-spirational source for art procedures, so at the moment we are witnessing the unprecedented interest in Držić’s texts in the context of art to date. (This was preceded by several individual and highly successful achievements in painting, medalist art and sculptures in the 2008 anniversary year, but those were not nearly enough presented in the public which made their impact on the wider society negligible.)

Therefore, we should not be surprised by the fact that the number of artists gathered around the House of Marin Držić and his new social role is continuously multiplying, and that those who have already had their exhibitions, such as Ivana Komel, constantly try to find new ways to materi-alize the flashes of new insights about Držić’s ideas in the form of a painting or a sculpture. Her previous works con-sisted of sculptures with indented forms and a fragile struc-ture that seemed to be “melting” out of the central mass (we could try to visualize it by comparing it to the treat-ment of the outer surface in the works of Vanja Radauš), thus creating the impression of fluidity and softness, to the extent of talking about a sculpture as of a painting that is hazy and flickery. Afterwards she presented some paintings that were largely narrative and inspired by Držić’s sentenc-es such as “they mirror them (their hearts) in their eyes” or “put now your wits into the comedy”. If their literalism was perhaps lacking layers, this deficiency was compensated with an interesting and unusual process of drawing similar to the stained glass technique and with rich colors. In this latest cycle, the author has achieved a high level of inter-pretive power by combining the directness of motives with

SYMBIOSISIvana Komel

3

With every new exhibition on the subject of Marin Držić held at the House of Marin Držić we be-come more aware of the complexity of the signif-

icance of Držić’s works, as well as of a wide range of visual possibilities that this textual background offers. It may seem to us, taking into account the cognitive enchantment with this wealth of various artistic interpretations, that their ex-istence is self-evident, that they have always been there and that “the Držić planet” has always been equally populated by Držić’s dramatic characters and their portraits. Since we certainly think so, then this is the occasion to remind of the fact that the artistic reading of Držić and his works is a rather recent phenomenon. In fact, up to the exhibition entitled Giving Back to You for All that You Have Given Us, which was also organized under the patronage of the House of Marin Držić in 2015 and which dealt with Držić’s char-acter and his works, the paintings and drawings around this theme were a series of illustrative, quite ordinary fascina-tions with what is most superficial in Držić – scenes from the plays. It was exactly these compositions taken from a theater stage, among which one could recognize some of the most important holders of Držić’s roles (just as Bela Lugosi remained Dracula all his life, it is also collectively acknowledged that the masterpiece role of the Miser was the one performed by Izet Hajdarhodžić), that represent-ed Držić’s artistic “face” and an obstruction to any serious dedication to him as a very deep and intellectual subject. The sculptures have had it somewhat better; although their abundance made them fall to the level of statistical error, their presence in the public space (referring here almost ex-clusively to the monuments by Meštrović and Augustinčić) has kept alive the memory of Držić as someone who qui-etly observes the world around him, and yet, even after all

these centuries, he has something to say about it. The above mentioned group exhibition, as well as several solo exhibi-tions (before and after the group one), was a milestone in the process of reviving the values of Držić’s legacy as an in-spirational source for art procedures, so at the moment we are witnessing the unprecedented interest in Držić’s texts in the context of art to date. (This was preceded by several individual and highly successful achievements in painting, medalist art and sculptures in the 2008 anniversary year, but those were not nearly enough presented in the public which made their impact on the wider society negligible.)

Therefore, we should not be surprised by the fact that the number of artists gathered around the House of Marin Držić and his new social role is continuously multiplying, and that those who have already had their exhibitions, such as Ivana Komel, constantly try to find new ways to materi-alize the flashes of new insights about Držić’s ideas in the form of a painting or a sculpture. Her previous works con-sisted of sculptures with indented forms and a fragile struc-ture that seemed to be “melting” out of the central mass (we could try to visualize it by comparing it to the treat-ment of the outer surface in the works of Vanja Radauš), thus creating the impression of fluidity and softness, to the extent of talking about a sculpture as of a painting that is hazy and flickery. Afterwards she presented some paintings that were largely narrative and inspired by Držić’s sentenc-es such as “they mirror them (their hearts) in their eyes” or “put now your wits into the comedy”. If their literalism was perhaps lacking layers, this deficiency was compensated with an interesting and unusual process of drawing similar to the stained glass technique and with rich colors. In this latest cycle, the author has achieved a high level of inter-pretive power by combining the directness of motives with

SYMBIOSISIvana Komel

4

tamorfoza neupitno je žena koja doživljava promjenu; rog – muški simbol) i u autoričinom viđenju vlastitog ciklu-sa, otkrivaju je kao ženu koja posjeduje osjetljivost prema „ženskom pitanju“, koja gaji posebno poštovanje (štoviše, divljenje) prema ženi i njenoj ulozi u društvu. Kako i ne bi?! Pa i ona sama je žena koja posjeduje veliki kreacijski po-tencijal, Dar da stvara. Takva analogija mogla bi nas dovesti do zaključka da je ovdje riječ o autoportretu i ne bismo bili u krivu, neovisno o tome da li je to bila Ivanina namjera ili ne. Naime, mi kao promatrači upisujemo vlastita (su)znače-nja u likovno djelo i ona nisu ništa manje istinita (iako jesu manje važna) od onih koje je tome djelu pridala autorica. Takav bi zaključak potvrdio kako se umjetnici koji se zai-sta trude i uspijevaju proniknuti u Držićevu suvremenost, ne ogledaju nemoćno u njegovim idejama tek s divljenjem, nego imaju snagu u njih zakoračiti, na trenutak odbaciti vlastiti identitet i ući u „držićevsko“ tijelo, slično kao što nam filmske teorije govore da se događa s gledateljem fil-ma koji se poistovjećuje s glumcima (te teorije proizlaze iz Lacanove psihologije i takozvane „faze zrcala“). O tome koliko je Držić zaista suvremen i na koji se način ta suvre-menost očituje u likovnim umjetnostima bilo je više riječi u katalogu izložbe Mi tebi kako ti nami, ali ako bismo željeli odgovoriti na pitanje što to Držićeva djela čini svevreme-nima, onda bismo odgovor mogli konstruirati na način da tvrdimo kako trajnost nekog književnog teksta određuje mogućnost unošenja novih (suvremenih) parametara u izvornu matricu, s time da su dobiveni rezultati značenjski jednaki (ali sadržajno osuvremenjeni) izvornim po(r)uka-ma. Pohlepnost je vječno prisutna osobina ličnosti koja je u Držićevom Skupu dobila krajnje ciničan opis, ali iz priče Dugog Nosa o tome kako su nastali ljudi nahvao, razvidno je da upravo gramzivost za zlatom leži u korijenu tog cjelo-kupnog zla jer su negromanti „za lakomos od zlata“ stvorili ljude nahvao („daše duh žviratom, barbaćepom...“). Ivanina skulptura Nezasitni negromant prikazuje zelenog čarobnja-ka s ustima punim zlata, a i otvoreni mu prsni koš pokazuje zlatnu utrobu. Možemo primijetiti da to gutanje zlata, iako je narativno, ne proizlazi doslovno iz literarnog predloška, a tu se možemo osvrnuti i na skulpturu Muškarac s darom. U ovom slučaju dar je zaista dar nekome trećemu, a muška-rac je darivatelj. Predmet kojeg drži u rukama uvelike nali-

kuje grumenu zlata, tom simbolu velike vrijednosti, ali i zla, na što nas upućuje prethodno spomenuto Držićevo upozo-renje. Zlato, kao i mnogo što, samo je jedan običan predmet kojemu je čovjek pridao značenje i odredio vrijednost. Nje-gova rijetkost proglašena je važnom, a njegovo posjedova-nje znači i društvenu moć. Sve su to arbitrarna pitanja, uo-stalom kao i svako značenje koje spajamo s likom, znakom, predmetom, zvukom, manirom... I pojmovi „dobro“ i „zlo“ ovisni su o cijelom setu drugih ideja i o kontekstu. Koliko su tek složene rodne uloge i vrijednosti čovjeka! Činjenica da se Ivana Komel na vrlo suptilan način dotiče upravo me-đuodnosa muškaraca i žena (koje u prologu Dugog Nosa Držić spominje samo tri puta i to popraćene opisom „koje polakšu pamet imaju od ljudi“), uz desetak drugih motiva u ovome ciklusu, daje nam naslutiti koliko je zapravo duboka brazda Držićeve plodne planete i koliko je obilat urod mo-guće sabrati kada joj se pristupa pomno.

Kombiniranje različitih materijala i sklonost korisnom spajanju (simbiozi) rukom stvorenog i organskog materi-jala pronađenog u prirodi, o Ivani Komel svjedoči kao o hrabroj umjetnici koja se s lakoćom hvata u koštac s različi-tošću i nepredvidljivošću kako bi opredmetila svoje ideje, a naglašena materičnost njenih skulptura, rabijatnost željeza i betona, nije bez podloge u osobnosti same autorice. Ova izložba, tehnički zahtjevna i misaono angažirajuća, izuze-tan je doprinos Marinu Držiću kao velikoj temi naše kul-ture.

Marin Ivanović

5

the metaphors of ideas and concepts. Thus her sculpture entitled A Woman With a Gift is at the same time a figure holding an object. If we accept that that object is the brain, or a symbol of wisdom, intelligence, then the woman is not only holding “a gift”, but she is also “gifted”, talented, the one who has been given a gift, not the one who takes it to someone else. Many other details in these works (the sculp-ture entitled Metamorphosis is unquestionably a woman who experiences a change; horn – male symbol) and in the author’s vision of her own series, reveal her as a woman who shows sensitivity towards “women’s issues”, who has devel-oped a particular respect (in fact, admiration) for women and their role in society. How could she not?! She herself is a woman who has a great creative potential, a Gift to create. This analogy could lead us to the conclusion that this is a self-portrait and we would not be mistaken, regardless of what was Ivana’s intention. In fact, we as observers inscribe our own (co)meanings into the work of art which are not less true (although they are less important) than the ones that were attributed to that work by the author. Such a con-clusion would confirm that the artists, who are really trying and succeeding to fathom Držić’s modernity, do not look into in his ideas helplessly with merely an admiration, but rather have the power to step into them, to dismiss their own identity for a moment and enter “Držić’s” body, sim-ilarly to what, according to film theories, happens to the film spectator who identifies himself with the actors (these theories have derived from Lacan’s psychology and his con-cept of the so-called “mirror stage”). More on how modern Držić actually is and the way in which this modernity is reflected in the visual arts, was written in the catalog of the Giving Back to You for All that You Have Given Us exhi-bition, but if we want to answer the question as to what makes Držić’s works timeless, then we could construct a response in a way to claim that the durability of a liter-ary text is determined by the possibility of the introduc-tion of new (modern) parameters into the original matrix, provided that the results are semantically equivalent (but substantially modernized) to the original lessons and mes-sages. Greed is the ever present personality trait which was given an extremely cynical description in Držić’s Miser, but the Long Nose’s story on how the would-be people were created clearly indicates that the very greed for gold is the

root cause of all this evil as the magicians “greedy for gold” created the would-be people (“breathed life into giraffes, owls...”). Ivana’s sculpture entitled Insatiable Wizard shows a green wizard with a mouth full of gold, and his open chest reveals a golden cavity of the body. We might notice that this gold swallowing, although narrative, does not come literally from the literary template, and there we can also refer to the sculpture A Man With a Gift. In this case, the gift is really a gift for someone, and a man is the donor. The object he is holding strongly resembles a lump of gold, the symbol of great value, but also of evil, as indicated in the previously mentioned Držić’s warning. Gold, as lots of other things, is just an ordinary object to which the man attributed the meaning and of which he determined the value. Its rarity has been declared important and to possess it means to have social power. These are all arbitrary ques-tions, just as any meaning we give to a character, symbol, object, sound, manner... The terms “good” and “evil” de-pend also on a whole set of other ideas and on the context. Not to begin on the complexity of gender roles and values of a man! The fact that Ivana Komel in a very subtle way addresses the very relationship between men and women (who were mentioned in the prologue of the Long Nose only three times and followed by the description: “which have slower wits than men”), along with a dozen other mo-tives in this series, suggests how deep the furrow of Držić’s fertile planet really is and how much yield can be obtained when it is approached carefully.

By combining different materials and showing tenden-cy to useful merging (symbiosis) of hand made and organic materials found in nature, Ivana Komel proves to be a brave artist who easily tackles the diversity and unpredictability in order to materialize her ideas, and the emphasized mate-riality of her sculptures as well as the roughness of iron and concrete is surely somewhat based on the personality of the author herself. Technically challenging and intellectually engaging, this exhibition presents a compelling contribu-tion to Marin Držić as a big theme of our culture.

Marin Ivanović

5

the metaphors of ideas and concepts. Thus her sculpture entitled A Woman With a Gift is at the same time a figure holding an object. If we accept that that object is the brain, or a symbol of wisdom, intelligence, then the woman is not only holding “a gift”, but she is also “gifted”, talented, the one who has been given a gift, not the one who takes it to someone else. Many other details in these works (the sculp-ture entitled Metamorphosis is unquestionably a woman who experiences a change; horn – male symbol) and in the author’s vision of her own series, reveal her as a woman who shows sensitivity towards “women’s issues”, who has devel-oped a particular respect (in fact, admiration) for women and their role in society. How could she not?! She herself is a woman who has a great creative potential, a Gift to create. This analogy could lead us to the conclusion that this is a self-portrait and we would not be mistaken, regardless of what was Ivana’s intention. In fact, we as observers inscribe our own (co)meanings into the work of art which are not less true (although they are less important) than the ones that were attributed to that work by the author. Such a con-clusion would confirm that the artists, who are really trying and succeeding to fathom Držić’s modernity, do not look into in his ideas helplessly with merely an admiration, but rather have the power to step into them, to dismiss their own identity for a moment and enter “Držić’s” body, sim-ilarly to what, according to film theories, happens to the film spectator who identifies himself with the actors (these theories have derived from Lacan’s psychology and his con-cept of the so-called “mirror stage”). More on how modern Držić actually is and the way in which this modernity is reflected in the visual arts, was written in the catalog of the Giving Back to You for All that You Have Given Us exhi-bition, but if we want to answer the question as to what makes Držić’s works timeless, then we could construct a response in a way to claim that the durability of a liter-ary text is determined by the possibility of the introduc-tion of new (modern) parameters into the original matrix, provided that the results are semantically equivalent (but substantially modernized) to the original lessons and mes-sages. Greed is the ever present personality trait which was given an extremely cynical description in Držić’s Miser, but the Long Nose’s story on how the would-be people were created clearly indicates that the very greed for gold is the

root cause of all this evil as the magicians “greedy for gold” created the would-be people (“breathed life into giraffes, owls...”). Ivana’s sculpture entitled Insatiable Wizard shows a green wizard with a mouth full of gold, and his open chest reveals a golden cavity of the body. We might notice that this gold swallowing, although narrative, does not come literally from the literary template, and there we can also refer to the sculpture A Man With a Gift. In this case, the gift is really a gift for someone, and a man is the donor. The object he is holding strongly resembles a lump of gold, the symbol of great value, but also of evil, as indicated in the previously mentioned Držić’s warning. Gold, as lots of other things, is just an ordinary object to which the man attributed the meaning and of which he determined the value. Its rarity has been declared important and to possess it means to have social power. These are all arbitrary ques-tions, just as any meaning we give to a character, symbol, object, sound, manner... The terms “good” and “evil” de-pend also on a whole set of other ideas and on the context. Not to begin on the complexity of gender roles and values of a man! The fact that Ivana Komel in a very subtle way addresses the very relationship between men and women (who were mentioned in the prologue of the Long Nose only three times and followed by the description: “which have slower wits than men”), along with a dozen other mo-tives in this series, suggests how deep the furrow of Držić’s fertile planet really is and how much yield can be obtained when it is approached carefully.

By combining different materials and showing tenden-cy to useful merging (symbiosis) of hand made and organic materials found in nature, Ivana Komel proves to be a brave artist who easily tackles the diversity and unpredictability in order to materialize her ideas, and the emphasized mate-riality of her sculptures as well as the roughness of iron and concrete is surely somewhat based on the personality of the author herself. Technically challenging and intellectually engaging, this exhibition presents a compelling contribu-tion to Marin Držić as a big theme of our culture.

Marin Ivanović

6

Patuljak, kamen, drvo, visina 29 cm, 2016. Gnome, stone, wood, height 29 cm, 2016

7

Ruby, kamen, drvo, visina 28 cm, 2016. Ruby, stone, wood, height 28 cm, 2016

7

Ruby, kamen, drvo, visina 28 cm, 2016. Ruby, stone, wood, height 28 cm, 2016

8

Mr. Green, kamen, drvo, visina 29 cm, 2016. Mr. Green, stone, wood, height 29 cm, 2016

9

Zvjerčica, kamen, drvo, visina 28 cm, 2016. Beasty, stone, wood, height 28 cm, 2016

9

Zvjerčica, kamen, drvo, visina 28 cm, 2016. Beasty, stone, wood, height 28 cm, 2016

10

Funny parrot, kamen, drvo, visina 27 cm, 2016. Funny Parrot, stone, wood, height 27 cm, 2016

11

Zabrinuti papagaj, kamen, drvo, visina 36 cm, 2016. Anxious Parrot, stone, wood, height 36 cm, 2016

11

Zabrinuti papagaj, kamen, drvo, visina 36 cm, 2016. Anxious Parrot, stone, wood, height 36 cm, 2016

12

Mali gad, kamen, drvo, visina 27 cm, 2016. Little Bastard, stone, wood, height 27 cm, 2016

13

Nezasitni negromant, cement, drvo, kamen, visina 60 cm, 2016. Insatiable Wizard, cement, wood, stone, height 60 cm, 2016

13

Nezasitni negromant, cement, drvo, kamen, visina 60 cm, 2016. Insatiable Wizard, cement, wood, stone, height 60 cm, 2016

14 15

Lijevo: Zaigrana žena, cement, željezo, drvo, visina 118 cm, 2016. Left: Playful Woman, cement, iron, wood, height 118 cm, 2016

Lijevo: Velika zvijer, cement, drvo, kost, visina 75 cm, 2016. Left: Great Beast, cement, wood, horn, height 75 cm, 2016

Velika zvijer (detalj) Great Beast (detail)

15

Lijevo: Zaigrana žena, cement, željezo, drvo, visina 118 cm, 2016. Left: Playful Woman, cement, iron, wood, height 118 cm, 2016

Lijevo: Velika zvijer, cement, drvo, kost, visina 75 cm, 2016. Left: Great Beast, cement, wood, horn, height 75 cm, 2016

Velika zvijer (detalj) Great Beast (detail)

16

Metamorfoza, cement, željezo, drvo, kost, visina 130 cm, 2016. Metamorphosis, cement, iron, wood, horn, height 130 cm, 2016

17

Žena s darom, cement, željezo, drvo, visina 144 cm, 2016. A Woman With a Gift, cement, iron, wood, height 144 cm, 2016

16

Metamorfoza, cement, željezo, drvo, kost, visina 130 cm, 2016. Metamorphosis, cement, iron, wood, horn, height 130 cm, 2016

17

Žena s darom, cement, željezo, drvo, visina 144 cm, 2016. A Woman With a Gift, cement, iron, wood, height 144 cm, 2016

18 19

Lijevo: Muškarac s darom, cement, željezo, drvo, kamen, visina 162 cm, 2016. Left: A Man With a Gift, cement, iron, wood, stone, height 162 cm, 2016

Muškarac s darom (detalji) A Man With a Gift (details)

19

Lijevo: Muškarac s darom, cement, željezo, drvo, kamen, visina 162 cm, 2016. Left: A Man With a Gift, cement, iron, wood, stone, height 162 cm, 2016

Muškarac s darom (detalji) A Man With a Gift (details)

20

Popis izloženih djela:

1. Patuljak, kamen, drvo, visina 29 cm, 2016.

2. Ruby, kamen, drvo, visina 28 cm, 2016.

3. Mr. Green, kamen, drvo, visina 29 cm, 2016.

4. Zvjerčica, kamen, drvo, visina 28 cm, 2016.

5. Funny parrot, kamen, drvo, visina 27 cm, 2016.

6. Zabrinuti papagaj, kamen, drvo, visina 36 cm, 2016.

7. Mali gad, kamen, drvo, visina 27 cm, 2016.

8. Nezasitni negromant, cement, drvo, kamen, visina 60 cm, 2016.

9. Zaigrana žena, cement, željezo, drvo, visina 118 cm, 2016.

10. Velika zvijer, cement, drvo, kost, visina 75 cm, 2016.

11. Metamorfoza, cement, željezo, drvo, kost, visina 130 cm, 2016.

12. Žena s darom, cement, željezo, drvo, visina 144 cm, 2016.

13. Muškarac s darom, cement, željezo, drvo, kamen, visina 162 cm, 2016.

List of exhibits:

1. Gnome, stone, wood, height 29 cm, 2016

2. Ruby, stone, wood, height 28 cm, 2016

3. Mr. Green, stone, wood, height 29 cm, 2016

4. Beasty, stone, wood, height 28 cm, 2016

5. Funny Parrot, stone, wood, height 27 cm, 2016

6. Anxious Parrot, stone, wood, height 36 cm, 2016

7. Little Bastard, stone, wood, height 27 cm, 2016

8. Insatiable Wizard, cement, wood, stone, height 60 cm, 2016

9. Playful Woman, cement, iron, wood, height 118 cm, 2016

10. Great Beast, cement, wood, horn, height 75 cm, 2016

11. Metamorphosis, cement, iron, wood, horn, height 130 cm, 2016

12. A Woman With a Gift, cement, iron, wood, height 144 cm, 2016

13. A Man With a Gift, cement, iron, wood, stone, height 162 cm, 2016

Široka ulica 7, 20000 Dubrovnik, +385 (0)20 323 242, www.muzej-marindrzic.eu

Izdavač | Publisher: Dom Marina Držića | House of Marin DržićZa izdavača | For the Publisher: Nikša Matić

Koncepcija izložbe i predgovor | Exhibition concept and foreword: Marin Ivanović Prijevod na engleski jezik | English translation: Kristina Juričić

Likovno oblikovanje | Design & Layout: Nedim Meco - Mec dizajn DubrovnikFotografije | Photographs: Stephan Lupino i Željko Gašparović

Tehnička realizacija | Technical support: Marita DuževićTisak | Printed by: Stega tisak, Zagreb

ISBN: 978-953-7905-07-1CIP zapis dostupan u računalnom Skupnom katalogu

hrvatskih knjižnica pod brojem 560919019

Dubrovnik, rujan 2016.

SIMBIOZAIvana Komel

Životopis

Za sve ono što jesam, za sve darovane, sačuvane emocije svojih obojanih snova, a pretočene u stvarnost, zahvalna sam svojoj baki. Rođena sam u Novskoj 1975. godine gdje i danas živim i stvaram... Moja umjetnost i dječja mašta rasle su zajedno sa mnom. Umjetnost je danas moja životna pra-tilja, a ponekad sam ja njezina. U tom pretakanju, novom kreiranju i oblikovanju ideja u novu vizualnu formu, vodi me trenutni kreativni impuls, kako u odabiru medija, tako i tehnike, ali kroz crtež i slikarstvo ponajprije. Tako su moje dominantne tehnike ulje i akrilik na staklu. Radove sam izlagala na mnogim skupnim izložbama (njih dvadesetak) u Hrvatskoj.

Samostalne izložbe sam imala u Novskoj 1993., 1997., 2000., 2004. i 2013. godine, u Sisku 1997. godine, u Zagre-bu 2001. i 2011. godine, u Dubrovniku 2012., 2013. i ove 2016. godine. Izradila sam i nekoliko ilustriranih naslovni-ca za knjige. Također u oživljavanju svojih ideja pronalazim se i kroz trodimenzionalna oblikovanja gdje koristim razne industrijske materijale, bijeli portlandski cement, gips, že-ljezo, žicu te organske materijale koje pronalazim u prirodi. Bavim se i dizajnom, izrađujem ogledala i nakit u tiffany i kombiniranoj tehnici. Također volim dizajnirati odjeću pa tako izrađujem modele za modne revije i kostime za pred-stave, a radim kao i šminker i stilist u suradnjama s mnogim fotografima.

Curriculum vitae

I am grateful to my grandmother for all that I am, for all the given, stored emotions of my colored dreams, that were translated into reality. I was born in Novska in 1975 where I am still living and working. My art and child’s imagina-tion grew along with me. Art is now my life’s companion, and sometimes these roles are reversed. In transferring, creating and forming ideas in a new visual form I am led by the current creative impulse, both in selecting the medi-um and the technique, but primarily through drawing and painting. The dominant techniques in my work are oil and acrylic on glass. I have exhibited in many group exhibitions (around twenty) in Croatia.

I had solo exhibitions in Novska in 1993, 1997, 2000, 2004 and 2013, in Sisak in 1997, in Zagreb in 2001 and 2011, in Dubrovnik in 2012, 2013 and 2016. I have illustrated several book covers. One of the ways of bringing my ideas into life are the three-dimensional designs where I use a va-riety of industrial materials, white Portland cement, plaster, iron, wire and organic materials found in nature. I have also designed and created mirrors and jewelry using the tiffany and the combined technique. I love designing clothes so I make models for fashion shows and costumes for plays, and also work as a makeup artist and stylist in collaboration with many photographers.

ISBN: 978-953-7905-07-1

Široka ulica 7, 20000 Dubrovnik, +385 (0)20 323 242, www.muzej-marindrzic.eu

Izdavač | Publisher: Dom Marina Držića | House of Marin DržićZa izdavača | For the Publisher: Nikša Matić

Koncepcija izložbe i predgovor | Exhibition concept and foreword: Marin Ivanović Prijevod na engleski jezik | English translation: Kristina Juričić

Likovno oblikovanje | Design & Layout: Nedim Meco - Mec dizajn DubrovnikFotografije | Photographs: Stephan Lupino i Željko Gašparović

Tehnička realizacija | Technical support: Marita DuževićTisak | Printed by: Stega tisak, Zagreb

ISBN: 978-953-7905-07-1CIP zapis dostupan u računalnom Skupnom katalogu

hrvatskih knjižnica pod brojem 560919019

Dubrovnik, rujan 2016.

SIMBIOZAIvana Komel

Životopis

Za sve ono što jesam, za sve darovane, sačuvane emocije svojih obojanih snova, a pretočene u stvarnost, zahvalna sam svojoj baki. Rođena sam u Novskoj 1975. godine gdje i danas živim i stvaram... Moja umjetnost i dječja mašta rasle su zajedno sa mnom. Umjetnost je danas moja životna pra-tilja, a ponekad sam ja njezina. U tom pretakanju, novom kreiranju i oblikovanju ideja u novu vizualnu formu, vodi me trenutni kreativni impuls, kako u odabiru medija, tako i tehnike, ali kroz crtež i slikarstvo ponajprije. Tako su moje dominantne tehnike ulje i akrilik na staklu. Radove sam izlagala na mnogim skupnim izložbama (njih dvadesetak) u Hrvatskoj.

Samostalne izložbe sam imala u Novskoj 1993., 1997., 2000., 2004. i 2013. godine, u Sisku 1997. godine, u Zagre-bu 2001. i 2011. godine, u Dubrovniku 2012., 2013. i ove 2016. godine. Izradila sam i nekoliko ilustriranih naslovni-ca za knjige. Također u oživljavanju svojih ideja pronalazim se i kroz trodimenzionalna oblikovanja gdje koristim razne industrijske materijale, bijeli portlandski cement, gips, že-ljezo, žicu te organske materijale koje pronalazim u prirodi. Bavim se i dizajnom, izrađujem ogledala i nakit u tiffany i kombiniranoj tehnici. Također volim dizajnirati odjeću pa tako izrađujem modele za modne revije i kostime za pred-stave, a radim kao i šminker i stilist u suradnjama s mnogim fotografima.

Curriculum vitae

I am grateful to my grandmother for all that I am, for all the given, stored emotions of my colored dreams, that were translated into reality. I was born in Novska in 1975 where I am still living and working. My art and child’s imagina-tion grew along with me. Art is now my life’s companion, and sometimes these roles are reversed. In transferring, creating and forming ideas in a new visual form I am led by the current creative impulse, both in selecting the medi-um and the technique, but primarily through drawing and painting. The dominant techniques in my work are oil and acrylic on glass. I have exhibited in many group exhibitions (around twenty) in Croatia.

I had solo exhibitions in Novska in 1993, 1997, 2000, 2004 and 2013, in Sisak in 1997, in Zagreb in 2001 and 2011, in Dubrovnik in 2012, 2013 and 2016. I have illustrated several book covers. One of the ways of bringing my ideas into life are the three-dimensional designs where I use a va-riety of industrial materials, white Portland cement, plaster, iron, wire and organic materials found in nature. I have also designed and created mirrors and jewelry using the tiffany and the combined technique. I love designing clothes so I make models for fashion shows and costumes for plays, and also work as a makeup artist and stylist in collaboration with many photographers.

ISBN: 978-953-7905-07-1