1. law, govt and politics
2. armed forces
3. army

CvetkA Hojnik
En sof –
Neskončnost /
The Infinity
∞
∞
∞
NASLOVNICA / COVER
EN SOF III
Akril, mešana tehnika, vezana plošča
Acrylic, mixed media, plywood
50 × 50 cm
LEVO / LEFT
EN SOF I
Akril, mešana tehnika, platno
Acrylic, mixed media, canvas
50 × 50 cm
C VETK A H OJNIK
V MARIBORSKI SINAGOGI
EN SOF – NESKONČNOST
Najnovejša samostojna razstava EN SOF Cvetke Hojnik v
mariborski sinagogi predstavlja večdimenzionalno nadgradnjo
njenega dosedanjega opusa, saj gre za projekt v okviru
magistrske naloge, zastavljen kot homage lendavskim Judom,
navezujoč na mistično izročilo kabale, kjer se sreča z nekoliko
drugačno numerološko simboliko (platonsko desetko zamenja
kabalistična sedmica), v povezavi s hebrejskim alefbetom,
hkrati pa pridobijo njene nebeške beline tudi pomen mrliškega
ogrinjala, vendar v smislu transcendentnega, onostranskega
nadaljevanja bivanja v neskončnosti (en sof) oziroma neskončni
svetlobi (en sof or) v skladu z judovskim verovanjem. Sicer pa
se Geneza dejansko prične z Jehovovim sedmeročrkovnim
ukazom: Bodi svetloba, kar je navsezadnje demiurško povzročen
BIG BANG.
Brez dvoma predstavlja Cvetka Hojnik na sicer izjemno
raznoliki slovenski umetniški sceni svojevrstno zanimivost, saj
na specifičen način združuje izkušnje s področja tekstilnega
oblikovanja s klasičnim likovnim ustvarjanjem, pri čemer
raziskuje zmeraj drugačne tehnike in materiale, s katerimi
dosega samosvoje, asociativno abstraktno in koloristično
ekspresivno, četudi po večini nekromatično učinkovanje likovne
celote z bogato simbolično pripovednostjo v prevladujoče
geometrijsko stiliziranem oblikotvorju na pragu minimalizma.
V zgodnjem obdobju ustvarja likovna dela izključno z
∞
∞ najrazličnejšimi tkaninami, zunaj okvirov klasičnih tabelnih
formatov, kot neke vrste koloristično izjemno pestrega
patchworka, neredko v obliki draperij, pogosto zavzemajoč
velike stenske in marsikdaj tudi talne površine, kasneje pa
odkriva različne možnosti kombiniranja tabelnega slikarstva
v tehnikah akrila ali olja z uporabo tekstilnih aplikacij različnih
tekstur in debelin, neredko posredujoč informelski vtis, pri
čemer v najnovejšem obdobju pritrja na slikovno površino
tudi posamezne sfere (npr. kroglasto prepletene žice) v smislu
asemblaža.
Če je minulo obdobje temeljilo na preigravanju organsko in
geometrijsko abstraktnega oblikotvorja z občasno prisotnostjo
stilizirane človeške figure, poudarjajoč kontrastnost med
linijami oziroma šivi poljubnih oblik z različno napetimi barvnimi
ploskvami ob značilnem, zvočno fluidnem učinkovanju valovanja
in prelivanja bogato kromatičnih odtenkov, pa umetnica v novejši,
simbolistični fazi, z ločnico nekje sredi prejšnjega desetletja,
radikalno poseže v dotedanje oblikotvorje in kromatičnost ter
se usmeri v izrazitejšo geometrijsko, pravolinijsko in krožno
stilizacijo v obliki evklidskih likov (kvadrat, krog, redkeje trikotnik)
in pogoste spirale v izključno nepestrem koloritu (črna, siva, bela)
s posameznimi, redkimi kromatskimi akcenti (na primer rdeča).
Sicer pa lahko pri slikovnih površinah Cvetke Hojnik naletimo
tudi na izrazite kontraste v obliki osamljenih in toliko bolj kričečih,
žareče rdečih, v redkih primerih tudi rumenih in oranžnih
poudarkov ženskega principa. Rdeča kot ogenj, kri, strast in
hrepenenje, ki vnaša prisotnost podzavesti in nereda, a hkrati
pomeni neprestano obnavljajoče se življenje, se pri umetnici
pojavlja že v minulih fazah.
Psihološko napetost stopnjuje črno-bela modulacija, ki ima
poleg posredovanja izrazite globinsko prostorske iluzije tudi
večpomensko simbolno vlogo. Hladno nekromatsko črnino
včasih dopolnjuje bogata paleta sivih odtenkov z učinkom
grisailla, simbolizirajoč moški princip, racionalnost in ne
nazadnje umrljivost. Likovni ciklus iz let 2012/13 sicer
označuje popolna črnina, ki pa jo umetnica doživlja kot duhovno,
transcendentno dimenzijo, a hkrati pomeni tudi avtoportretno
značilnost, saj se sama rada odeva v osebno kreirana črna
oblačila v smislu živega gesamtkunstwerka.
Prostorske orientacije spredaj/zadaj, spodaj/zgoraj,
levo/desno postanejo nepomembne, saj lahko kompozicije
opazujemo iz različnih perspektiv in razdalje, hkrati pa je
dogajanje obogateno še z nenehnimi kontrastiranji med
ploskovitostjo in reliefnostjo oziroma gladkimi in strukturiranimi
površinami z možnostjo hkratnega optičnega in taktilnega
zaznavanja, nadalje pa so prisotna še simbolična preigravanja
med svetlobo in temo, žensko mehkobo in moško grobostjo,
materialnostjo in duhovnostjo, minljivostjo in večnostjo idr.
Na slikovnih površinah se hkrati pojavljajo drobni grafizmi
v obliki kvadratkov, vzporednih linijskih nizov ali komaj vidnih
spiralic, s katerimi dopolnjuje mrežasto ali adicijsko nanizane
večje kvadratne in zmeraj pogostejše krožne like, ustvarjajoč
ritmizirano kompozicijo, ki se širi tudi izven formata kvadratnih
nosilcev.
Tukaj pride do izraza umetničino poigravanje s temeljniki,
saj se po stenah razstavišč lahko razvije celo prava preproga,
na katero so v tonskem razponu od žareče beline preko zmeraj
gostejših sivin do »predbigbangovske« črne šele pritrjene
tabelne slike. Likovno dogajanje se tako ritmično širi od
najmanjšega grafitnega zapisa na kvadratke, od tam na okvir
slike, nato na »preprogo« in slednjič na belo steno kot zadnjo
temeljnico v nizu. Likovnina se tako z razstavnim prostorom
zlije v enovit pojav, kot na primer na zadnji samostojni razstavi v
Galeriji DLUM, kjer je Cvetka Hojnik spremenila tri stene spodnje
etaže v neke vrste neskončen iluminiran rokopis v simbolni
obliki odvitega rotulusa.
Podobno ambientalno, vendar nekoliko intimneje je
zastavljena tudi pričujoča razstava v mariborski sinagogi,
katere koncept sestoji iz treh segmentov, z mestoma reliefno
zasnovanimi likovnimi deli na pravokotnih nosilcih izključno
belega kolorita: 1. centralno na tla postavljeno drevo življenja
v obliki poliptiha (krona, razumevanje, modrost, moč, milost,
lepota, sijaj, temelj, zmaga, kraljestvo); 2. na panojih nameščene
tabelne, površinsko reliefno strukturirane, stilizirane podobe
nagrobnikov lendavskega judovskega pokopališča v Dolgi vasi;
3. precedenčno iz vezanih plošč ustvarjeni beli nosilci, viseči
pred gotskimi okni, katerih pravilno, položno, pravokotno obliko
prekinjajo ob robovih izžagani kvadratki, ki jih umetnica prilepi
na slikovne površine (minus-plus), ustvarjajoč pri tem skorajda
visokoreliefni učinek.
Izhodiščna likovna objekta Cvetke Hojnik sta torej kvadrat
in krog, predstavljajoč sintaktično osnovo likovne pripovedi v
obliki razsrediščenega kompozicijskega omrežja s pričetkom in
koncem nekje v neskončnosti, prehajajoč iz enega platnenega
nosilca na drugega. Kvadrat s pravokotniško izpeljavo, pogosto
na podlagi zlatega reza, predstavlja v pitagorejskem nauku,
izhajajočem še iz predhelenističnih izročil, simbol tetrade,
torej štirih filozofskih elementov, ki imajo vsak svoje število
∞
∞ s skupnim nazivom quaternarius: zemlja 4, voda 3, zrak 2 in
ogenj 1. Aritmetična vsota prvih štirih števil je število 10,
dekada, simbol univerzalnega znanja, popolnosti in božanskosti,
ki se odraža tudi v umetničinih spiralah, simbolih življenja,
plodnosti in večno dopolnjujočega se kromosomskega heliksa
(Fibonaccijevo zaporedje oziroma zlati rez).
Krog predstavlja orbis mundi, torej vesolje in duhovno
dimenzijo, trikotnik pa dopolnjuje kvadrat v smislu popolnosti,
prav tako v skladu s pitagorejsko simboliko (predstavljajmo
si kvaternarius v obliki trikotnika z osnovo 4 in vrhom 1). Ne
nazadnje lahko na posameznih, še posebej najnovejših slikah
Cvetke Hojnik zasledimo skorajda do kvadratnega roba nosilcev
včrtane krožnice, kot bi šlo za aluzijo na kvadraturo kroga,
simbola alkimističnega opus magnuma (lapis philosophicum
ali kamen modrosti). Prodor v prostor predstavljajo najnovejše,
že omenjene sfere ali krogle, ki se lahko iz slikovne površine
»odkotalijo« tudi na tla, pri čemer zbujajo žični prepleti asociacije
na večdimenzionalno prostorsko vozlanje kozmičnih strun na
nivoju Planckove konstante.
Število sedem, ki je tokratno likovno in ikonografsko
izhodišče kabalistične razstave Cvetke Hojnik, premore še
bolj raznovrstno, celo antagonistično simboliko, pogosto
upodobljeno v geometrijskih shemah, upoštevajoč enačenje
številk in črk, poglabljajoč se v samo skrivnost bivanja.
Umetniška dela Cvetke Hojnik, navkljub vtisu puristične
jasnosti, očitno zahtevajo obsežne predpriprave, saj je treba na
številnih skicah, poleg opredelitve kompozicije in proporcev,
določiti tudi različne materiale in izbrati barve, upoštevaje hkrati
umestitev v specifičen galerijski ambient, pri čemer pomeni
vsaka razstava nov postavitveni izziv, tako za avtorico kot za
opazovalca, saj ga dela iz zmeraj drugačnega vidika motivirajo
k meditaciji o prepletanju življenja in smrti, o součinkovanju
reda/smotrnosti in kaosa/naključja, o manifestacijah podzavesti
skozi zavest in ne nazadnje, ali ni kozmogonija morda resnično
posledica teogonije, oziroma stvarnikovega (demiurgovega)
poseganja v stvarstvo.
Mario Berdič
∞
EN SOF V
Akril, mešana tehnika, vezana plošča
Acrylic, mixed media, plywood
50 × 50 cm
∞
EN SOF IX
Akril, mešana tehnika, vezana plošča
Acrylic, mixed media, plywood
50 × 50 cm
∞
EN SOF VIII
Akril, mešana tehnika, vezana plošča
Acrylic, mixed media, plywood
50 × 50 cm
LEVO ZGORAJ / TOP LEFT
BINA / BINAH
Razumevanje, Drevo življenja
Understanding, The Tree of Life
Akril, mešana tehnika, platno
Acrylic, mixed media, canvas
40 × 40 cm
∞
DESNO ZGORAJ / TOP RIGHT
KETER / KETER
Krona, Drevo življenja
Crown, The Tree of Life
Akril, mešana tehnika, platno
Acrylic, mixed media, canvas
40 × 40 cm
LEVO SPODAJ / BOTTOM LEFT
HOHMA / CHOKHMAH
Modrost, Drevo življenja
Wisdom, The Tree of Life
Akril, mešana tehnika, platno
Acrylic, mixed media, canvas
40 × 40 cm
DESNO SPODAJ / BOTTOM RIGHT
JESOD / YESOD
Temelj, Drevo življenja
Foundation, The Tree of Life
Akril, mešana tehnika, platno
Acrylic, mixed media, canvas
30 × 30 cm
∞
HESED / CHESED
Milost, Drevo življenja
Grace, The Tree of Life
Akril, mešana tehnika, platno
Acrylic, mixed media, canvas
40 × 40 cm, detajl / detail
∞
∞
∞
EN SOF II
Akril, mešana tehnika, vezana plošča
Acrylic, mixed media, plywood
50 × 130 cm, detajl / detail
C VETK A H OJNIK
AT THE MARIBOR SYNAGOGUE
EN SOF – THE INFINITY
The latest Cvetka Hojnik’s independent exhibition EN SOF at the
Maribor Synagogue represents a multi-dimensional upgrade of
her previous opus, for it is a project in the frame of her master
thesis, designed as an homage to Lendava Jews, referring to the
mystical tradition of Kabbalah where it meets a somewhat different
numerological symbolism (the Platonian ten is substituted by the
Kabbalic seven) in connection to Hebraic alphabet, while at the
same time her heavenly whites gain the meaning of a shroud but
in the sense of transcendent, afterlife continuation of being in the
infinity (en sof) or in the infinite light (en sof ohr) in line with Jewish
beliefs. However, Genesis actually starts with Jehovah’s sevenletter command: Let there be light, which is, after all, demiurgically
∞
induced BIG BANG.
Without any doubt, Cvetka Hojnik represents a unique phenomenon on the Slovenian otherwise extremely heterogeneous
artistic scene, since she in a specific way combines experience from
the field of textile design with classical artistic creativity, exploring
new techniques and materials with which she achieves original
associatively abstract and colouristically expressive, though mostly
non-chromatic effect of the artistic work with rich symbolic narration in the prevailingly geometrically stylised morphology on the
threshold of minimalism.
In her early period, she created artistic works exclusively
with different kinds of fabric, out of the frame of classic panel
∞ formats, like a kind of colouristically extremely varied patchwork,
not seldom in the form of draperies, often occupying large wall
surfaces and many a time the floor, as well. Later she started
to discover various possibilities of combining panel painting in
acrylic or oil techniques with the use of textile applications of
different textures and thickness, often conveying the Informel
impression. In the recent period, she fastens individual spheres
(e. g. wires woven into a sphere) to the painting surface in the
sense of assemblage, as well.
While the last period was based on replaying organically and
geometrically abstract morphology with periodic presence of a
stylised human figure, emphasizing the contrast between the lines
or stiches of arbitrary forms with differently tense colour planes at
a typical sound-fluid effect of undulation and flashing with richly
chromatic shades, the artist in the recent, symbolist phase, that
started somewhere in the middle of the last decade, radically
changes the morphology and chromaticism of that period and
redirects into explicitly geometric, rectangular and spherical stylization in the form of Euclidean shapes (square, circle, less often
triangle) and often spirals in exclusively non-chromatic scheme
(black, grey, white) with individual, rare chromatic accents (for
example, red).
Moreover, on the painting surfaces by Cvetka Hojnik one can
come across explicit contrasts in the form of lonely and therefore
even gaudier hot red, in some rare cases even yellow and orange,
colouristically emphases of the female principle. The red colour,
red like fire, blood, passion and desire, that adds the presence
of the subconscious and chaos but at the same time carries the
meaning of continually renewing life, has appeared in the artist’s
work yet in her previous phases.
The psychological tension is intensified by black-andwhite modulation which has – besides conveying of an explicit
depth illusion, a multidimensional symbolic role. The cold nonchromatic black is sometimes complemented by a wide range
of grey shades with the grisaille effect, symbolizing the male
principle, rationality and, not least important, mortality. The
latest cycle (2012/13) is characterized by solid black but the artist
experiences it as a spiritual, transcendent dimension. At the same
time black is a characteristic of a self-portrait since the artist
loves wearing black clothes she creates herself in the sense of
alive Gesamtkunstwerk.
The spatial orientations front/behind, below/above, left/right
become unimportant since the compositions can be observed
from different perspectives and distances and the happening
is at the same time enriched with perpetual contrasts between
planes and reliefs or between even and structured surfaces with
a possibility of simultaneous optical and tactile perception. Also,
symbolic replay between light and darkness, womanly softness
and virile roughness, materiality and spirituality, transitoriness
and eternity, etc. is present.
On the painting surfaces, tiny graphisms in the form of
squares, parallel line series or barely visible little spirals appear
at the same time. They complement the reticular or addingly
composed bigger square or more and more frequently circular
shapes, creating a rhytmized composition which spreads beyond
the format of the square base.
Here the artist’s play with bases is reflected, for even a real
carpet can develop on the walls of the exhibition grounds, covered
with panel paintings in the range of colour tones from radiant
white over ever denser greys to “pre-Big Bang” black. Thus the
artistic happening rhythmically spreads from the tiniest graphite
record to small squares, from there to the frame of the painting,
then to the “carpet” and finally to the white wall as the last base in
the series. Therefore the artistic work and the exhibition grounds
fuse together in a uniform phenomenon like for example at the
solo exhibition at the Gallery of the Maribor Fine Artists Society
(DLUM) where Cvetka Hojnik transformed three walls of the
inferior floor into a kind of endless illuminated manuscript as a
symbolic unwound rotulus.
The exhibition at the Maribor Synagogue is ambientally
similar but a bit more intimate. Its concept is composed of
three segments, with works of art with partial relief design on
rectangular holders in exclusively white colour: 1. in the centre,
the tree of life standing on the ground in the form of polyptych
(crown, understanding, wisdom, strength, grace, beauty,
splendour, foundation, victory, kingdom); 2. superficially reliefstructured tables set on panels, stylized images of tombstones
of Jewish cemetery in Dolga vas at Lendava; 3. white holders
precedently created from formwork panels, hanging in front
of gothic windows, the regular, gently sloping form of which is
being interrupted by little squares sawn at their borders that the
artist glued to the painting surfaces (minus-plus), creating by that
almost a high-relief effect.
The basic artistic objects used by Cvetka Hojnik are thus
square and circle, representing the syntactic base of the artistic
narration in the form of decentralized compositional net with its
beginning and end somewhere in the infinity, passing from one
canvas to another. Within the Pythagorean doctrine, originating
∞
∞ from the pre-Hellenistic tradition, a square with rectangular
realization, often based on the golden section, is a symbol of
tetrad, i. e. four philosophical elements, each of them having its
own number with a common name quaternarius: earth 4, water
3, air 2 and fire 1. The arithmetic sum of the first four numbers
is 10, a decade, a symbol of universal knowledge, perfection and
divinity which reflects in the artist’s spirals, symbols of life, fertility
and ever-complementing of the chromosomal helix (Fibonacci’s
sequence or the golden section).
The circle represents orbis mundi, i. e. the universe and the
spiritual dimension, while the triangle complements the square
in the sense of perfection, in accordance with the Pythagorean
symbolism, as well (picture yourself a quaternarius in the form
of a triangle with the 4 as its base and 1 as the vertex). After
all, on individual, especially recent Cvetka Hojnik’s paintings,
circles inscribed almost to the square border of the base can
be seen, as if they were allusions to the squaring the circle, a
symbol of the alchemical opus magnum (lapis philosophorum
or the philosopher’s stone). Her breakthrough into the space is
represented by latest, aforementioned spheres or balls that can
“roll” from the painting surface even to the floor, at which the wire
intertwinement evoke associations of multidimensional space
knotting of cosmic strings on the Planck constant level.
The number seven that is this time artistic and iconographic
basis of Cvetka Hojnik’s kabbalistic exhibition comprises even
more variagated, even antagonistic symbolism, often depicted in
geometrical schemes, complying with equating of numbers and
letters, deeply engaging in the sole mystery of being.
Works of art by Cvetka Hojnik, in spite of the impression
of puritan Platonian intelligibility, obviously require extensive
preparations, for beside defining the composition and proportions,
on several sketches different materials must be projected and
colours must be chosen, taking into consideration the placement
into a specific gallery environment at the same time. Therefore
each exhibition poses a setting challenge, both for the artist
and for the visitors, since the works each time from a different
angle motivate them to meditation about intertwinement of
life and death, about co-effect of order/expedience and chaos/
coincidence, about manifestations of the subconscious through
the consciousness, and moreover, whether cosmogony is not
perhaps in fact the consequence of theogony, or the Creator’s
(Demiurge’s) interference with the creation.
Mario Berdič
C VETK A H OJNIK
Cvetka Hojnik je rojena v Murski Soboti. Po končani gimnaziji v
Murski Soboti je diplomirala na Naravoslovnotehniški fakulteti
Univerze v Ljubljani, Oddelek za tekstilstvo, študijski program
oblikovanja tekstilij in oblačil (prof. Darko Slavec). Študira tudi
na Akademiji za likovno umetnost v Ljubljani. Leta 2013 je imela
pregledno razstavo v Galeriji – Muzeju Lendava. Ob tej priložnosti
je izšla njena monografija. Za svoje ustvarjanje je prejela več
nagrad in priznanj, med drugim nagrado DLUM 2006, posebno
priznanje na razstavi Hommage Spacalu 2007, veliko odkupno
nagrado na Ex Temporu Piran na temo Soline (2009) in priznanje
lendavskega župana mag. Antona Balažeka za kulturne dosežke
doma in v tujini (2013). Je članica DLUM, ZDSLU, Avstrijskega
društva likovnih umetnikov ter Društva mednarodnih svobodnih
umetnikov. Živi in ustvarja v Lendavi.
Cvetka Hojnik was born in Murska Sobota. After finishing
Grammar School in Murska Sobota, she graduated from the
Faculty of Natural Sciences and Engineering of the University in
Ljubljana, Department of the Textile and Fashion Design, study
programme Textile and Fashion Design (Prof. Darko Slavec). She
also studies at the Academy of Fine Arts in Ljubljana. For her
creative work, she has been awarded several times, e. g. she
received an award by the Maribor Fine Artists Society in 2006,
a special award at the Hommage to Spacal exhibition in 2007,
major purchase prize at the Piran Ex Tempore on the saltpans
topic (2009) and a prize by the mayor of Lendava Mag. Anton
Balažek for her cultural achievements in Slovenia and abroad
(2013). She is a member of the Maribor Fine Artists Society, the
Union of the Slovene Fine Artists Associations, the Austrian Fine
Artists Association and the International Association of Freelance
Artists. She lives and works in Lendava.
∞
CvetkA Hojnik
En sof –
Neskončnost / The Infinity
∞
Center judovske kulturne dediščine
Sinagoga Maribor
12. 11.–31. 12. 2014
Koordinatorici projekta /
Project coordinators
Cvetka Hojnik, Marjetka Bedrač
Center of Jewish Cultural Heritage
Synagogue Maribor
12th November – 31st December 2014
Besedilo / Text by
Mario Berdič
Organizacija in izvedba projekta
Center judovske kulturne dediščine
Sinagoga Maribor, zanj Marjetka Bedrač,
v. d. direktorja
Organization and realization of the project
Center of Jewish Cultural Heritage
Synagogue Maribor, on its behalf
Marjetka Bedrač, acting director
Prevod in jezikovni pregled /
Translated and proofread by
Valerija Trojar
Fotografije / Photographs
Erik Žoldoš
Tehnična podpora / Technical support
Vito Dorojevič
Projekt sta podprli / The project was
supported by
73(083.824)
Za tehnično izvedbo eksponatov se
zahvaljujemo sodelavcem in dijakom
Lesarskega centra Maribor. / We thank the
workers and students of Lesarski center
Maribor (Wood Education Centre Maribor)
for technical realization of the exhibits.
Oblikovanje / Design by
Dušan Pogačar
Maribor, november 2014 /
Maribor, November 2014
© 2014, Center judovske kulturne dediščine
Sinagoga Maribor, Vse pravice pridržane.
© 2014, Center of Jewish Cultural Heritage
Synagogue Maribor, All rights reserved.
HOJNIK, Cvetka
En sof - neskončnost : [Center judovske
kulturne dediščine Sinagoga Maribor,
12.11.-31. 12. 2014] = The infinity : [Center
of Jewish Cultural Heritage Synagogue
Maribor, 12th November - 31st December
2014] / Cvetka Hojnik ; [besedilo Mario
Berdič ; prevod Valerija Trojar ; fotografije
Erik Žoldoš]. - Maribor : Center judovske
kulturne dediščine Sinagoga, 2014
COBISS.SI-ID 80062977
Tisk / Printed by
Design Studio
Naklada / Edition
150 izvodov / 150 copies
CIP - Kataložni zapis o publikaciji
Univerzitetna knjižnica Maribor
Center judovske kulturne dediščine
Sinagoga Maribor
Židovska ulica 4, 2000 Maribor
SI-Slovenija
tel.: +386(0)2 252 78 36;
faks: +386(0)2 252 78 37
[email protected]
www.sinagogamaribor.si
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