ferenc maurits - valjevo...ali mi nismo u čamcu. i ne možemo da vidimo. on, crtač i crtani, sedi...

VALJEVO - SRBIJAjun 2016.

INTERNACIONALNI UMETNIČKI STUDIORadovan Trnavac Mića

INTERNATIONAL ART STUDIO

FERENC MAURITSOD MAŠTE DO STVARNOSTI I DALJE ...

FROM IMAGINATION TO REALITY AND BEYOND

Suvoborska 48/1, 14000 Valjevo, Srbijatel/fax: +381 14 225 155

[email protected]


INTERNATIONAL ART STUDIO

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AUTOPORTRETI VLASTITOG PREOBRAŽAJA

Crteži Ferenca Mauriča (Ferenc Maurits) nisu priča o šumskom kralju. Sasvim izvesno. Jer šumski kralj ne spava da bi uščuvao vlast. Pre će biti da su oni priča o Kralju i Ludi. A Luda ili Mag kako ga oprezni zovu, druga je strana kralja. Da li kralj oseća trenutak u kojem se dešava metamorfoza u onog drugog i kada onaj drugi zna da postaje kralj? Ili je uloga onog trećeg, koji gleda crtež upravo u tome? Da uhvati trenutak metamorfoze i nazove ga svojim imenom.

A šta pritom čini onaj koji je pozajmio svoje znanje od Velikog Zajmodavca? Šta dakle čini Crtač. On se raduje. Jer tajanstvene niti kojima je obeležio mapu bića na crtežima, vode nas u prostor i vreme niza autoportreta njegovog, vlastitog preobražaja. Maurič zna odakle su linije/niti i kuda vode. Kako čitati te linije? Kao prve trenutke bića u vodi dok se oko njega šire krugovi? Kao bezvremenost. U njima je vreme samo intervencija. Zaludna misija, ponekad. Kada je Veliki Zajmodavac Mauriču davao darove, nije zaboravio da mu dodeli višak radosti. U bojama. I u potezu olovkom. Zato ih on oboje umnožava svojim crtežima. Da radost bude deljiva i svima dostupna. Nepromenjljivo promenljivi na njegovim crtežima uvek je onaj jedan isti. On sam. Crtač je crtani. I svi prizori njegovog života. I svi oni koje je ikad učio, dotakao,čitao, sve njegovo – Sopstvo. U vodi i van nje. Njegov čamac nam pokazuje šta je bilo pre linija. Ali mi nismo u čamcu. I ne možemo da vidimo. On, Crtač i crtani, sedi na pramcu i kaže – ne boj se, linija nije sama, nisam ni ja. Tu smo sa tobom. U odrazu sveta. U kapi vode iz koje je sve nastalo. Njegov alter ego nemarno je bačen u svet da bi on sam mogao taj svet da podnese. Sa svim lepotama i ostalim opštim mestima. Zato se, u nekom odsutnom trenutku ipak odlučuje za Ludu.

Gledam u prostor izmedju linija. Pun je praznine. U koju smeštamo mape našeg vremena. Našeg bića. Naših očekivanja. Maurič i ne traži od nas divljenje, samo prihvatanje radosti podeljene u bezbroj kriški. Ne traži ni da učestvujemo. Jednostavno crta odavno uspostavljenu vezu između Zajmodavca i sebe. Sledi svoju liniju, pa dokle stigne. Do raspeća, do akta linije, do razloga njene veselosti, do niza autoportreta vlastitog preobražaja. Ne bavi se ortografijom. Ne bavi se nebom nad nama. Samo zakonom u sebi koji je rodjenjem dobio. Zakonom igre. Igre koju hvata u linije bojeći ih ili ih ostavljajući neuslišene bojom.

Ja tako vidim Mauriča. A svako od nas vidi ga, sigurna sam, drugačije. Imam jedan njegov poseban crtež. Na njemu je Sirano u velikom crnom šeširu. Linija je ista kao na ostalim Mauričima, ali lik ima Magove oči. Gde god da ste, u kom god kraju sobe na čijem zidu visi, on gleda pravo u vaše oči. To Crtačeva linija, shvatila sam posle godina bežanja od tog sveprisutnog pogleda, uhvaćena u vašu liniju života, svraća u vas. Kao u igri sa koncem/nitima kolariću paniću. Iz detinjstva. Satima, se može igrati. Tako se odrasta. Sledeći sopstvenu nit koja te svaki čas preobražava u nešto drugo dok ti prividno ostaješ isti. Jednom si Kralj, jednom Luda. Treba

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uhvatiti najbolji trenutak - u kojem se pretvaranje iz jednog u drugo još nije desilo. Onda si uhvatio i smisaoMauričevog crteža. Njegovu bezazlenost. I put ka svom Sopstvu. To je to. Ako je i Maurič poput svojih likovnih predmeta ostao u stalnoj metamorfozi od Lude u Kralja i obratno, njegov rast ne prestaje. Podelimo ga sa njim kako bismo u sebi održali onu dozu radosti koja nam je i danas, kao i uvek, skoro neophodna. Rastimo sa Mauričevom linijom jer - neizvesno je kuda će nas odvesti. Iz nje - dobićemo radost uzdignutog posto-janja u liniji, a izvan vremena. Izvan stvarnosti. U metamorfozi. U autoportretima njegovog preobražaja. Kao produženo detinjstvo u igri koja je samozaborav bića. Bezazlenost sama. Pitanje svih pitanja. Dok je odgovor u samom pitanju. Gle čuda! Gle Mauriča!

Marija Šimoković

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SELF-PORTRAITS OF PERSONAL METAMORPHOSISby

Marija Šimoković

Ferenc Maurits’s drawings are quite certainly no tales of the Forest King, since in order to uphold his power, the Forest King never sleeps. They are more like the tale of the King and the Jester, with the latter, often re-ferred to as the Wizard by the more cautious ones, being the alter ego of the King. Does the King sense the moment of the metamorphosis into his other self? When does the latter become aware of his promotion to royalty? Or is the third party, the observer, the one whose role is actually to seize the moment of the meta-morphosis and give it his name?

Furthermore, what does the one who borrows his skill from the Great Lender do? What does the Drawer do? He rejoices. Because the mysterious threads he has used to mark the map of beings in his drawings lead us to the space and time of a number of self-portraits of his own metamorphosis. Maurits knows the source and the flow of these lines/threads. How does one read those lines? As the initial moments of a being’s birth in the water, emitting concentric circles? As infinity. There, time is merely an intervention. A futile mission, at times. When the Great Lender bestowed Maurits with his gifts, he granted him a surplus of joy. In colours. And pencil strokes. That’s why he multiplies both in his drawings. So as to share joy and make it accessible. The unchangeably changeable in his drawings is always one and the same. Himself. The Drawer is drawn. As are all the images of his life. As are all those he has ever taught, touched, read, his all – his Selfness. Both in and out of the water. His vessel shows us what came before the lines. But we are not in it. And we cannot see. It is him, the Drawer and the drawn, sitting at the prow saying: “Do not fear. The line is not alone. Neither am I. We are here beside you. In the world’s reflection. In the drop of water which created everything.” The Drawer’s alter ego has been callously tossed into the world so that he himself could bear with it more easily, with all its beauties and other peculiarities. That’s why, when carried away, he opts for the Jester.

I am looking at the gap between the lines. It is void and houses the maps of our time. Our being. Our expecta-tions. Indeed, Maurits asks not for admiration, but for acceptance of joy served in countless slices. He seeks no participation. He simply draws the long established connection between himself and the Great Lender. He follows his line, as far as it goes. To the crucifixion, act of the line, underlying cause of its joy, to a number of self-portraits of his own metamorphosis. He does not do orthography. He does not deal with the sky above us. He only deals with his inner law, cast upon him on his birth. The law of play. The play which he seizes with his lines by dying them in colours or leaving them untainted.

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This is my perception of Maurits. And each of us, I am convinced, perceives him differently. I have a special drawing of his. It depicts Cyrano in a big, black hat. The line resembles those in other Maurits’s, but the face has the Wizard’s eyes. Wherever you may be and whichever angle of the room in which it hangs from the wall you look from, he stares directly into your eyes. After years of evading this omnipresent stare do I realize that it is the Drawer’s line, entangled in your own life line, paying you a visit. As if playing a children’s game with you, capable of seizing your attention for hours. That’s how one grows up. By following your own line which constantly transforms you into something else, while you apparently stay the same. One moment the King, the next the Jester. It is about catching the best moment – the one in which the transformation has not yet oc-curred. That is when you finally grasp the sense of Maurits’s drawing. Its harmlessness. And the road to your own Selfness. That is it. If Maurits too, like his art objects, remains constantly transforming between the King and the Jester, his growing up never ends. Let us share it with him in order to grant ourselves with the dose of blissfulness which we still, as we always have, yearn for. Let us grow along Maurits’s line, as it is uncertain where it leads us to. From it we gain the joy of sublime existence in a line beyond time. Beyond reality. In metamorphosis. In the self-portraits of his own transformation. Similarly to how an extended, playful child-hood serves as one being’s self-oblivion. Harmlessness itself. The question of all questions. While the answer is held within the question. Behold a miracle! Behold Maurits!

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SKICE DUŠE

Skorašnji crteži grafičkog umetnika Ferenca Mauriča (Ferenc Maurits), a naročito njegovi por-treti, svakako podsećaju na naučne prikaze unutrašnjosti ljudskog tela. Naročito liče na rendgen-ske snimke, laserske i ultrazvučne prikaze, ili dijagrame koji, primera radi, ilustruju protok en-ergije unutar ljudskog tela, nervnog ili krvnog sistema. Pri tom ne mislim isključivo na prostu nameru Mauričevih crteža da unutrašnja dešavanja učine vidljivim. Činjenica je da umetnost, a naročito ona moderna, nastoji da uradi upravo to kada se bavi pukom obzervacijom objekata u potrazi za skrive-nom prirodom stvari. U Mauričevom slučaju, rezultat te potrage da se uporediti sa rendgenskim snimkom.

Kada je 1896. Lorens K. Rasel napisao ljubavnu pesmu rendgenskom portretu jedne žene, jedi-na manjkavost koju je u svom varljivom ushićenju mogao da pripiše tom portretu bio je nedosta-tak očiju i nosa. Ako pažljivije pogledamo Mauričeve portrete, zapazićemo da isti ti organi i ovde nedostaju. Nos uvek podseća na smežuranu glavicu luka, dok su oči jednostavne crne mrlje, ili izu-vijani kalemovi, ili prosto rupe kroz koje neko gleda, ili bolje rečeno kroz koje prosijava pozadina.

Biće da je poslednja formulacija najtačnija, što nas ponovo vraća na problematiku rendgenskih snimaka. Baš kao što u njihovom slučaju zraci dolaze iz pozadine činivši da upravo oni objekti koje ne mogu da pro-biju postaju vidljivi, tako i pozadina Mauričevih slika, bolje reći papir za crtanje, postaju izvor svetlosti.

Nasuprot slikama i fotografijama, na ovim crtežima zaista ne možemo da vidimo ono što je osvetlje-no, već ono čime umetnik zapravo nastoji da od nas sakrije svetlost. Tako često primećujemo pozadinu dok ka nama sija kroz oči ili nos. U tome i leži svojstvo Mauričevih figura da poput duhova ili mrtvih ni-kada ne bacaju senku. Prosto rečeno, senka, tj. sam crtež, direktno se projektuju na lice posmatrača.

Njegove figure tako su nematerijalne da ih svetlost različitog intenziteta, poput boje, skoro nes-metano probija. Ono što zaklanja svetlost, poput linije koja ponekad dokono talasa, nežno se vrti, ili čak grčevito kovitla, češće je duhovne nego fizičke prirode. Maurič sledi puteve unutrašnjih energi-ja i nerava, onih tananih vibracija kojima telo više ne vlada. Na ovim portretima mi ne vidimo, na prim-er, da nekoga boli vilica, već samu liniju bola, koja strelja iz vilice i neometano prodire u onaj prostor Mauričevog crteža koji je po pravilu toliko izvan svih definicija da naizgled predstavlja sam univerzum.

Drugim rečima, Maurič ne prikazuje rendgenske snimke bolnih organa, već prikazuje sam Bol. Za razliku od raznih „unutrašnjih prikaza“, koji usled insistiranja na činjeničnom stanju zapravo govore tako malo da je

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potrebna ekspertska analiza kako bi sivu masu protumačila kao kamen u žuči, na Mauričevim crtežima sve je kristalno jasno. Gledanjem njegovih portreta postavljanje dijagnoze postaje dečija igra. Njegovi portreti direktno nam u oči projektuju srž procesa koji se odvija u samoj duši.

Zoltan Šebek

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DIAGRAMS OF THE SOULby

Zoltan Sebok

The recent drawings of the graphic artist, Ferenc Maurits, especially his portraits, are most certainly related to those scientific photographs which depict the inner parts of the human body. They are especially remi-niscent of X-rays and the photos taken with the assistance of lasers and uitrasound, as well as the diagrams which illustrate for example the energy distribution of the human body, the nervous system, or the blood circulation. Here I do not think merely of the commonplace, of how Maurits’s drawings make internal events visible. Truth to be told, fine art, and especially modern art, in generai deals with exactlz that when it turns back to the eventuality of the mere sight in search of the inner nature hidden within things. In the case of Maurits, the result of this search can be compared to X-ray photos.

When in 1896 Lawrence K. Russell wrote a love poem to the X-ray portrait of a lady, in his shammed enchant-ment the only thing he could find fault with was the portrait’s lack of eyes or of the nose. If we look closely at Maurits’s portraits, we realize that those organs are missing too. The nose always reminds one of a degener-ated tuber, while the eyes are black spots, or a swirling coil, or a hole through which one may see, or rather through which the background shines through.

Perhaps the last formulation is the most exact, which once again brings us to the problem of the X-ray. Just as in the case of the X-ray photo, where the rays come from behind so what is visible in the photo is what the rays cannot penetrate, so, too, in Maurits’s pictures the background, or rather the drawing paper, is the actual light source.

In contrast with painting and photography, in these drawings we really cannot see that which is illuminated, but rather that with which the artist conceals the light from us. This is why often we perceive the background as it is shining through the eyes or through the nose. This also explains why Maurits’s figures, just like the ghosts of the dead, never cast shadows. To put it more accurately, the shadow, the drawing itself, is cast di-rectly onto the face of the viewer.

His figures are so immaterial that light of varying intensities, i.e. colours, penetrate them almost unobstructed. That which blocks the light, the line which sometimes undulates lazily or oscillates gently or even contracts spasmodically into a knot, is of a spiritual nature rather than of a physical one. Maurits follows the courses of the inner energies and the nerves, of those delicate vibrations, over which the body is no longer the ruler. In these portraits we do not see, for example, that a person’s jaw is hurting, but rather the line of the pain itself,

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the line which shoots out from the jaw and, unobstructed, enters the space which in Maurits’s drawings is, as a rule, so without definition that perhaps it must signify the universe.

In other words Maurits does not X-ray the organ which hurts, but rather Pain itself. However, in contrast to different types of “internal pictures“, which due to their insistence on fact actually say so iittle that only after the analysis of an expert does the grey image become a gallstone, everything in Maurits’s drawings is imme-diately recognizable. Looking at his portraits it is child’s play to establish the diagnosis. The portraits project directly into our eyes the core of the process which takes place in the soul.

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FERENC MAURITS (Ferenc Maurič)slikar, grafičar, pesnik

Rođen je u Novom Sadu 1945. godine. Školu za primenjenu umetnost pohađao je u Novom Sadu. Član je ULUV-a i Društva književnika Vojvodine. Od 1963. do 1988. godine bio je grafički urednik časopisa Pol-ja i studentskog lista Index. Od 1968. do 1983. godine radio je kao grafički i likovni urednik časopisa ,,Uj Symposion”. Od 1983. do 2000. godine bio je grafički i likovni urednik u izdavačkoj kući Forum.

Samostalne izložbe:1966, Subotica, Galerija Likovnog susreta1967, Beograd, Galerija Grafičkog kolektiva 1970, Novi Sad, Salon Tribine mladih1972, Novi Sad, Galerija ULUV-a1973, Beograd, Galerija Kolarčevog narodnog univerziteta1973, Novi Sad, Galerija RU „Radivoj Ćirpanov”1974, Priština, Galerija OZK1975, Novi Sad, Galerija ULUV-a1977, Novi Sad, Galerija RU „Radivoj Ćirpanov”1978, Zagreb, Studio Galerija Forum1979, Novi Sad, NIŠRO Forum1980, Doroslovo, Izložba povodom dodeljivanja Forumove nagrade 1980, Sivac, Izložba povodom „Dani Senteleki Komela”1980, Sombor, Likovna jesen1981, Novi Sad, Salon Tribine mladih1981, Subotica, Galerija ,,Franzer”1982, Subotica, Galerija ,,Franzer”1983, Novi Sad, Galerija ULUV-a1984, Subotica, Galerija Likovnog susreta1985, Zagreb, Galerija Spektar1985, Beograd, Umetnički paviljon „Cvijeta Zuzorić”1989, Novi Sad, Mali likovni salon1990, Baja, Gradska galerija 1993, Budimpešta, Galerija Budapest1993, Vesprem, Kuća umetnosti1994, Segedin, JATE klub

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1994, Đer, MediaWave Festival 1996, Kečkemet, Kulturni centar 1998, Segedin, KASS galerija 2000, Kluž, Galerija Komnk2000, Segedin, Multimedijalni projekat: Omaž, Galerija MASZK2003, Panonhalma, Galerija gimnazije2004, Sivac, Izložba povodom „Dani Senteleki Kornela”2007, Segedin, Maurits-salon, Galerija MASZK2008, Bačka Topola, Mala galerija2010, Subotica, Galerija gradske biblioteke2010, Pečuj, Kuća umetnosti (Kulturna prestonica Evrope)2011, Subotica, Mađarska kuća2015, Novi Sad, Muzej Vojvodine

Grupne izložbe:1967, 1968, Subotica, Likovni susreti1968, 1969, 1970, 1971, 1973, Beograd, Oktobarski salon, 1968, Beograd, Kritičari su odabrali, Izložba glava, Atelje 2121968, Novi Sad, Savremeni likovni umetnici Vojvodine1968, 1969, Senta, Izložba umetničke kolonije1969, Beograd, Savremeni likovni umetnici Vojvodine1969, Bačka Topola, Izložba umetničke kolonije1969, Temišvar, Savremeni likovni umetnici Vojvodine1970, Beograd, Trijenale jugoslovenske likovne umetnosti1971, 1974, 1975, 1978, 1980, Sombor, Likovna jesen1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978, 1982, Novi Sad, Novosadski salon1971, Niš, Priština, Kragujevac, Likovni umetnici Novog Sada1972, Beograd, Grafika jugoslovenskih stvaralaca, Svet u kome živimo1972, Beograd, Zagreb, Ljubljana, Savremena likovna umetnost Vojvodine1972, Bitola, Trijenale savremene jugoslovenske grafike1972, Modena, 10 slikara iz Novog Sada1972, Regensburg, Likovni umetnici Novog Sada1973, 1974, Novi Sad, Novosadski likovni krug1973, Vrnjačka Banja, Novosadski likovni krug,1973, Banja Luka, Likovni umetnici Novog Sada

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1973, Budimpešta, Savremena jugoslovenska umetnost 1973, Koventri, Savremena jugoslovenska umetnost1973, Bratislava, Savremeni likovni umetnici Vojvodine1974, Dubrovnik, Savremena jugoslovenska umetnost1974, Leverkuzen, Savremeno jugoslovensko slikarstvo i vajarstvo1974, Hoechst, Savremeno jugoslovensko slikarstvo i vajarstvo1974, Berlin, Novosadski likovni krug1974, Galaco, Savremeni likovni umetnici Vojvodine1975, Beograd, Novosadski likovni krug1975, Novi Sad, Crtež likovnih umetnika Vojvodine1972, 1973, 1974, 1979, Beograd, Zlatno pero Beograda1976, Sremska Mitrovica, Prvi sremskomitrovački salon1976, Wroclaw, Zelena gora, Birglić, likovni umetnici Vojvodine1979, Galaco, Savremena vojvođanska grafika1979, Nirnberg, Prvo trijenale svetskog crteža mladih1980, Ljubljana, Modema umetnost Vojvodine1981, Banja Luka, Lokalno i globalno u savremenoj umjetnosti Jugoslavije 1981, Niš, Izložba likovne kolonije ,,Sićevo”1982, Sarajevo, Izložba likovne kolonije ,,Počitelj”1997, Taipei, Osmo bijenale grafike i crteža

Nagrade za likovnu umetnost:1968, Novi Sad, OK SO za slikarstvo 1972, Beograd, Plaketa „Zlatno pero”1972, Beograd, „Zlatno pero“ Radničkog univerziteta „Đuro Salaj”1973, Novi Sad, Nagrada novosadskog salona za crtež1973, Beograd, Studijska nagrada fonda „Moša Pijade” za likovnu umetnost 1979, Novi Sad, Forumova nagrada za slikarstvo1982, Tuzla, otkupna nagrada Galerije jugoslovenskog portreta1983, Tuzla, 5. izložba jugoslovenskog portreta, Premija za crtež 1989, Bačka Topola, Likovna nagrada ,,Nagyapati Kukac Peter”

Monografije:1970, „Crveni Frankenštajn” - mapa crteža i pesama sa predgovorom Oto Bihalji-Merina Forum, Novi Sad1977, „Balkanska mapa” - mapa crteža i slika sa predgovorom Janoša Banjaija Forum-Corvina, Novi Sad-Budimpešta

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2010, „Proiectum Maurits”- mapa crteža i slika, likovni eseji grupe autora Izdavačka kuća UNIV, Segedin

Objavljena književna dela:1975, „Telep”, pesme i crteži, Izdavačka kuća Forum, Novi Sad1982, „Minijaturna galerija”, pesme i crteži, Izdavačka kuća Forum, Novi Sad 2006, „Sumrak u sumraku”, pesme i crteži, Izdavačka kuća ,,Kijarat“, Budimpešta2008, „Nemi anđeli”, pesme i crteži, Izdavački zavod Forum, Novi Sad2015, „Prozor palog anđela”, pesme i crteži, Izdavački zavod Forum, Novi Sad

Nagrade za književnost:2008, Književna nagrada „Ištvan Konc” - Društvo književnika Vojvodine

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FERENC MAURITSPainter, graphic artist and poet

He was born in Novi Sad, Serbia, in 1945. He studied at the School of Applied Art in Novi Sad and is a member of ULUV (Artists’ Association of Vojvodina) and the Writers’ Association of Vojvodina. From 1963 to 1988 he was the graphics editor of Polja magazine and Index university journal. From 1968 to 1983 he worked as the graphics and art editor of “Uj Symposion” magazine. From 1983 to 2000 he worked as the graphics and art editor of the Forum Publishing House.

Solo exhibitions:1966, Subotica, Art Encounter Gallery1967, Belgrade, Graphic Collective Gallery1970, Novi Sad, Youth Tribune Salon1972, Novi Sad, ULUV Gallery1973, Belgrade, Gallery of the Kolarčev People’s University1973, Novi Sad, “Radivoj Ćirpanov” Workers’ University Gallery1974, Priština, OZK Gallery1975, Novi Sad, Galerija ULUV-a (ULUV Gallery)1977, Novi Sad, “Radivoj Ćirpanov” Workers’ University Gallery1978, Zagreb, Forum Studio Gallery1979, Novi Sad, NIŠRO Forum 1980, Doroslovo, Exhibition on occasion of Forum Award Ceremony1980, Sivac, Exhibition on occasion of “Dani Senteleki Komela”1980, Sombor, Art Autumn1981, Novi Sad, Youth Tribune Salon1981, Subotica, “Franzer” Gallery1982, Subotica, “Franzer” Gallery1983, Novi Sad, ULUV Gallery1984, Subotica, Art Encounter Gallery1985, Zagreb, Spektar Gallery1985, Belgrade, “Cvijeta Zuzorić” Art Pavillion1989, Novi Sad, Small Art Salon1990, Baja, Town Gallery1993, Budapest, Budapest Gallery1993, Veszprém, The House of Art

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1994, Szeged, JATE Club1994, Györ, MediaWave Festival 1996, Keczkemet, The Culture Centre 1998, Szeged, KASS Gallery 2000, Cluj, Komnk Gallery2000, Szeged, Multimedial project: Homage, MASZK Gallery2003, Pannonhalma, Grammar School Gallery2004, Sivac, Exhibition on occasion of “Dani Senteleki Komela”2007, Szeged, Maurits-salon, MASZK Gallery2008, Bačka Topola, The Small Gallery2010, Subotica, The Town Library Gallery2010, Pecs, The House of Art (The Cultural Capital of Europe)2011, Subotica, The Hungarian House2015, Novi Sad, The Museum of Vojvodina

Group exibitions:1967, 1968, Subotica, Art Encounters1968, 1969, 1970, 1971, 1973, Beograd, The October Salon1968, Belgrade, Art critics’ choice, The Exhibition of Heads, Atelier 212, 1968, Novi Sad, Contemporary Artists of Vojvodina1968, 1969 , Senta, Art Colony Exhibition1969, Belgrade, Contemporary Artists of Vojvodina1969, Bačka Topola, Art Colony Exhibition 1969, Temisoara, Contemporary Artists of Vojvodina1970, Belgrade, Yugoslav Art triennial1971, 1974, 1975, 1978, 1980, Sombor, Art Autumn1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978, 1982, Novi Sad, The Novi Sad Salon1971, Niš, Priština, Kragujevac, Novi Sad Artists1972, Belgrade, Yugoslav Graphic Artists, The World We Live In1972, Belgrade, Zagreb, Ljubljana, Contemporary Art of Vojvodina1972, Bitola, Contemporary Yugoslav Graphics Triennial1972, Modena, Ten Painters from Novi Sad1972, Regensburg, Novi Sad Artists1973, 1974, Novi Sad, Novi Sad Art Circle1973, Vrnjačka Banja, Novi Sad Art Circle

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1973, Banja Luka, Novi Sad Artists1973, Budapest, Contemporary Yugoslav Art1973, Coventry, Contemporary Yugoslav Art1973, Bratislava, Contemporary Artists of Vojvodina1974, Dubrovnik, Contemporary Yugoslav Art1974, Leverkusen, Contemporary Yugoslav Painting and Sculpture1974, Hoechst, Contemporary Yugoslav Painting and Sculpture1974, Berlin, Novi Sad Art Circle1974, Galaco, Contemporary Artists of Vojvodina1975, Belgrade, Novi Sad Art Circle 1975, Novi Sad, Drawing of Vojvodina Artists1972, 1973, 1974, 1979, Belgrade, Belgrade Golden Quill1976, Sremska Mitrovica, The First Salon of Sremska Mitrovica1976, Wroclaw, Zelena gora, Birglić, Vojvodina Artists1979, Galaco, Contemporary Vojvodina Graphics1979, Nürnberg, The First Triennial of the International Youth Drawing1980, Ljubljana, Contemporary Vojvodina Art1981, Banja Luka, The Local and the Global in Contemporary Yugoslav Art1981, Niš, Sićevo Art Colony Exhibition1982, Sarajevo, Počitelj Art Colony Exhibition1997, Taipei, The Eighth Graphics and Drawing Biennial

Art awards:1967, Novi Sad, The Municipal Painting Competition 1972, Belgrade, “The Golden Quill” Plaque 1972, Belgrade, “The Đuro Salaj” Workers’ University “Golden Quill”1973, Novi Sad, The Novi Sad Drawing Award1973, Belgrade, The Moša Pijade Fund Study Award for Art1979, Novi Sad, Forum’s Painting Award1982, Tuzla, The Yugoslav Portrait Gallery Award (purchase award)1983, Tuzla, The Fifth Exhibition of Yugoslav Portrait, Drawing Premium 1984, 1989, Bačka Topola, Nagyapati Kukac Peter Art Award

Monographs:1970, “The Red Frankenstein” – a map of drawings and poems with Otto Bihali’s opening address - Merina Forum, Novi Sad

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1977, “Balkanska mapa” - a map of drawings and poems with Janos Banyai’s opening address - Corvina, Novi Sad – Budapest2010, “Proiectum Maurits” - a map of drawings and paintings, art essays, a group of authors, Publishing House UNIV, Szeged

Published literary work:1975, “Telep”, poems and drawings, PH Forum, Novi Sad 1982, “A Miniature Gallery”, poems and drawings, PH Forum, Novi Sad2006, “A Dusk Within a Dusk”, poems and drawings, PH Kijarat, Budapest2008, “The Numb Angels”, poems and drawings, Publishing Institute Forum, Novi Sad2015, “The Window of a Fallen Angel”, poems and drawings, Publishing Institute Forum, Novi Sad

Literary awards:2008, “The Istvan Koncs” Literary Award – The Writers’ Association of Vojvodina.

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„BOSANSKE RAZGLEDNICE”, 1993, akril na papiru, 40.5 x 58 cm BOSNIAN POSTCARDS, 1993, acrylic on paper, 40.5 x 58 cm

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„BOSANSKE RAZGLEDNICE”, 1993,1992, akril na papiru, 40.5 x 58 cm BOSNIAN POSTCARDS, 1993, acrylic on paper, 40.5 x 58 cm

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„SKICE ZA PREOBRAŽAJ”, 1995, akril na papiru, 17.5 x 25.5 cm DIAGRAMS FOR METAMORPHOSIS, 1995, acrylic on paper, 17.5 x 25.5 cm

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„BALKANSKA RASPEĆA”, 1995, olovka i akril na papiru, 29.7 x 21 cm BALKAN CRUCIFIXIONS, 1995, pencil and acrylic on paper, 29.7 x 21 cm

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„SKICE ZA PREOBRAŽAJ”, 1996, akril na kartonu, 22 x 32 cm DIAGRAMS FOR METAMORPHOSIS, 1996, acrylic on cardboard, 22 x 32 cm

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„SKICE ZA PREOBRAŽAJ”, 1998, akril na papiru, 24 x 32.5 cm DIAGRAMS FOR METAMORPHOSIS, 1998, acrylic on paper, 24 x 32.5 cm

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„SKICE ZA PREOBRAŽAJ”, 1998, akril na papiru, 24 x 32.5 cm DIAGRAMS FOR METAMORPHOSIS, 1998, acrylic on paper, 24 x 32.5 cm

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„MAPA CRTEŽA ZA OTA TOLNAJA”, 2010, akril na papiru, 26 x 18 cm A MAP OF DRAWINGS FOR OTTO TOLLNAI, 2010, acrylic on paper, 26 x 18 cm

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„MAPA CRTEŽA ZA OTA TOLNAJA”, 2010, akril na papiru, 26 x 18 cm A MAP OF DRAWINGS FOR OTTO TOLLNAI, 2010, acrylic on paper, 26 x 18 cm

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„MAPA CRTEŽA ZA JOŽEFA NAĐA”, 2011, akril na papiru, 26 x 18 cm A MAP OF DRAWINGS FOR JOZSEF NAGY, 2011, acrylic on paper, 26 x 18 cm

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„MAPA CRTEŽA ZA JOŽEFA NAĐA”, 2011, akril na papiru, 26 x 18 cm A MAP OF DRAWINGS FOR JOZSEF NAGY, 2011, acrylic on paper, 26 x 18 cm

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„HLEB NAŠ NAŠUSNI”, instalacija OUR DAILY BREAD, installations

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„HLEB NAŠ NAŠUSNI”, instalacija OUR DAILY BREAD, installations

FERENC MAURITSOD MAŠTE DO STVARNOSTI I DALJE ...

KnjigaBook 43

IzdavačPublisher


INTERNATIONAL ART STUDIOUrednikEditor

Mirjana Vojić

DizajnDesign by

Slobodan Rajević

PrevodTranslationIvan Manić

Umetnička dela opremio ateljeArtworks equipped by studio

ŠtampaPrinted by

Tel. 014/3538-125

TiražCirculation

500jun 2016.

ISBN 978-86-84653-28-6

ferenc maurits - valjevo...ali mi nismo u čamcu. i ne možemo da vidimo. on, crtač i crtani, sedi...

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