Erotika a mýtická dedina Kovačica Pavla Hajku

Erotika a mýtická dedina Kovačica Pavla Hajku
 
Národná banka Srbska a Nadácia Babka z Kovačice pozývajú na slávnostné otvorenie výstavy Pavla Hajku, insitného maliara z Kovačice pri príležitosti jeho jubileí: 60 rokov života a 40 rokov umeleckej práce. Vernisáž usporiadajú v utorok 15. januára o 19:00 vo výstavnej aule Národnej banky Srbska, Nemanjova 17. Výstavu otvorí guvernérka Národnej banky Srbska Jorgovanka Tabakovićová a veľvyslanec Slovenskej republiky v Srbsku J.E. Ján Varšo.
 
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„Jestvuje jedna dedina, niekde na planéte, ktorá sa podľa mnohých svojich charakteristík ponáša na banátsku dedinu Kovačicu, ba dokonca má aj rovnaké pomenovanie. Tá dedina v mnohých svojich častiach má podobné vlastnosti, má takmer rovnaký kostol, vôkol neho zoradené rovnaké domy, podobné polia, rastliny a stromy, ľudí a zvieratá, ale, v mnohom inom je v nej iná atmosféra, iné farby, iný rytmus. V tej dedine suverénne vládne gigantický kohút, mocný vták pestrých farieb, mohutného tela, údov a krku, rozkvitnutého silného chochla a ešte silnejšieho hlasu, ktorým budí obyvateľov, zvoláva ich osláviť život, krásu a plodnosť, ktoré sú všade vôkol nich. Tým hlasom on vyzýva aj na súboj, vyhlasuje svoje mužské víťazstvá, predvádza svoju presilu. Niekedy kohúta, predsa možno trochu prehnane sebavedomého, porazia ľudia, ženy, zviažu ho, zabijú, ba dokonca rozopnú na kríž, ale jedno je isté: on je hlavnou postavou, on je stredobodom všetkých udalostí a všetkých vecí, okolo neho sa všetko krúti. Tá virtuálna dedina Kovačica, ktorá sa podľa spôsobu svojho ustanovenia veľmi podobá mýtickej dedine Makondu , z fantazijného románu Gabriela Garciu Márqueza „Sto rokov samoty“, žije v dielach maliara Pavla Hajku, pravdepodobne najlepšieho a najoriginálnejšieho žijúceho predstaviteľa kovačickej insity, maliara v najlepších rokoch, avšak dostatočnej životnej a umeleckej zrelosti, vlastného štýlu a svojského výtvarného jazyka a filozofie, aby mohol predstavovať pevný most medzi kovačickým insitným maliarstvom v minulosti a výtvarnou tvorbou budúcnosti...“
 
Dragan Milenković
 
EROTIKA I MITSKO SELO KOVAČICA SLIKARA PAVELA HAJKA
 
Postoji jedno selo, negde na planeti, koje po mnogim svojim karakteristikama liči na banatsko selo Kovačica, pa čak ima i isto ime. To selo u mnogim svojim delovima poseduje slične osobine, ima skoro istovetnu crkvu, oko nje u redu poređane istovetne kuće, slična polja, rastinje i drveće, ljude i životinje, ali, u mnogo čemu, poseduje drugačiju atmosferu, drugačije boje, drugačiji ritam. Tim selom suvereno vlada gigantski petao, moćna ptica jarkih boja, jakog tela, udova i vrata, rascvetane snažne kreste i još moćnijeg glasa, kojim budi stanovnike, poziva ih da proslave život, lepotu i plodnost, koji su svugde oko njih. Tim glasom on poziva i na dvoboj, objavljuje svoje muške pobede, demonstrira svoju nadmoć. Ponekad petla, ipak možda nekad preterano samouverenog, pobede ljudi, žene, vežu ga, ubiju, čak i razapnu na krst, ali je jedno sigurno: on je glavna ličnost, on je u centru svih događanja i svih stvari, oko njega se sve vrti. To virtuelno selo Kovačica, po načinu svog ustanovljenja veoma slično mitskom selu Makondu, iz maštovitog romana Gabrijela Garsije Markesa “ Sto godina samoće”, živi u delu slikara Pavela Hajka, verovatno najboljeg i najoriginalnijeg živog predstavnika kovačičke naive, slikara u najboljim godinama, ali dovoljne životne i umetničke zrelosti, razrađenog stila i osobenog stvaralačkog jezika i filozofije, da predstavlja čvrst most između naivnog slikarstva Kovačice u prošlosti i likovnog stvaralaštva u budućnosti.
 
Pavel Hajko ( 1952. ) je rođen u selu Kovačici, oazi Slovaka u Banatu, selu osobenom po mnogo čemu, ali od šezdesetih godina pa do danas, planetarno poznatom po svom razvijenom i originalnom naivnom slikarstvu. Imao je sreću da u ranoj mladosti slikarstvo uči od jednog od najboljih slikara naive iz Kovačice Martina Jonaša, od koga je delimično nasledio originalnost u pristupu temi, ali i preuzeo neke simbole plodnosti na svojim slikama: klip kukuruza i bundevu. I, možda je, od njega naučio komunikaciju sa nebom. Sve ostalo što može da se vidi na njegovim slikama je originalno i samo njegovo, ili dovoljno neupućeni posmatrač druge uticaje ne može da prepozna – jer je Hajko jedan od obrazovanijih slikara naivaca iz Kovačice ( završio je srednju stolarsku zanatsku školu i mnogo čitao ).
 
Ono što Hajka značajno izdvaja od drugih slikara naive, ne samo iz Kovačice i sa teritorije bivše Jugoslavije, nego mnogo šire, je njegova posvećenost erotici, kao jednoj od glavnih tema svoga rada. Naivu, to važi za većinu slikara te orijentacije u svetu, karakteriše dečiji, skoro nevini, pristup životu. Erotike u naivnom slikarstvu, u njenom pravom smislu, skoro da nema, ili je dobro prikrivena. Petao je na Hajkove slike “doleteo” 1975. godine, a negde tada je slikar, mladić u punoj snazi, počeo da se bavi erotikom kao načinom da izrazi sopstveni temperament, ali i da saopšti ona univerzalna osećanja i nagone, koje poseduje svaki čovek.
 
Prva reakcija posmatrača, naviklog na idilični prikaz života u Kovačici Zuzane Halupove, njenih prethodnika i sledbenica, sigurno je želja da šakama prekrije oči i od njih sakrije prizore nagog ženskog tela, prizore telesne ljubavi, pa i neke vrste sladostrašća i egzibicioniozma, na slikama Pavela Hajka. Ali, čak i onaj ko je možda to učinio ( a takvi su verovatno retki ) vrlo brzo će razmaknuti prste ili potpuno skloniti šake, da sebi omogući pogled na jedan potpuno novi, maštoviti umetnički svet, koji je isto toliko živ i stvaran kao i prizori seoskih običaja i dečijih igara kod drugih slikara.
 
Pavel Hajko slika eksplicitne scene seksa, viđene ili zamišljene, svet ljudskog često zaklonjenog života, koji on izbacuje u centar radnje, na livadu, na poljanu, u prirodu. Nage ženske obline svugde gde se okrenemo, često prikrivene u naslagama snega ili prevojima zemljišta, seoske vile, rečne nimfe, devojke, žene, u svakodnevnom poslu, ili samo u šetnji, u najneobičnijim situacijama – predstavljaju apoteozu ženskoj lepoti i onome zbog čega je ona stvorena, seksu kao načinu postizanja vrhunskog zadovoljstva, ali i načinu da se ostvari plodnost i tako produži život – do večnosti.
 
Slikar pokazuje neverovatni smisao za humorističku grotesku, prošaranu elementima fantastike, koja ponekad izgleda kao da je preneta iz stvaralaštva Salvadora Dalija, ali većinom ima originalne karakteristike. Sklonost igri, skoro šali, navodi autora da junake svojih slika stavlja u neverovatne situacije ( posmatranje porno snimaka na TV ekranu u prirodi, uz samozadovoljavanje, ili pripremu za ljubavni čin; voajerizam svih vrsta, u koga su, čak, uključene i životinje ), a svugde je neodvojivi učesnik kočoperni petao, posmatrač ili učesnik u seksu, pravim orgijama, demonstracijama seksualnosti i muške snage, u kojima partner može da mu bude prelepa naga devojka, ali, uz posredovanje klipa kukuruza, kao jednog od simbola falusa, i neka raskošna bundeva. Kako da se protumači taj odnos petla i devojaka, ako ne kao kovačička verzija Lede i labuda?
 
Erotski prizori Pavela Hajka nikako nisu ni blizu granice pornografije, koju je vrlo lako preći kada se bavite erotikom. Naprotiv, Hajko pokazuje neverovatnu prisebnost i osećaj za meru, kada od onoga od čega bi drugi napravili prostotu, uz pomoć maštovitih detalja, načini demonstraciju svoje komunikacije sa univerzumom. Njegove slike nisu jednostavne, jer on ima smisao za detalj, za priču, a većina njegovih slika ima mnogo sporednih epizoda ( tako čestih kod japanskih slikara erotskih grafika šunga iz kasnog Srednjeg veka ), tako da predstavljaju dobro odmerene kompozicije.
 
Pavel Hajko kao da namerno pokazuje svoju nesklonost ka idealizovanju prošlosti, toliko prisutnu kod drugih kovačičkih slikara. Na njegovim slikama ima mitologije, ali neke u širem značenju, a rodno selo koje pokazuje je baš ono u kome živi – uz, naravno, dodatke iz svoje mašte. U tom selu živi i petao, razmetljivi gospodar, seoski kavgadžija, superpotentni vladalac ženskim telima, simbol svega što je muško, snažno, erotsko, životno, svetlo, jasno, moćno. Petao komunicira sa nebom i posebnim božanskim izvorima svetlosti, on komunicira sa beskrajnim prostorom, bori se sa drugima za prevlast, stiže do meseca, vrhova krive kule u Pizi i Ajfelove kule u Parizu. On je svugde i bez njega se ništa ne može, a kad se iz mnogih uglova bolje zagleda, shvati se da je petao ustvari simbolični autoportret samog slikara, deo njega samog.
 
Dragan Milenković
 
EROTICA AND THE PAINTER PAVEL HAJKO’S MYTHIC VILLAGE OF KOVAČICA
 
There is a village, somewhere on the planet, which according to its characteristics looks like the Banat village of Kovačica, and even has the same name. That village in many of its parts possesses similar features, it almost has an identical church, surrounded by identical houses, similar fields, vegetation and trees, people and animals, but however, in many ways possesses a different atmosphere, different colors, a different rhythm. The gigantic rooster governs sovereignly over the village, the powerful bird of a bright, strong body, extremities and neck, with a bloomed strong cockscomb and more powerful voice, with which he awakens the inhabitants, calls them to celebrate the life, beauty and fertility, that are all around them. With that voice he also calls for a duel, announces his male victories, demonstrates his superiority. Sometimes the rooster, nevertheless sometimes exaggeratingly self-confident, is won by the people, women, he is being tied, killed, even crucified, but one thing is for sure: he is the main character, he is in the center of all the events and all things, everything rotates around him. That virtual village of Kovačica, according to the manner of its establishment is very similar to the mythic village of Macondo, from the imaginative novel by Gabriel Garcia Marquez “One Hundred Years of Solitude”, lives in the work of the painter Pavel Hajko, probably the best and most original living representative of the Kovačica naïve, the painter in his best years, but with sufficient life and artistic maturity, elaborated style and specific creative language and philosophy, to represent a stable bridge between the naïve painting of Kovačica in the past and the artistic creativity in the future.
 
Pavel Hajko (1952) was born in the village of Kovačica, the oasis of the Slovaks in Banat, the village characteristic by many ways, but from the 1960s to today, famous around the planet by its developed and original naïve painting. He was lucky to learn the art of painting while very young from one of the best naïve painters from Kovačica Martin Jonáš, from whom he partially inherited the originality in the approach to the theme, but also took some symbols of fertility in his paintings: the corn cob and the pumpkin. He may also have learnt from him the communication with the heavens. Everything else which can be seen in his paintings is original and only his own, but the insufficiently experienced observer cannot recognize other influences – since Hajko is one of the most educated naïve painters from Kovačica (he completed secondary carpentry school and has read a lot).
 
What distinguishes Hajko from the other naïve painters, not only from Kovačica and the territory of ex Yugoslavia, but broader, is his dedication to erotica, as one of the main themes of his work. Naïve painting, which is common for most of the painters of that orientation in the world, is characterized by a childish, almost innocent approach to life. Erotica in naïve painting, in its real sense, almost does not exist, or is well hidden. The rooster “flied” to Hajko’ s paintings in 1975, and it was then when the painter, as a young man in full power, started dealing in erotica as the manner to express his own temperament, but also to convey those universal feelings and drives that every human being possesses.
 
The first reaction of the observer, accustomed to the idyllic display of life in Kovačica of Zuzana Halupova, her predecessors and successors, is for sure the wish to cover the eyes with ones hands and hide the scenes of corporal love, even some kind of lechery and exhibitionism, in the paintings of Pavel Hajko. Even the one who may have done it (and those are probably rare), will very quickly space the fingers or completely remove the hands in order to enable their view on a completely new, imaginative artistic world, which is also so vivid and real as are the scenes of rural customs and children’s plays in other painters.
 
Pavel Hajko paints explicit sex scenes, seen or imagined, the world of the human often obscured life, which he brings to the center of action, to the lawn, the field, the nature. The nude female curves wherever we turn, often hidden in the layers of snow or the curvatures of the land surfaces, the country fairy, the river nymph, the maiden, in everyday work, or only on a promenade, in the most peculiar situations – represent the apotheosis of the female beauty and for what it has been created, sex as the manner of reaching the peak satisfaction, but also the manner to have fertility achieved and hence prolong life – until eternity.
 
The painter shows an incredible sense for humoristic grotesque, larded with the elements of fantasy, which sometimes looks like being conveyed from the creativity of Salvador Dali, but mainly has original characteristics. The affinity towards the play, almost joke, leads the author to place the heroes of his paintings into incredible situations (watching porno films on the TV in the nature, with masturbation, or preparation for the love act; voyeurism of all kinds, in which even the animals are included), where the spry rooster as an inseparable participant is always present, being either the observer or participant in sex, real orgies, demonstrations of sexuality and male power, in which his partner may be a beautiful nude girl, but with mediation of the corn cob, as one of the symbols of the phallus, and some prodigal pumpkin. How to interpret such a relation between the rooster and the girls if not as the Kovačica version of Leda and the swan?
 
The erotic scenes of Pavel Hajko are by no way close to the fringe of pornography, which can be easily crossed when dealing with erotica. On the contrary, Hajko shows incredible sanity and feeling for good order, when from something from which the others would make profanity, with the help of imaginative details, he makes a demonstration of his communication with the universe. His paintings are not simple, as he has a sense for detail, for a story, and the majority of his paintings have many secondary episodes (so often in the Japanese erotic graphic shunga from the late Middle Ages), so they represent well measured compositions.
 
Pavel Hajko seems like deliberately demonstrating his non-affinity to idealize the past, so much present with other Kovačica painters. Mythology is present in his paintings, but somewhat in a broader sense, and the native village he shows is exactly the one in which he lives – with, off course, additions from his imagination. The rooster, the flaunting master, the country ruffle, the super potent master of the female bodies, the symbol of everything which is male, strong, erotic, buoyant, light, clear, powerful also lives in that village. The rooster communicates with the heavens and the special divine sources of light, he communicates with the endless space, he fights with others for predominance, reaches the Moon, the peaks of the Leaning Tower of Pisa and the Eifel Tower in Paris. He is everywhere and nothing can be done without him, and when looked closer from many angles, it is understood that the rooster is really the symbolic self portrait of the painter himself, the part of his own self.
 
Dragan Milenković

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Letmo

Ján Myjavec (1909 – 1985)

Pôjdeme

Nad riekou širokou
brezy sa klonia
v hladinu neskalenú.
A ktosi v diaľke
piesňou divokou
objíma žírne polia.
...
Vzduchom už vibrujú
záchvevy leta,
v rozpuku krás
ktosi nás volá.
Pôjdeme, priateľu,
veď je už čas.

 

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