ARTICLES ABOUT MIRA BRTKA

Illumination

Nobua Abe

It is something very strange to have a conscience. About thirty years ago, in Japan, I took part in a group. The group called itself “L’Illumination“. Illumination was a word that someone of our group took from the poetry of Rimbaud.

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The Art of Mira Brtka

Sava Stepanov

Almost the entire ouevre of Mira Brtka is based upon on the analytic concept of a work of art (a painting, a sculpture, a collage, a tapestry, an object, a film, a video). Purity of the formal effect, non-expressivity, problematizing and philosophizing of the form and painting or sculpture, as well as the language consistency in her art have never interrupted the social functionalization of her expression.

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White Paintings

Ješa Denegri

In an attempt to explain the origin and meaning of a new cycle of Mira Brtka’s white paintings-reliefs, we must go back to a time several decades ago, into mid-1960s, the time when her first, also white, abstract paintings were made in an artistic climate defined through the concept of “post-informalism“

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European Contexts of the 20^th-Century Art in Vojvodina

Miško Šuvaković

Mira Brtka was born in Novi Banovci. She graduated in film directing from the Academy of Stage and Film Art in Belgrade in 1953, and from the Academy of Fina Arts (Accademia di Belle Arti) in Rome in 1963. She directed a play, Glass Menagerie, in Subotica in 1953. She studied in Prague, working with filmmaker Otakar Vávra.

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EXIBITIONS

Mira Brtka (first from the left), Milena Čubraković(forth from the left)

Members of Ilumination,

Trento, Italy 1967

Forme presenti exhibition, Brtka-Conte-Cubrakovic-Franchini-Takahashi

Galleria Scorpio,

Rome, Italy 1965

Mira Brtka with Ivo Vejvoda, the Yugoslav Ambassador to Italy, Patrick Waldberg and Neda Arneric

Museum of Contemporary Art Belgrade

Belgrade,Yug 1971

Unstable balances,Retrospective exibition, Mira Brtka

Museum of Contemporary Art Vojvodina,

Novi Sad, Srb 2012

INTERVIEWS

Mira Brtka and Gulio Carlo Argan, Rome, 1960

Mira Brtka / Unstable Balances

(1962-2012) – by Francesco Saba Sardi

Saba Sardi – I was thoroughly impressed with the images of the works I saw on your website. Above all, I was struck by the image of your installations that I would call lightning signs. Signs-flash-matter-color, prodigiously suspended in the void, or traversed by emptiness. Of no less interest are your filiform inventions, including images that I would tentatively call "anthropomorphic" – let's say so, but correct me in their definition.

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DNA as a horizon of the Vojvodina Plain

15 June 2012 - by Gordana Draganić Nonin

A film director, sculptor, painter, fashion designer... Mira Brtka was born in Novi Banovci in 1930. Everything which she went through and lived through, from running barefeet in the dust of Novi Banovci, to playing with cloth among Slovak women who were making embroidery, all the way to the last [54th] Venice Biennale where she took part in her colleague Dora García’s Red Suitcase project in the Spanish Pavilion, or, until the last day of March this year [2012] when in Petrovaradin the Brtka-Kresoja Foundation began its work, one could hardly put all of this in a single interview.

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PAINTINGS

Mirrors

Construzione

Op Art

White Shadow

Lines

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