FESTIVAL ART STAYS
NATUR-AL(L)
15. FESTIVAL SODOBNE UMETNOSTI 2017 15TH FESTIVAL OF CONTEMPORARY ART 2017
KATALOG DOGODKOV IN RAZSTAV EVENT AND EXHIBITION CATALOGUE Umetniki / Artists: A4C, Annalu, Justin Ascott, Lewis Baltz, Igor Ban, Olivo Barbieri, Gabriele Basilico, Bernd & Hilla Becher, Nikolaj Beer, Emerik Bernard, Elisa Bertaglia, Lapo Binazzi (UFO), Lynn Book, Suzana Brborovič, Silvia Camporesi, Vincenzo Castella, Giovanni Chiaramonte, Gordon Matta – Clark, Riccardo Costantini, Matteo Cremonesi, Silvia De Bastiani, Leo Ferdinand Demetz, Philip-Lorca Dicorcia, Tina Dobrajc, William Eggleston, Olafur Eliasson, Walker Evans, Johann Feilacher, Mitja Ficko, Dušan Fišer, Jernej Forbici, Hamish Fulton, Lee Friedlander, Mito Gegič, Mario Giacomelli, Mario Gabinio, Jochen Gerz, Luigi Ghirri, Dan Graham, Sebastiano Guerrera, Guido Guidi, William Guerrieri, Gabriele Grones, Herman Gvardjančič, Janez Hafner, Lewis Hine, Nancy Holt, Jenny Holzer, Roni Horn, Axel Hutte, IRWIN, Lado Jakša, Marko Jakše, JAŠA, Zmago Jeraj, Boris Jesih, Duša Jesih, Francesco Jodice, Jurij Kalan, Simon Kajtna, Sergej Kapus, Arkadiusz Karapuda, Dušan Kirbiš, Aleksij Kobal, Michael Kos, Metka Krašovec, Ugo La Pietra, Jessica Ledwich, Gani Llalloshi, Ina Loizl, Richard Long, Robert Lozar, Albin Lugarič, Dominik Mahnič, Claudio Marini, Ira Marušič, Živko Marušič, Luigi Menichelli, Joel Meyerowitz, Boris Mikhailov, Paolo Monti, MOVIMENTO (Federico De Benedictis, Simone Pucci), Ugo Mulas, Eadweard Muybridge, Walter Niedermayr, Franc Novinc, Noriko Obara, Dennis Oppenheim, Svetlana Ostapovici, Gina Pane, Luca Maria Patella, PATETICO, Karel Pečko, Polona Petek, Luca Piovaccari, Zoran Poposki, Uroš Potočnik, Gregor Pratneker, Mirko Rajnar, Viktor Rebernak, Albert Renger-Patzsch, Giuseppe Ripa, Paul Ryan, Daniele Rocci, Cinzia N. Rojas, Martha Rosler, Gabriele Rossi, Thomas Ruff, Jasna Samarin, Alessandro Sambini, August Sander, Sebastião Salgado, Vittorio Sella, Olga Schigal, Stephen Shore, Silvester Plotajs Sicoe, Apolonija Simon, Robert Smithson, Andraž Šalamun, Maruša Šuštar, Miha Štrukelj, Chooc Ly Tan, Marko Tušek, Walter Trecchi, Ger van Elk, Marika Vicari, Wilhelm Von Gloeden, Sašo Vrabič, Carleton Watkins, Uroš Weinberger, Wim Wenders, Edward Weston, Laurence Wood, Damon Ayers & Tessie Word, Joni Zakonjšek, Jure Zadnikar, Cyryl Zakrzewski, Marco Zanta.
FESTIVAL ART STAYS
NATUR-AL(L)
15. FESTIVAL SODOBNE UMETNOSTI 2017 15TH FESTIVAL OF CONTEMPORARY ART 2017
PTUJ, SLOVENIJA
KATALOG DOGODKOV IN RAZSTAV EVENT AND EXHIBITION CATALOGUE CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor
73/76(083.824)
FESTIVAL sodobne umetnosti Art Stays (15 ; 2017 ; Ptuj) Natur-al(l) : katalog dogodkov in razstav = event and exhibition catalogue / 15. festival sodobne umetnosti Art Stays 2017, 7. julij-5. september 2017 = 15th Festival of Contemporary Art Art Stays 2017, July 7-September 5, Ptuj, Slovenija ; [besedila v katalogu Marika Vicari ... [et al.] ; fotograje Srdan Mohorič, Aleš Gačnik, Boris B. Voglar ; prevod Barbara Damiš ... et al.]. - Ptuj : KUD Art Stays, 2017
1. Gl. stv. nasl.
COBISS.SI-ID 92855553 NATUR-AL(L) 15. FESTIVAL SODOBNE UMETNOSTI ART STAYS 2017 15TH FESTIVAL OF CONTEMPORARY ART ART STAYS 2017 Ptuj, Slovenija 7. julij - 5. september 2017 / July 7 - September 5, 2017
Izdal / Published by: Uradni festivalski fotograf / Official KUD ART STAYS Festival Photographer: Produkcija sodobne umetnosti Albin Bezjak Contemporary Art Production zanj / by Besedila v katalogu / Catalogue texts: Predsednik / President: Marika Vicari, Jernej Forbici, Carlo Sala, Vladimir Forbici Emanuele Beluffi, Silvie Aigner, Gaia Conti Umetniški vodja / Art Director: Jernej Forbici Festivalske fotografije / Festival photos: Srdan Mohorič, Boris B. Voglar Kreativni vodja / Creative Director: Marika Vicari Prevod in lektoriranje / Translation and Text Review: Koordinacija / Coordination: Barbara Damiš, Sanja Selinšek, Helena Tina Baštevc Fošnjar, Katja Vrabl
Stiki z javnostjo / Public relations: Oblikovanje / Design: Uroš Bonšek FO.VI
Tehnična pomoč / Technical support: Tisk / Print: Anita Pukšič, Doroteja Kotnik, Tjaša Čuš, Alinea, Moškanjci, 500 Staša Dabič Perica, Valentina Jerenec, Anja Potočnik, Matej Vesenjak, Davorin Pokrovitelji / Supporters: Ciglar Milosavljević, Ema Peršak, Florjan Goričan, Sanja Selinšek, Maja Šunderl, Matjaž Emeršič, Peter Kolenko, Sandi Žuran, Petra Filipič, Rok Golob, Rotar Art
Didaktične aktivnosti / Didactic activity: Leonora Matiči Švagan, Giancarlo Busato, Erika Vicari KUD ART STAYS Postavitev razstav / Exhibition design: Prešernova ulica 1 Jernej Forbici, Marika Vicari, Italo 2250 Ptuj Bergantini, Gaia Conti, Carlo Sala, Dušan Fišer www.artstays.si, [email protected] Zahvaljujemo se naslednjim umetnikom Rajnar, Viktor Rebernak, Albert Renger- za njihov prispevek k projektu / We Patzsch, Giuseppe Ripa, Paul Ryan, would like to thank the following artists Daniele Rocci, Cinzia N. Rojas, Martha for their contribution to this project: Rosler, Gabriele Rossi, Thomas Ruff, Jasna Samarin, Alessandro Sambini, A4C, Annalu, Justin Ascott, Lewis Baltz, August Sander, Sebastião Salgado, Igor Banfi, Olivo Barbieri, Gabriele Vittorio Sella, Olga Schigal, Stephen Basilico, Bernd & Hilla Becher, Nikolaj Shore, Silvester Plotajs Sicoe, Apolonija Beer, Emerik Bernard, Elisa Bertaglia, Simon, Robert Smithson, Andraž Lapo Binazzi (UFO), Lynn Book, Suzana Šalamun, Maruša Šuštar, Miha Štrukelj, Brborovič, Silvia Camporesi, Vincenzo Chooc Ly Tan, Marko Tušek, Walter Castella, Giovanni Chiaramonte, Gordon Trecchi, Ger van Elk, Marika Vicari, Matta – Clark, Riccardo Costantini, Wilhelm Von Gloeden, Sašo Vrabič, Matteo Cremonesi, Silvia De Bastiani, Leo Carleton Watkins, Uroš Weinberger, Wim Ferdinand Demetz, Philip-Lorca Dicorcia, Wenders, Edward Weston, Laurence Tina Dobrajc, William Eggleston, Olafur Wood, Damon Ayers & Tessie Word, Joni Eliasson, Walker Evans, Johann Feilacher, Zakonjšek, Jure Zadnikar, Cyryl Mitja Ficko, Dušan Fišer, Jernej Forbici, Zakrzewski, Marco Zanta. Hamish Fulton, Lee Friedlander, Mito Gegič, Mario Giacomelli, Mario Gabinio, Še posebej smo hvaležni naslednjim Jochen Gerz, Luigi Ghirri, Dan Graham, kustosom, zbirkam in galerijam za Sebastiano Guerrera, Guido Guidi, njihov prispevek k projektu in William Guerrieri, Gabriele Grones, publikaciji / We are especially grateful Herman Gvardjančič, Janez Hafner, Lewis to the following Curators, Collections Hine, Nancy Holt, Jenny Holzer, Roni and Galleries for their contribution to Horn, Axel Hutte, IRWIN, Lado Jakša, the project and publication: Marko Jakše, JAŠA, Zmago Jeraj, Boris Jesih, Duša Jesih, Francesco Jodice, Jurij Carlo Sala, Italo Bergantini, Gaia Conti, Kalan, Simon Kajtna, Sergej Kapus, Dušan Fišer, Zoran Poposki, Laurence Arkadiusz Karapuda, Dušan Kirbiš, Wood Aleksij Kobal, Michael Kos, Metka Krašovec, Ugo La Pietra, Jessica Ledwich, Collezione Dionisio Gavagnin, Treviso Gani Llalloshi, Ina Loizl, Richard Long, Romberg Arte Contemporanea, Latina Robert Lozar, Albin Lugarič, Dominik Umetnostna galerija Maribor Mahnič, Claudio Marini, Ira Marušič, Zbirka Talum, Kidričevo Živko Marušič, Luigi Menichelli, Joel Galleria Punto Sull’Arte, Varese Meyerowitz, Boris Mikhailov, Paolo Officina dell’immagine, Milano Monti, MOVIMENTO (Federico De Galerie MZ, Augsburg Benedictis, Simone Pucci), Ugo Mulas, Koroška galerija likovnih umetnosti Eadweard Muybridge, Walter Obalne galerije, Piran Niedermayr, Franc Novinc, Noriko Galerija Equrna, Ljubljana Obara, Dennis Oppenheim, Svetlana Galerija Y, Ljubljana Ostapovici, Gina Pane, Luca Maria Arte Laguna Prize, Venice Patella, PATETICO, Karel Pečko, Polona Stamperia D’arte Busato, Vicenza Petek, Luca Piovaccari, Zoran Poposki, Electronic Arts Intermix, New York Uroš Potočnik, Gregor Pratneker, Mirko Zahvaljujemo se tudi vsem tistim, ki so velikodušno pripomogli k projektu / We also thank all those who have greatly contribuited to this project:
CID Ptuj, Ptuj, Galerija FO.VI, Kidričevo, Mestni kino Ptuj, Pokrajinski muzej Ptuj- Ormož, Ptuj, Tovarna Umetnosti, Majšperk, Knjižnica Ivana Potrča Ptuj, Zavod za turizem Ptuj, Vinarstvo Turčan, PeTV, Štajerski Tednik, Radio Ptuj, Društvo Arsana, Bo cafe, Dom kulture Muzikafe, PP Gostinstvo, Narodni dom Ptuj, Restavracija Pan, Tenzor d.o.o., Kobal Wines, Turistično informativni center Ptuj, Darja Baštevc, Giancarlo Busato, Dušan Fišer, Goran Forbici, Marjana Forbici, Majda Fridl, Bojan Miško, Stanka Gačnik, Stanka Krajnc Letonja, Albert Bene, Katja Gönc, Miha Masten, Bojan Pahor, Klavdija Petek, Zdenka Ristič, Zvonko Milošič, Sanja Selinšek, Miran Senčar, Emanuele Beluffi, Silvie Aigner, Erika Vicari, Silvo Ambrož, Saša in Matej Vesenjak, Matej Škafar, Tatjana Rudolf, Liljana Brglez, Anita Pukšič, Doroteja Kotnik, Tjaša Čuš, Staša Dabič Perica, Valentina Jerenec, Anja Potočnik, Davorin Ciglar Milosavljević, Ema Peršak, Florjan Goričan, Sanja Selinšek, Maja Šunderl, Matjaž Emeršič, Peter Kolenko, Sandi Žuran, Petra Filipič, Rok Golob ...
Hvala vsem umetnikom, kustosom, imetnikom avtorskih pravic za reprodukcijo likovnih del. / Thanks to all the artists, curators, gallerists, rights holders for reproduction authorisation.
EMOZIONI.COM PREBUJANJE / AWAKENING (N-Titled), Movimento Creative Label LES / WOOD, Johann Feilacher NATUR-AL(L) 15. FESTIVAL SODOBNE UMETNOSTI ART STAYS JERNEJ FORBICI
Festival Art Stays spada med najpomembnejše predstavitve sodobne, predvsem likovne umetnosti v Sloveniji in v tem delu Evrope. Vse od leta 2003 prinaša produkcijo domačih in tujih umetnikov, od najbolj znanih do najperspektivnejših. Do danes je festival gostil preko 700 umetnikov, med njimi velika imena sodobne umetnosti, kot so Yoko Ono, Gilbert & George, Allora & Calzadilla, Ivan Navarro, Regina Jose Galindo, Ann & Patrick Poirier in Hannah Collins.
Petnajsta edicija največjega slovenskega festivala sodobne vizualne umetnosti Art Stays, letos poimenovana Natur-al(l), se osredotoča na umetnike, ki se angažirano ukvarjajo z naravo, posledicami človeškega malomarnega ravnanja z njo in s črno prihodnostjo, ki nas morebiti čaka za naslednjim vogalom.
Na trgih in v stavbah starega mestnega jedra je festival združil vrhunske umetnike v zelo širokem spektru: od slikarstva, fotograje, kiparstva, instalacij do videa, performansov in glasbe. Manjkal ni niti bogat kino program na atraktivnih lokacijah in delavnice sodobnih umetnosti (Poletna akademija Art Stays). Skupaj je bilo predstavljenih preko 150 avtorjev.
Pred vami je katalog letošnje edicije, ki zajema dogajanje in razstave festivala sodobnih umetnosti. Podoživite neverjeten utrip najstarejšega slovenskega mesta, polnega presenečenj, ki jih prinaša sodobna umetnost pomešana z naravo.
Se vidimo naslednje poletje.
12 NATUR-AL(L) 15TH FESTIVAL OF CONTEMPORARY ART ART STAYS JERNEJ FORBICI
Art Stays is one of the most important festivals of contemporary, mostly fine art in Slovenia and this part of Europe. It has been showcasing works of renowned and up- and-coming national and international artists since 2003. So far, the festival has hosted over 700 artists, including such famous names as Yoko Ono, Gilbert & George, Allora & Calzadilla, Ivan Navarro, Regina Jose Galindo, Ann & Patrick Poirier and Hannah Collins.
The 15th edition of the biggest Slovenian festival of contemporary visual art Art Stays, titled Natur-al(l), focuses on artists dealing with nature, the consequences of humanity mistreating nature, and a dire future that might be awaiting us just around the corner.
The festival occupied the squares and buildings of the old city center with a selection of top-notch art works created in a variety of media: painting, sculpting, photography, installation, video, performance, and music. It was accompanied by lm screenings, as well as contemporary art workshops (Art Stays Summer Academy). This year’s edition featured over 150 artists.
The catalogue of 2017 edition is in front of you, it covers the events and exhibitions of the festival of contemporary art. Relive the beat of the oldest Slovenian town, full of surprises brought by a mixture of contemporary art and nature.
See you next summer!
13 VSEBINA / CONTENTS
12 NATUR-AL(L) 55 HERMAN GVARDJANČIČ UVODNIK/ INTRO 56 JANEZ HAFNER 57 IRWIN 15 DOGODKI / EVENTS 58 MARKO JAKŠE 18 PROGRAM / PROGRAM 59 ZMAGO JERAJ 22 OTVORITEV / OPENING 60 BORIS JESIH 23 JOHANN FEILACHER & HOMMAGE TO 61 DUŠA JESIH JOSEPH BEUYS 62 JURIJ KALAN 24 KONCERT / CONCERT: PATETICO 63 SIMON KAJTNA 24 BIO ART MARKET 64 SERGEJ KAPUS 25 GROUND AND CEMENT 65 DUŠAN KIRBIŠ 25 VIDEOMAPPING - MOVIMENTO 66 ALEKSIJ KOBAL 26 ZAJTRK / BREAKFAST 67 METKA KRAŠOVEC 26 MARKO TUŠEK - ONKRAJ PROSOJNOSTI 68 GANI LLALLOSHI / BEYOND TRANSPARENCY 69 ROBERT LOZAR 27 ART STAYS KINO / CINEMA 70 ALBIN LUGARIČ 27 POLETNE DELAVNICE / SUMMER 71 DOMINIK MAHNIČ WORKSHOPS 72 IRA MARUŠIČ 28 INVERZNI KANON / INVERSE CANON 73 ŽIVKO MARUŠIČ 29 VIDNO POLJE / FIELD OF VISION 74 FRANC NOVINC 30 POLETNE DELAVNICE / SUMMER 75 KAREL PEČKO WORKSHOPS 76 POLONA PETEK 30 ARCHI - NATURE, WALTER TRECCHI 77 UROŠ POTOČNIK 31 VELIKO JE LEPO! / BIG IS BEAUTIFUL! 78 GREGOR PRATNEKER 32 KNJIŽNI MOLJ / BOOK WORM, NORIKO 79 MIRKO RAJNER OBARA 80 VIKTOR REBERNAK 33 POGOVOR / TALK: JAŠA 81 JASNA SAMARIN 33 NATURE STAYS - LADO JAKŠA 82 SILVESTER PLOTAJS SICOE 34 VODEN OGLED / GUIDED TOUR 83 APOLONIJA SIMON 34 JAŠA 2011-2017 84 ANDRAŽ ŠALAMUN 85 MARUŠA ŠUŠTAR 37 RAZSTAVE / EXHIBITIONS 86 MIHA ŠTRUKELJ 39 VELIKO JE LEPO / BIG IS BEAUTIFUL 87 SAŠO VRABIČ 41 BESEDILO / TEXT: M.VICARI & J.FORBICI 88 UROŠ WEINBERGER 46 IGOR BANFI 89 JURE ZADNIKAR 47 NIKOLAJ BEER 90 JONI ZAKONJŠEK 48 EMERIK BERNARD 49 SUZANA BRBOROVIĆ 93 VIDNO POLJE / FIELD OF VISION 50 TINA DOBRAJC 95 BESEDILO / TEXT: MARIKA VICARI 51 MITJA FICKO 102 ANNALÚ 52 DUŠAN FIŠER 103 ELISA BERTAGLIA 53 JERNEJ FORBICI 104 RICCARDO COSTANTINI 54 MITO GEGIČ 105 SILVIA DE BASTIANI
14 106 LEO FERDINAND DEMETZ 158 WILLIAM GUERRIERI 107 GABRIELE GRONES 159 THOMAS RUFF 108 ARKADIUSZ KARAPUDA 160 AXEL HÜTTE 109 MICHAEL KOS 161 PHILIP-LORCA DICORCIA 110 INA LOITZL 163 LAND ART 111 OLGA SCHIGAL 164 LUCA MARIA PATELLA 112 MARIKA VICARI 165 GER VAN ELK 113 CYRYL ZAKRZEWSKI 166 PETER HUTCHINSON 167 BILL BECKLEY 115 TLA IN CEMENT / GROUND AND 168 RICHARD LONG CEMENT 169 DENNIS OPPENHEIM 117 BESEDILO / TEXT: CARLO SALA 170 UGO LA PIETRA 121 ARKADIJA / ARCADIA 171 GINA PANE 122 CARLETON EUGENE WATKINS 172 LAPO BINAZZI (UFO) 123 EADWEARD MUYBRIDGE 173 JOCHEN GERZ 124 WILLIAM HENRY JACKSON 174 HAMISH FULTON 125 TIMOTHY O'SULLIVAN 175 SODOBNO / CONTEMPORARY 126 WESTON EDWARD 176 WALTER NIEDERMAYR 127 LEE FRIEDLANDER 177 FRANCESCO JODICE 128 VITTORIO SELLA 178 WIM WENDERS 129 MARIO GABINIO 179 STEFANO CAGOL 130 MARIO GIACOMELLI 180 JENNY HOLZER 131 WILHELM VON GLOEDEN 181 OLAFUR ELIASSON 133 INDUSTRIJA / INDUSTRY 182 RONI HORN 134 ALBERT RENGER-PATZSCH 183 SILVIA CAMPORESI 135 WALKER EVANS 184 ALESSANDRO SAMBINI 136 BERND & HILLA BECHER 137 UGO MULAS 187 POKLON JOSEPHU BEUYSU / 138 PAOLO MONTI HOMMAGE TO JOSEPH BEUYS 139 GABRIELE BASILICO 189 BESEDILO / TEXT: MARIKA VICARI 140 GILBERT FASTENAEKENS 141 OLIVO BARBIERI 195 INVERZNI KANON / INVERSE CANON 142 GUIDO GUIDI 197 BESEDILO / TEXT: GAIA CONTI 143 LEWIS BALTZ 202 MATTEO CREMONESI 144 MARCO ZANTA 203 SEBASTIANO GUERRERA 145 LEWIS HINE 204 CLAUDIO MARINI 146 AUGUST SANDER 205 LUIGI MENICHELLI 147 SEBASTIÃO SALGADO 206 CINZIA N. ROJAS 148 BORIS MIKHAILOV 207 SVETLANA OSTAPOVICI 149 HIBRIDNO / HYBRID 208 LUCA PIOVACCARI 150 WILLIAM EGGLESTON 209 GIUSEPPE RIPA 151 STEPHEN SHORE 210 DANIELE ROCCI 152 JOEL MEYEROWITZ 211 GABRIELE ROSSI 153 LEWIS BALTZ 154 LUIGI GHIRRI 213 MARKO TUŠEK - ONKRAJ 155 VINCENZO CASTELLA PROSOJNOSTI / BEYOND 156 GIOVANNI CHIARAMONTE TRANSPARENCY 157 GUIDO GUIDI 215 BESEDILO / TEXT: MARKO TUŠEK
15 223 LES / WOOD - JOHANN FEILACHER 225 BESEDILO / TEXT: SILVIE AIGNER
231 WALTER TRECCHI - ARCHI-NATURE 197 BESEDILO / TEXT: EMANUELE BELUFFI
239 SITE-SPECIFIC PROJEKTI / PROJECTS 241 PREBUJANJE / AWAKENING, MOVIMENTO CREATIVE LABEL (SIMONE PUCCI & FEDERICO DE BENEDICTIS) 243 FOTO / PHOTO
247 KNJIŽNI MOLJ / BOOK WORM, NORIKO OBARA 249 BESEDILO / TEXT: NORIKO OBARA 250 FOTO / PHOTO
253 NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN, JAŠA 255 BESEDILO / TEXT: JAŠA 256 FOTO / PHOTO
261 ART STAYS KINO / CINEMA 263 IZBOR / SELECTION: ROBERT SMITHSON, NANCY HOLT, MARTHA ROSLER, GORDON MATTA-CLARK, DAN GRAHAM, PAUL RYAN 267 GOSTUJOČI PROJEKT / HOSTED PROJECT: TRANSLATION(S) III: TELESA V TRANZITU / BODIES IN TRANSIT DOGODKI EVENTS PETEK / FRIDAY, 7. 7. 2017 19.00 Pričetek festivala in otvoritev dveh razstav / Start of the festival and two exhibiton openings LES / WOOD – JOHANN FEILACHER POKLON JOSEPHU BEUYSU / HOMMAGE TO JOSEPH BEUYS Dominikanski samostan / Dominican Monastery, Ptuj 21.00 Otvoritev prostorske instalacije in koncert / Site specic project and a concert PATETICO Slovenski trg / Slovenski Square, Ptuj
SOBOTA / SATURDAY, 8. 7. 2017 10.00-13.00 Delavnice za otroke in odrasle & Sejem biološko pridelanih dobrot 0 KM & Pogovori z umetniki / Kids and adults workshops & 0KM organic market, Artist Talks BIO ART TRŽNICA / MARKET Slovenski trg / Slovenski Square, Ptuj 19.00 Otvoritev velike mednarodne fotografske razstave / Opening of a major international photo exhibition TLA IN CEMENT / GROUND AND CEMENT + pogovor s kustosom / Curator Talk: Carlo Sala Galerija mesta Ptuja / Ptuj City Gallery 21.00 Videomapiranje / Videomapping Movimento (Federico De Benedictis, Simone Pucci) PREBUJANJE / AWAKENING + koncert / music concert Slovenski trg / Slovenski Square, Ptuj
NEDELJA / SUNDAY, 9. 7. 2017 10.00 Zajtrk, vodenje po razstavi in pogovor z umetnikom / Breakfast, guided tour and an artist talk JOHANN FEILACHER Dominikanski samostan / Dominican Monastery, Ptuj 13.00 Otvoritev razstave / Exhibition opening + Nedeljsko BIO kosilo / Sunday BIO lunch MARKO TUŠEK – v naravi / in the nature Tovarna umetnosti / Art Factory, Majšperk 21.00 ART STAYS KINO / CINEMA (OPEN AIR) ROBERT SMITHSON, Spiral Jetty, 1970 Slovenski trg / Slovenski Square, Ptuj
PONEDELJEK / MONDAY, 10. 7. 2017 10.00-13.00 Delavnica za otroke / Workshop for kids RECIKLIRAM IN USTVARJAM I / I RECYCLE AND CREATE I Dominikanski samostan / Dominican Monastery, Ptuj 19.00 Otvoritev velike mednarodne razstave / Opening of a major international exhibition INVERSE CANON / CANONE INVERSO + pogovor s kustosoma / Curators Talk: Italo Bergantini & Gaia Conti Miheličeva galerija / Miheličeva Gallery, Ptuj 21.00 ART STAYS KINO / CINEMA (MAIN SECTION) MARTHA ROSLER, Chile on the Road to NAFTA, 1993 & The Garden Spot of the World: Greenpoint, Brooklyn, in Trafc, Transit and Flow, 1997 Mestni kino Ptuj / Ptuj Town Cinema
TOREK / TUESDAY, 11. 7. 2017 10.00-13.00 Delavnica za otroke / Workshop for kids RECIKLIRAM IN USTVARJAM II / I RECYCLE AND CREATE II Dominikanski samostan / Dominican Monastery, Ptuj
18 19.00 Otvoritev mednarodne razstave / Opening of an international exhibition VIDNO POLJE / FIELD OF VISION + pogovor z umetniki in kustosinjo / Artists and Curator Talk: Marika Vicari Galerija FO.VI / FO.VI Gallery, Strnišče 21.00 ART STAYS KINO / CINEMA (OPEN AIR) NANCY HOLT, Sun Tunnels, 1978 Vrt galerije FO.VI / FO.VI Gallery Garden, Strnišče
SREDA / WEDNESDAY, 12. 7. 2017 10.00-13.00 Delavnica za otroke / Workshop for kids RECIKLIRAM IN USTVARJAM III / I RECYCLE AND CREATE III Dominikanski samostan / Dominican Monastery, Ptuj 19.00 Otvoritev razstave/ Exhibition opening WALTER TRECCHI – Archi Nature Galerija Magistrat / Magistrat Gallery, Ptuj 20.00 Otvoritev javnih plastik/ Opening of public installations POLETNA AKADEMIJA / SUMMER ACADEMY Recikliram in ustvarjam / I Recycle and Create Mestni trg / Mestni Square, Ptuj 21.00 ART STAYS KINO / CINEMA (MAIN SECTION) DAN GRAHAM, Classic and Recent Installations /pavilions 1974-2008, 2009 TRANSLATION(S) – BODIES IN TRANSIT Umetniki / Artists: A4C, Justin Ascott, Damon Ayers & Tessie Word, Lynn Book, Jessica Ledwich, Chooc Ly Tan, Zoran Poposki, Laurence Wood. Mestni kino Ptuj / Ptuj Town Cinema
ČETRTEK / THURSDAY, 13. 7. 2017 10.00-13.00 Delavnica za otroke / Workshop for kids GRAFIČNA DELAVNICA / PRINT WORKSHOP Dominikanski samostan / Dominican Monastery, Ptuj 19.00 ART STAYS KINO / CINEMA (MAIN SECTION) GORDON MATTA – CLARK, Program Three, 1971-75 Mestni kino Ptuj / Ptuj Town Cinema 20.30 Otvoritev velike razstave/ Major exhibition opening VELIKO JE LEPO / BIG IS BEAUTIFUL Velika krajina v slovenskem slikarstvu / The Great Landscape in Slovenian Painting Razstavišče Art Stays / Exhibition Space Art Stays, Q-center, Ptuj
PETEK / FRIDAY, 14. 7. 2017 10.00-13.00 Delavnica za otroke / Workshop for kids DELAVNICA PAPIRJA / PAPER WORKSHOP Dominikanski samostan / Dominican Monastery, Ptuj 19.00 Otvoritev prostorske instalacije / Opening of site-specic installation KNJIŽNI MOLJ / BOOK WORM – NORIKO OBARA – nagrada / prize Arte Laguna + pogovor z umetnico / Artist Talk Knjižnica I. Potrča Ptuj / Ptuj City Library 20.30 ART STAYS KINO / CINEMA (MAIN SECTION) PAUL RYAN, Coast of Cape Ann/ Ecochannel Design, 1985-86 Mestni kino Ptuj / Ptuj Town Cinema 21.30 Pogovor z umetnikom / Artist Talk JAŠA, predstavnik Slovenije na 56. Beneškem bienalu / representitve of Slovenia at 56th Venice Bienale + video predstavitev / video presentation Slovenski trg / Slovenski Square, Ptuj 22.30 Koncert in projekcija / Concert and screening LADO JAKŠA – multivizija / multivision NARAVA OSTANE / NATURE STAYS Slovenski trg / Slovenski Square, Ptuj
19 SOBOTA / SOBOTA, 15. 7. 2017 10.00 Otvoritev razstave/ Exhibition opening POLETNA AKADEMIJA / SUMMER ACADEMY Center interesnih dejavnosti / CID, Ptuj 11.00 Veliko popotovanje po razstavah 15. festivala / Grand Tour of the 15th Festival Art Stays exhibitions ZADNJE POTOVANJE / LAST VOYAGE 11.00 Dominikanski samostan / Dominican Monastery 11.30 Galerija mesta Ptuj / Ptuj City Gallery 12.00 Miheličeva galerija / Miheličeva Gallery 12.30 Galerija Magistrat & Mestni trg / Magistrat Gallery and Mestni Square, Ptuj 13.00 Slovenski trg / Slovenski Square, Ptuj BIO kosilo / BIO lunch nadaljevanje z avtobusom / Start of the bus trip (13.45) 14.00 Razstavišče/ Exhibition Space Art Stays, Qcenter 15.00 Tovarna umetnosti / Art Factory, Majšperk 16.00 Galerija FO.VI / FO.VI Gallery, Strnišče 17.00 Zadnji dogodek festivala / Final festival event Otvoritev intervencije v naravi / Opening of a Land-art intervention NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN / JAŠA 2011-2017 + koncert / concert + poleti s toplozračnim balonom / hot air baloon ights Halda, Strnišče (46°23´45˝N 15°45´24˝E)
GLAVNI ODER / MAIN STAGE, Slovenski trg
20 JAŠA, NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN / JAŠA 2011-2017 OTVORITEV FESTIVALA / FESTIVAL OPENING
22 LES / WOOD – JOHANN FEILACHER & POKLON JOSEPHU BEUYSU / HOMMAGE TO JOSEPH BEUYS
23 OTVORITVENI KONCERT / OPENING CONCERT: PATETICO
BIO ART TRŽNICA / MARKET
24 TLA IN CEMENT / GROUND AND CEMENT
VIDEOMAPIRANJE / VIDEOMAPPING: MOVIMENTO CREATIVE LABEL
25 ZAJTRK Z UMETNIKOM / BREAKFAST WITH ARTIST: JOHANN FEILACHER
ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY - MARKO TUŠEK
26 ART STAYS KINO / CINEMA: 9. - 14. 7. 2017
POLETNE DELAVNICE / SUMMER WORKSHOPS: 10. - 15. 7. 2017
27 INVERZNI KANON / INVERSE CANON
28 VIDNO POLJE / FIELD OF VISION
29 POLETNE DELAVNICE / SUMMER WORKSHOPS I
ARCHI - NATURE - WALTER TRECCHI
30 VELIKO JE LEPO / BIG IS BEAUTIFUL
31 KNJIŽNI MOLJ / BOOK WORM - NORIKO OBARA
32 POGOVOR Z UMETNIKOM / ARTIST TALK: JAŠA
NARAVA OSTANE / NATURE STAYS - LADO JAKŠA
33 VODEN OGLED / GUIDED TOUR
JAŠA 2011 - 2017 - UNLAWFUL PURPOSE ...
34 35
RAZSTAVE EXHIBITIONS Marko Jakše, Umirajoči slon / The Dying Elephant, 2015 RAZSTAVIŠČE / EXHIBITION SPACE ART STAYS, Q-CENTER, PTUJ
VELIKO JE LEPO BIG IS BEAUTIFUL
VELIKA KRAJINA V SLOVENSKEM SLIKARSTVU LARGE FORMAT LANDSCAPE IN SLOVENIAN PAINTING
KUSTOSA / CURATORS: DUŠAN FIŠER & JERNEJ FORBICI VELIKO JE LEPO / BIG IS BEAUTIFUL, otvoritev / opening VELIKO JE LEPO / BIG IS BEAUTIFUL kustosa / curators: Dušan Fišer & Jernej Forbici besedilo / text: Marika Vicari & Jernej Forbici
Na tradicionalni umetniški predmet, naj bo to slika, kip ali kos arhitekture, ne gledamo več kot na osamljen subjekt, temveč ga je treba upoštevati znotraj konteksta širšega prostora. Okolje postaja enako pomembno kot predmet, če ne še bolj, saj predmet diha v prostoru in absorbira njegovo realnost, kakršnakoli že je, bližnja ali oddaljena, notranja ali zunanja. Noben predmet, niti naraven niti umetniški, ne obstaja brez okolja. Pravzaprav se lahko predmet razširi do te mere, da postane lastno okolje.
Frederick Kiesler, Second Manifesto of Correalism, 1965, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Kristine Stiles in Peter Selz), Berkeley 1996, str. 510-511.
»Zakaj nisi naredil večje, da bi se dvigovala nad gledalcem?« »Ker nisem delal spomenika.« »Zakaj potem nisi naredil manjše, da bi lahko videli preko nje?« »Ker nisem delal predmeta.«
Intervju s Tonyjem Smithom, 1964, Samuel Wagstaff, Talking to Tony Smith, Artforum 4, 1966, str. 17-19.
Razstava v enem samem velikem razstavnem prostoru na Ptuju prvič združuje raziskovanja več kot štiridesetih slovenskih umetnikov, ki so v preteklih desetletjih s pomočjo slikarstva ustvarjali nove »dialoge« na temo narave.
Vse pogosteje smo priča prizorom narave, ki se razvija s preveliko hitrostjo. Kljub temu še vedno ostajajo prostori, ki niso docela antropogeni, in človeštvo morda še mora prispeti do točke dokončnega sožitja z naravo. Gre za jasen koncept, ki se ga da razbrati od 60-ih dalje, tudi na slovenskih tleh, ko se umetniška produkcija iz izključno muzejskega konteksta odločno premakne tudi na prosto.
Vsako od platen, ki sta jih kustosa Dušan Fišer in Jernej Forbici izbrala z izredno skrbnostjo, pripelje do izkušnje, v kateri se v razmerju do krajine ekstremne dimenzije umetniškega dela razširijo skoraj do arhitekturne velikosti. To so dela, v katera se gledalec vključi in v njih sodeluje kot aktivni člen, čeprav je človeško telo postavljeno zunaj njihovih dimenzij, ter začne na drugačen način dojemati razmerja med sabo in prostorom.
Odločitev, da kustosa razstavo posvetita velikemu formatu, ni toliko estetska in usmerjena k parafraziranju naslova Big is beautiful (Veliko je lepo), kot je strateška. Njen namen je dimenzijska provokacija, ki občinstvo izzove k razmisleku o lastni majhnosti pred veličino narave, ne samo v
41 naravnem, temveč tudi v razumskem kontekstu. Na eni strani želi usmeriti pozornost k naravi v njenih različnih oblikah, naj bo neokrnjena, obdelana, transformirana, pripovedna, raziskovana, prehojena, uničena, ranljiva ali manipulirana, na drugi pa k človeku, njegovemu gibanju in spremembah, ki jih povzroča v okolju s svojim delovanjem v času in prostoru.
Umetnost na splošno, še zlasti slikarstvo in fotografija, spodbujajo razvoj znanja in vabijo k razmisleku o možnostih vzpostavitve odnosov, ki omogočajo povezanost z zemljo. Kot da nas želijo opomniti, da se presenetljive moči narave ne da zmanjšati, hkrati pa nam skozi ustvarjalnost in dojemanje lastnih ukrepov pomagajo razumeti, da smo del celote.
VELIKO JE LEPO / BIG IS BEAUTIFUL, razstava / exhibition
42 The traditional art object, be it a painting, a sculpture, a piece of architecture, is no longer seen as an isolated entity but must be considered within the context of this expanding environment. The environment becomes equally as important as the object, if not more so, because the object breathes into the surrounding and also inhales the realities of the environment no matter in what space, close or wide apart, open air or indoor. No object, of nature or of art, exists without environment. As a matter of fact, the object itself can expand to a degree where it becomes its own environment.
Frederick Kiesler, Second Manifesto of Correalism, 1965, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Kristine Stiles and Peter Selz), Berkeley 1996, pp. 510-511.
"Why didn't you make it larger so that it would loom over the observer?" "I was not making a monument." "Then why didn't you make it smaller so that the observer could see over the top?" "I was not making an object."
Interview with Tony Smith, 1964, Samuel Wagstaff, Talking to Tony Smith, Artforum 4, 1966, pp. 17-19.
The exhibition brings together for the first time in one single large exhibition space in Ptuj explorations by well more than forty Slovenian artists, who in the recent decades have created new "dialogues" revolving around the theme of nature through the means of painting.
More and more frequently, we are witnesses to a nature transforming itself at an increasingly fast pace; nonetheless, there are fortunately still some spaces that have not been entirely affected by anthropogenesis, and humanity has yet to come to a final synthesis with nature. This concept can be clearly detected from the Sixties onwards when, in Slovenia and abroad, artistic production has broken away from the exclusive context of museums and has decidedly opened itself to the outdoor spaces.
The showcased canvases were selected one by one by curators Dušan Fišer and Jernej Forbici. In comparison to traditional landscapes, the extreme dimensions of these artworks are magnified, reaching an almost architectural scale. Even though the human body is always placed outside of their dimensions, these are works that absorb and incorporate the spectator as an active participant, compelling him to redefine proportions between himself and the environment.
The curatorial decision to devote the exhibition to the large format is not so much an aesthetic choice, paraphrasing the title "Big is beautiful", but rather a strategy, aiming to evoke a reaction in the audience with dimensional provocations, and make us contemplate on our smallness in the face of nature's greatness, not only in terms of disposition but also of intelligence. The intent is to draw attention to nature and all its forms on the one hand, be it either uncontaminated, transformed, cultivated, narrated, investigated, traced, devastated, defended or manipulated,
43 and on the other to man, to his actions and changes inflicted by him on landscapes while crossing them in time and space.
Art in general, particularly painting and photography, encourage the development of knowledge and provide a reflection on the possibility of conceiving attitudes that enable our connection with earth. As if wishing to remind us not to be amazed by the irreducibility of nature, and to make us understand through the creativity and our own measures that we are all part of the same whole.
VELIKO JE LEPO / BIG IS BEAUTIFUL, razstava / exhibition
44 23VELIKO JE LEPO / BIG IS BEAUTIFUL, otvoritev / opening IGOR BANFI
Rojen leta 1973 v Murski Soboti. Študiral je na Akademiji za Likovno umetnost v Ljubljani-smer slikarstvo, kjer je l.1997 diplomiral pri prof.Andreju Jemcu. Podiplomski študij je končal leta 2000 pod mentorstvom prof.Lojzeta Logarja. Živi in dela v Ljubljani in Murski Soboti.
Born in 1973 in Murska Sobota. He studied painting at the Academy of Fine Arts in Ljubljana and graduated in 1997 under the mentorship of Professor Andrej Jemec. He nished his postgraduate study in 2000 with Professor Lojze Logar. He lives and works in Ljubljana and Murska Sobota.
STREHE NAŠE SIGURNOSTI / ROOFS OF OUR SAFETY, 2012 olje na platnu / oil on canvas, 200x300 cm
46 NIKOLAJ BEER
Rojen leta 1945 v Križevcih v Prekmurju, diplomiral iz slikarstva na Akademiji za likovno umetnost v Ljubljani pri prof. Gabrijelu Stupici. Za svoja dela je prejel že številne nagrade. Živi in ustvarja v Izlakah.
Born in 1945 in Križevci, in the region of Prekmurje, graduated his study of painting at the Academy of Fine Arts in Ljubljana under the mentorship of Professor Gabrijel Stupica. He has received numerous awards for his works. He lives and works in Izlake.
VEČER (POT NA GORIČKO) / EVENING (WAY TO GORIČKO), 2015 olje na platnu / oil on canvas, 147x100 cm
47 EMERIK BERNARD
Rojen leta 1937 v Celju. Leta 1965 je diplomiral na Akademiji za likovno umetnost v Ljubljani in leta 1968 končal specialko pri profesorju Gabrijelu Stupici. Več let je bil svobodni umetnik, leta 1985 pa je postal docent za slikarstvo na Akademiji za likovno umetnost, kjer je bil vrsto let (do 2006) redni profesor. Med številnimi nagradami je leta 1997 prejel Prešernovo nagrado za življenjsko delo. Je tudi redni član Slovenske akademije znanosti in umetnosti.
Born in 1937 in Celje. In 1965 he graduated at the Academy of Fine Arts in Ljubljana and in 1968 he nished his postgraduate study under the mentorship of Professor Gabrijel Stupica. He worked as a freelance artist for several years, and in 1985 he took up a post as assistant professor of painting at the Academy of Fine Arts, where he continued working full-time until the year 2006. Among many of the awards to be mentioned, there is the Prešeren Prize for Lifetime Achievements, which he received in 1997. He is also a regular member of the Slovenian Academy of Sciences and Arts.
DOTIK ISTRSKE POKRAJINE / TOUCH OF ISTRA LANDSCAPE , 2007 akril na platnu - montaža / acrylic on canvas - assembly, 206x137 cm
48 SUZANA BRBOROVIĆ
Rojena leta 1988 v Kranju. Po končani Ekonomski gimnaziji v Kranju se je leta 2007 vpisala na Akademijo za likovno umetnost in oblikovanje, smer slikarstvo, kjer je julija 2013 diplomirala pri prof. Gorencu. Razstavlja od leta 2010 in postavila je več samostojnih razstav v uglednih razstaviščih ter se udeležila številnih skupinskih razstav doma in v tujini. Za svoje ustvarjalno delo je prejela vrsto nagrad in priznanj. Živi in dela v Leipzigu, Nemčija.
Born in 1988 in Kranj. After nishing secondary education at the Gimnazija in Kranj in 2007, she enrolled the study of painting at the Academy of Fine Arts and Design, which she nished in July 2013 under the mentorship of Professor Gorenc. She started exhibiting in 2010 and has set up several solo exhibitions in prestigious exhibition premises ever since, furthermore, she has participated in group exhibitions home and abroad. For her artistic work she has received numerous awards and distinctions. She lives and works in Leipzig, Germany.
OKNA - INTERIER / WINDOWS - INTERIER, 2011 akril in tuš / acrylic and ink, 140x220 cm
49 TINA DOBRAJC
Rojena 1984 v Kranju. Po končani diplomi leta 2007 je opravila magistrski študij slikarstva na Akademiji za likovno umetnost in oblikovanje v Ljubljani, kjer je zagovarjala svoje magistrsko delo z naslovom Portret: Fetiš in podoba. Od leta 2014 je samozaposlena v kulturi kot samostojna ustvarjalka na področju slikarstva, prostorskih instalacij ter videa, občasno sodeluje tudi pri gledališki scenograji / kostumograji, od leta 2014 se intenzivno ukvarja tudi z ilustracijo. Leta 2011 je bila sprejeta v nalni izbor za nagrado ESSL, v letu 2015 je prejemnica Jakopičevega priznanja za mlade umetnike in umetnice. Živi in dela v Škofji Loki.
Born in 1984 in Kranj. After graduating in 2007, she completed her master's degree in painting at the Academy of Fine Arts and Design in Ljubljana, with the thesis entitled Portrait: Fetish and Image. Since 2014 she is as self-employed in culture as an independent artist in the eld of painting, spatial installations and video. Occasionally she is involved in theatre scenography and costume design, since 2014 she is active as illustrator. In 2011, she was accepted into the nal selection for the ESSL prize, and in 2015 she received the Jakopič award for young artists. She lives and works in Škofja Loka.
KJER SO DIVJE REČI / WHERE THE WILD THINGS ARE, 2013 akril, oljni pastel na platnu / acrylic and oil pastel on canvas, 200x300 cm
50 MITJA FICKO
Rojen leta 1973 v Ljutomeru. Leta 1999 je diplomiral na Akademiji za likovno umetnost v Ljubljani pri prof. Gustavu Gnamušu. Leta 2002 je na Akademiji za likovno umetnost opravil zagovor magistrske naloge. Od leta 2004 deluje kot svoboden umetnik. Dela v Ljubljani na Mohorju in v Leipzigu, Nemčija.
Born in 1973 in Ljutomer. In 1999 he graduated at the Academy of Fine Arts in Ljubljana under the mentorship of Professor Gustav Gnamushu. In 2002 he nished his master's degree at the Academy of Fine Arts. Since 2004 he works as a freelance artist, mainly in Ljubljana at Mohor and in Leipzig, Germany.
ČAKANJE / WAITING, 2015 -17 olje na platnu / oil on canvas, 255x183cm
51 DUŠAN FIŠER
Rojen 1962 na Ptuju. Po končani srednji šoli za oblikovanje v Ljubljani se je vpisal na Akademijo za likovno umetnost v Ljubljani, kjer je leta 1989 diplomiral pri prof. Metki Krašovec. Leta 1990 se je študijsko izpopolnjeval na Nizozemskem. Leta 1991 je končal še specialistični študij slikarstva pri prof. Emeriku Bernardu. Danes živi in ustvarja kot svobodni umetnik v Slapah pri Ptujski Gori. Svoja dela je predstavil na številnih razstavah doma in v tujini (Italija, Avstrija, Nemčija, Francija, Hrvaška).
Born in 1962 in Ptuj. After nishing secondary school for design in Ljubljana, he enrolled at the Academy of Fine Arts in Ljubljana, where he graduated in 1989 under the mentorship of Professor Metka Krašovec. In 1990 he studied in the Netherlands. In 1991 he completed his specialization in painting with Prof. Emerik Bernard. Today he lives and works as a freelance artist in Slapi near Ptujska Gora. His artworks were presented at numerous exhibitions home and abroad (Italy, Austria, Germany, France, Croatia).
LAND(e)SCAPE, 2017 akril na platnu / acrylic on canvas, 200x250 cm
52 JERNEJ FORBICI
Rojen v Mariboru leta 1980. Diplomski in podiplomski študij je zaključil na Akademiji za likovno umetnost v Benetkah, pod mentorstvom prof. Carla Di Raca. Njegova dela so bila predstavljena na mnogih samostojnih in skupinskih razstavah doma in predvsem v tujini. V zadnjih letih je bil povabljen k sodelovanju na raznih bienalih, kot npr. IBCA, Mednarodni bienale sodobne umetnosti – Nemški paviljon (Praga, 2005), projekt Accade na 51. Beneškem bienalu (Benetke, 2007) in Italijanski paviljon – akademije na 53. Beneškem bienalu (2011). Živi in dela v Strnišču in Vicenzi, Italija.
Born in Maribor in 1980. He graduated and post-graduated at the Academy of Fine Arts in Venice under the mentorship of Prof. Carlo Di Raco. His works were presented at several solo and group exhibitions home and abroad. In recent years, he was invited to participate at various biennales, such as the IBCA – the International Biennale of Contemporary Art, the German Pavilion (Prague 2005), the Accade project at the 51. Venetian Biennale (2007), and the Italian Pavilion of the Academy at the 53. Venetian Biennale (2011). He lives and works in Strnišče and Vicenza, Italy.
ZASPI ZDAJ V OGNJU / SLEEP NOW IN THE FIRE akril in olje na platnu / acrylic and oil on canvas, 180x450 cm
53 MITO GEGIČ
Rojen 1982 v Ljubljani. Leta 2002 zaključil splošno maturo na gimnaziji Ptuj in se še istega leta vpisal na slikarski oddelek ALUO pod mentorstvom prof. Emerik Bernarda. 2006 preko programa za izmenjavo študentov CEEPUS obiskoval Akademijo Likovnih umjetnosti v Zagrebu na oddelku za nove medije. Leta 2008 diplomiral pri prof. Herman Gvardjančiču (somentor: Zmago Lenárdič) z naslovom Rob in polje moči. 2016 zaključil slikarsko specialko na ALUO pod mentorstvom Zmaga Lenárdiča z naslovom Uplenjena podoba. Živi in dela v Škofji Loki.
Born in 1982 in Ljubljana. In 2002, he completed his general matura at the Gimnazija Ptuj, and in the same year enrolled the study of painting at the Academy of Fine Arts and Design under the mentorship of Prof. Emerik Bernard. In 2006, he joined the student exchange programme CEEPUS and was attending the Department of New Media at the Academy of Fine Arts in Zagreb. In 2008 he graduated under the mentorship of Prof. Herman Gvardjančič (with co-mentor Zmago Lenardič), the title of his thesis being Rob and the Field of Power. In 2016 he nished his specialization in painting at the Academy under the mentorship of Zmago Lenardič, with the thesis entitled Uplenjena podoba (Haunted Image). He lives and works in Škofja Loka.
ČAKANJE, PRIČAKOVANJE IN ČAKANJE / WAITING AND WANTING AND WAITING, 2015 akril, maskirni trak na platnu / acrylic and tape on canvas, 305x205 cm
54 HERMAN GVARDJANČIČ
Rojen leta 1943 v Gorenji vasi. Po opravljeni Šoli za oblikovanje v Ljubljani je študij nadaljeval na Akademiji za likovno umetnost v Ljubljani pri prof. Mariju Preglju, po katerega smrti je diplomiral pri prof. Maksu Sedeju. Leta 1970 je zaključil magistrski študij na Akademiji za likovno umetnost pri prof. Zoranu Didku. Študijsko izpopolnjevanje ga je vodilo tudi v tujino, leta 1974 na Poljsko, 1977 pa v Nemčijo. Od leta 1997 je profesor risanja in slikanja na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Njegova dela se nahajajo v več zbirkah tako v Sloveniji kot tujini. Za svoje delo je prejel 1981. leta nagrado Prešernovega sklada, 1988. leta Groharjevo nagrado, leta 1990 pa Jakopičevo nagrado. Razstavlja tako doma kot v tujini. Priredil je več kot 76 samostojnih razstav. Živi in dela v svojem rojstnem kraju.
Born in 1943 in Gorenja vas. After nishing the School of Design in Ljubljana, he continued his study at the Academy of Fine Arts in Ljubljana under guidance of Prof. Mario Pregelj, and graduated there under the mentorship of Prof. Maks Sedej. In 1970 he completed his master's degree programme at the Academy of Fine Arts with the class of Prof. Zoran Didek. He also spent some years studying abroad, in 1974 in Poland and in 1977 in Germany. In 1997 he started working as professor of drawing and painting at the Academy of Fine Arts and Design in Ljubljana and has been working there ever since. His works are presented within numerous collections, and are exhibited in Slovenia and abroad. For his work he received the Prešeren Fund Award in 1981, the Grohar Prize in 1988, and the Jakopič Prize in 1990. He exhibits both home and abroad and has set up more than 76 solo exhibitions. He lives and works in his home town.
SIGUR ROS, 2008 akril na platnu / acrylic on canvas, 180x180 cm
55 JANEZ HAFNER
Rojen leta 1950 v Trnju pri Škofji Loki. Diplomiral je na Akademiji za likovno umetnost v Ljubljani, kjer je končal tudi specialko za slikarstvo. Do sedaj je imel že 27 samostojnih, sodeloval pa je na 58 skupinskih razstavah doma in v tujini. Za svoje likovno izpovedovanje je bil večkrat nagrajen. Živel in ustvarjal je v Virlogu pri Škofji Loki.
Born in 1950 in Trnje near Škofja Loka. He graduated at the Academy of Fine Arts in Ljubljana, where he also completed his specialization in painting. So far, he has had 27 solo exhibitions and has participated in 58 group exhibitions, both home and abroad. He was awarded several times for his artistic work. He lived and worked in Virlog near Škofja Loka.
JASA II / CLEARING II, 2012 akril na platnu / acyrlic on canvas, 100x135 cm
56 IRWIN
Skupino Irwin sestavljajo Dušan Mandič, Miran Mohar, Andrej Savski, Roman Uranjek in Borut Vogelnik. Z glasbeno skupino Laibach in gledališčem Sester Scipion Nasice so Irwini konstitutivni član gibanja Neue slowenische Kunst (NSK) in, tako kot ostali člani NSK, zavezani retro principu. Skupina razstavlja od leta 1983, predstavila se je v številnih pomembnih razstaviščih doma in v tujini.
The Irwin Group consists of Dušan Mandič, Miran Mohar, Andrej Savski, Roman Uranjek and Borut Vogelnik. With the music group Laibach and the Scipion Nasice Sisters Theatre, the Irwin group is a constituent member of the movement Neue slowenische Kunst (NSK) and, like other NSK members, they are bound by the retro principle. The group has been exhibiting since 1983 and has presented itself at numerous important exhibition premises home and abroad.
SVOJI K SVOJIM / VODA-ZRAK / LIKE TO LIKE / WATER-AIR, (Marko Pogačnik), 2004 rekonstrukcija projekta skupine OHO / reconstruction of OHO Group project (1969-70)
57 MARKO JAKŠE
Rojen leta 1959 v Ljubljani. Leta 1987 je končal ljubljansko Akademijo za likovno umetnost, od takrat živi kot svobodni umetnik. Razstavljal je na številnih samostojnih in skupinskih razstavah doma in v tujini, za svoje delo je prejel več domačih in mednarodnih priznanj in nagrad. Je prejemnik prestižne nagrade Prešernovega sklada za 2015, najvišjega državnega priznanja za umetniške dosežke v preteklih dveh letih ustvarjanja.
Born in 1959 in Ljubljana. In 1987 he graduated at the Academy of Fine Arts in Ljubljana, and has been working as a freelance artist ever since. He has hosted numerous solo and group exhibitions in Slovenia and abroad, and has received several national and international distinctions and prizes for his work. He is the recipient of the prestigious Prešeren Fund Award for 2015, which was the highest state award for artistic achievements in the past two years of his artistic creation.
UMIRAJOČI SLON / THE DYING ELEPHANT, 2015 mešana tehnika na tepihu / mixed technique on carpet, 225x153 cm
58 ZMAGO JERAJ
Rojen leta 1937 v Ljubljani (umrl leta 2015 na Ptuju), slikarstvo je študiral na Akademiji za likovno umetnost v Ljubljani in v Beogradu, kjer je leta 1960 tudi diplomiral pri profesorici Zori Petrović. Študij je nato nadaljeval na specialki za slikarstvo na ALU v Ljubljani pri profesorju Gabrijelu Stupici in ga zaključil leta 1967. Leta 1985 je prejel nagrado Prešernovega sklada za umetniške dosežke v risbi in gvašu, leta 2009 pa Prešernovo nagrado za življenjsko delo.
Born in 1937 in Ljubljana (died in 2015 in Ptuj). He studied painting at the Academy of Fine Arts in Ljubljana and Belgrade, where he also graduated in 1960 under the mentorship of Professor Zora Petrović. He then continued his study at the Academy of Fine Arts in Ljubljana with Professor Gabrijel Stupica as mentor and completed it in 1967. In 1985, he received the Prešeren Fund Award for Artistic Achievements in Drawing and Gouache, and in 2009 the Prešeren Prize for Lifetime Achievements.
ŽENSKA S PSMI / A WOMAN WITH THE DOGS, 2002 olje in oglje na platnu / oil and charcoal on canvas, 100x120 cm
59 BORIS JESIH
Rojen 8. avgusta 1943 v Škofji Loki. Leta 1966 diplomiral na Akademiji za likovno umetnost v Ljubljani in leta 1968 diplomiral na slikarski specialki. V gračnih tehnikah se je izpopolnjeval na Hochschule für bildende Künste v Berlinu. Do leta 2009 je bil na Pedagoški fakulteti v Ljubljani redni profesor za grako, risanje in slikanje.
Born August 8, 1943 in Škofja Loka. In 1966, he graduated at the Academy of Fine Arts in Ljubljana, where he also nished his specialization in painting in 1968. He perfected his graphic techniques at the Hochschule für bildende Künste in Berlin. Until 2009 he worked as full-time professor of graphic arts, drawing and painting at the Faculty of Education in Ljubljana.
SEJALEC IVAN / SOWER IVAN, 1992 akril in jajčna tempera na platnu / acrylic and egg tempera on canvas, 200x145,5 cm
60 DUŠA JESIH
Rojena leta 1977 v Ljubljani. Leta 1996 je končala Srednjo šolo za oblikovanje in fotograjo v Ljubljani. Leta 2003 je diplomirala iz slikarstva na Šoli za risanje in slikanje - Visoka strokovna šola, Ljubljana in prav tam leta 2006 zaključila tudi specialistični študij slikarstva. V letih 2006/07 se je študijsko izpopolnjevala v Parizu, Cité Internationale des arts. Leta 2012 vpiše magistrski študij slikarstva na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Živi in dela v Ljubljani.
Born in 1977 in Ljubljana. In 1996 she nished her education at the School of Design and Photography in Ljubljana. In 2003, she graduated in drawing and painting at the Professional College in Ljubljana, where she also completed her specialization in painting in 2006. In the years 2006 and 2007 she studied in Paris, at the Cité Internationale des arts. In 2012 she enrolled the master's degree programme in painting at the Academy of Fine Arts and Design in Ljubljana.
PREPUSTI SE TOKU / GO WITH THE FLOW, HOMMAGE A EILEEN GRAY, 2017 akril na lesu / acrylic on wood, 180x360 cm
61 JURIJ KALAN
Rojen leta 1961. Diplomiral na Akademiji za likovno umetnost v Ljubljani na oddelku za slikarstvo pri prof. Metki Krašovec. Ukvarja se s guraliko. Razstavljal je na samostojnih razstavah in sodeloval na številnih skupinskih, doma in v tujini. Njegova dela so uvrščena v nekaj stalnih zbirk. Za svoje delo je prejel nagrade: Groharjevo štipendijo (1992 ), Nagrado Majskega salona (1998), Nagrado mesta Kranj ( 1998 ), Bronasti Aritas ( 2001 ). Živi in dela v Ljubljani.
Born in 1961. He graduated at the Academy of Fine Arts in Ljubljana, the Department of Painting, under the mentorship of Prof. Metka Krašovec. He deals with gurative art. So far, he has hosted exhibitions as solo artist and has participated in numerous group events home and abroad. His works are classied among some regular exhibitions. For his work he received several awards, e.g. the Grohar Scholarship (1992), the May Salon Prize (1998), the Kranj City Prize (1998) and the Bronze Aritas (2001). He lives and works in Ljubljana.
4 LETA POZNEJE / 4 YEARS LATER, 2015 olje na platnu / oil on canvas, 140x180 cm
62 SIMON KAJTNA
Rojen 23. 10. 1971 v Trbovljah. Po končani srednji šoli za računalništvo v Velenju se je vpisal na Pedagoško fakulteto v Ljubljani. Sledil je vpis na Akademijo za likovno umetnost v Ljubljani, kjer je leta 1997 diplomiral pri prof. Andreju Jemcu. Ustvarja in živi v Šentjerneju (Slovenija). Je član Društva likovnih umetnikov Slovenije.
Born October 23 1971 in Trbovlje. After nishing secondary education at the School for Computer Science in Velenje, he enrolled at the Faculty of Education in Ljubljana, and later on the study at the Academy of Fine Arts in Ljubljana, where he graduated in 1997 under the mentorship of Prof. Andrej Jemec. He creates and lives in Šentjernej (Slovenia). He is a member of the Fine Artists Association of Slovenia.
PRVI SNEG Z JELENOM / FIRST SNOW WITH DEER. 2017 olje na platnu / oil on canvas, 200x300 cm
63 SERGEJ KAPUS
Rojen leta 1950 v Ljubljani. Diplomiral na Filozofski fakulteti v Ljubljani na oddelku za umetnostno zgodovino in sociologijo. Razstavljati je začel leta 1975. Je avtor teoretičnih in kritičnih spisov o modernem slikarstvu, ki jih je publiciral v revialnem tisku in razstavnih katalogih. Leta 2002 je imel veliko retrospektivno razstavo v Moderni galeriji v Ljubljani. Od leta 2005 predava na oddelku za slikarstvo na Akademiji za likovno umetnost in oblikovanje v Ljubljani.
Born in 1950 in Ljubljana. He graduated at the Department of Art History and Sociology at the Faculty of Arts in Ljubljana. He began exhibiting his works in 1975. He is the author of several theoretical and critical essays about modern painting, that were published in magazines and art catalogues. In 2002 he hosted a major retrospective exhibition in the Modern Gallery in Ljubljana. Currently, he works as lecturer at the Academy of Fine Arts and Design (since 2005).
SLIKA ZA MAMO / PAINTING FOR MY MOTHER, 2011 mešana tehnika na platnu / mixed media on canvas, 140x240 cm
64 DUŠAN KIRBIŠ
Rojen leta 1953 na Jesenicah. Slikarstvo je študiral na ljubljanski Akademiji za likovno umetnost in diplomiral leta 1978 (prof. A. Jemec in M. Butina) ter tam leta 1982 končal tudi slikarsko in gračno specialko (prof. Štefan Planinc, Kiar Meško in Bogdan Borčič, Marko Pogačnik). Med leti 1986 in 1990 se je študijsko izpopolnjeval v Berlinu kot štipendist DAAD (Deutscher Akademischer Ausstauschdienst) in leta 1990 v New Yorku. Leta 1991 postane docent in kasneje redni profesor na Naravoslovnotehniški fakulteti Univerze v Ljubljani. Sodeluje na samostojnih in kuriranih javnih prestavitvah doma in v tujini. S svojimi deli zastopan v pomembnih javnih zbirkah in monografskih pregledih slovenske aktualne umetnosti.
Born in 1953 in Jesenice. He studied painting at the Academy of Fine Arts in Ljubljana and graduated in 1978 (Prof. A. Jemec and M. Butina), then in 1982, he also completed his specialization in painting and graphics (Prof. Štefan Planinc, Kiar Meško, Bogdan Borčič, Marko Pogačnik). Between 1986 and 1990 he took part in the DAAD (Deutscher Akademischer Ausstauschdienst) exchange programme in Berlin and in 1990 also in New York. In 1991, he became assistant professor and later a regular professor at the Faculty of Natural Sciences and Engineering, University of Ljubljana. He presents his artwork at solo exhibitions and collaborates as curator at public events home and abroad. His works are presented within important public collections and monographic reviews of contemporary Slovenian art.
OČI / EYES, 2010 akril na platnu / acrylic on canvas, 180x340 cm
65 ALEKSIJ KOBAL
Rojen 1962 v Kopru. Po študiju slikarstva na ljubljanski akademiji, kjer je pri prof. Janezu Berniku diplomiral leta 1986, je pri prof. Metki Krašovec leta 1993 končal še slikarsko specialko. Predstavil se je na številnih samostojnih razstavah in sodeloval pri mednarodno pomembnih skupinskih razstavah doma in v tujini. Poleg slikarstva se intenzivno posveča tudi oblikovanju. Za likovno udejstvovanje je prejel več priznanj in nagrad. Živi in dela v Ljubljani kot svobodni umetnik.
Born in 1962 in Koper. After his study of painting at the Ljubljana Academy of Fine Arts, which he completed under guidance of Prof. Janez Bernik in 1986, he also nished his specialization with Prof. Metka Krašovec as mentor in 1993. He takes part in numerous solo exhibitions and has so far participated in internationally important group exhibitions both at home and abroad. Besides painting, he is also intensively involved in design. He received several distinctions and prizes for his engagement in the eld of ne arts. He lives and works as a freelance artist in Ljubljana.
TOPOLOGIJA GORSKEGA JEZERA / TOPOLOGY OF THE MOUNTAIN LAKE, 2016 olje na platnu / oil on canvas, 150x300 cm
66 METKA KRAŠOVEC
Rojena leta 1941 v Ljubljani. Diplomirala je na Akademiji za likovno umetnost in oblikovanje v Ljubljani leta 1964. Specialko za slikarstvo je zaključila leta 1966 pri profesorju Gabrijelu Stupici ter specialko za grako leta 1970 pri profesorju Riku Debenjaku. Od leta 1977 je poučevala na Akademiji za likovno umetnost. V letih 1974/75 je bila kot štipendistka The British Councila na gračni specialki na Royal College of Art v Londonu. Leta 1973 je prejela nagrado Prešernovega sklada, leta 2017 pa Prešernovo nagrado za življensko delo.
Born in 1941 in Ljubljana. She graduated at the Academy of Fine Arts and Design in Ljubljana in 1964. She nished her specialization in painting in 1966 with Professor Gabrijel Stupica and the specialization in graphics design in 1970 with Professor Riko Debenjak as mentors. Since 1977 she has been teaching at the Academy of Fine Arts. In the years 1974 and 1975 she was granted a scholarship of the British Council for Graphic Arts at the Royal College of Art in London. In 1973 she received the Prešeren Fund Award and in 2017 the Prešeren Prize for Lifetime Achievements.
CANAVIEIRAS, 2003 akril na platnu / acrylic on canvas, 110x147 cm
67 GANI LLALLOSHI
Rojen leta 1965 v Prištini (Kosova). Po končani Akademiji za likovno umetnost v Prištini, kjer je na oddelku za slikarstvo pri prof. Nysret Salihamenxhiqi diplomiral leta 1989, je na Ljubljanski Akademiji za likovno umetnost leta 1991 zaključil še slikarsko specialko pri profesorju Andreju Jemcu ter leta 1993 gračno specijalko pri profesor Lojzetu Logarju. Kot študent štipendist DAAD je v letih 1997/98 študiral na HDK v Berlinu.
Born in 1965 in Priština (Kosovo). After his study of painting at the Academy of Fine Arts in Priština, which he nished under the mentorship of Prof. Nysret Salihamenxhiqi in 1989, he also passed his specialization in painting at the Ljubljana Academy of Fine Arts in 1991, with Professor Andrej Jemec. One year later in 1993 he nished his specialization in graphic design, with Professor Lojze Logar as mentor. As a student he took part in the DAAD exchange programme and has studied at the HDK in Berlin.
NOSTALGIE III, 2013 akril na juti / acyrlic on juta, 200x300 cm
68 ROBERT LOZAR
Rojen 1967 v Novem mestu. Leta 1993 je diplomiral pri prof. Metki Krašovec na Akademiji za likovno umetnost v Ljubljani. Leta 1992 je prejel študentsko Prešernovo nagrado Akademije za likovno umetnost v Ljubljani. Od leta 1995 do 2000 je bil odgovorni oz. glavni urednik revije Likovne besede. Od 1994 ima status samozaposlenega na področju kulture. Atelje na Butoraju. Leta 2006 je prejel delovno štipendijo Ministrstva za kulturo RS. Od leta 2015 je podpredsednik Umetniškega sveta ZDSLU v Ljubljani.
Born 1967 in Novo mesto. In 1993, he graduated at the Academy of Fine Arts in Ljubljana under mentorship of Prof. Metka Krašovec. In 1992 he received the Prešeren Prize for students which is being granted by the Academy of Fine Arts in Ljubljana. From 1995 to 2000 he worked as main editor of the magazine Likovna beseda. Since 1994 he is self-employed in the eld of culture and runs an Atelier in Butoraj. In 2006 he was granted a working scholarship by the Ministry of Culture of the Republic of Slovenia. Since 2015 he is the Vice President of the ZDSLU Art Council in Ljubljana.
PASTI SE, PASTI / GRAZE, GRAZE, 2017 mešana tehnika na platnu / mixed media on canvas, 150x180 cm
69 ALBIN LUGARIČ
Rojen leta 1927 na Ptuju (umrl 2014, Ptuj). Leta 1950 je diplomiral na Akademiji za likovno umetnost v Ljubljani pod mentorstvom Gojmirja Antona Kosa. Živel in ustvarjal je na Ptuju. Slikal je večinoma krajine, s poudarkom na Halozah. Leta 2005 je postal častni meščan Ptuja, med letoma 1956 in 1987 je poučeval tudi ptujski gimnaziji.
Born in 1927 in Ptuj (died in 2014, Ptuj). In 1950 he graduated at the Academy of Fine Arts in Ljubljana under the mentorship of Gojmir Anton Kos. He lived and worked in Ptuj. He painted mostly landscapes, with emphasis on the hilly region Haloze. In 2005, he became honorary citizen of Ptuj. Between 1956 and 1987 he worked as teacher in the Gimnazija Ptuj.
PTUJ, 1978 olje na platnu / oil on canvas, 100x120 cm
70 DOMINIK MAHNIČ
Rojen leta 1981 v Ljubljani. Leta 2008 je v Ljubljani diplomiral na Akademiji za likovno umetnost in oblikovanje, smer slikarstvo, leta 2013 tudi magistrski študij videa. Živi in ustvarja v Ljubljani.
Born in 1981 in Ljubljana. In 2008 he graduated in painting at he Ljubljana Academy of Fine Arts and Design, and later on in 2013, completed his master's degree programme in the eld of video production. He lives and works in Ljubljana.
VELIKA SAVA / GREAT SAVA RIVER, 2016 akril na platnu / acrylic on canvas, 180x140 cm
71 IRA MARUŠIČ
Rojena leta 1989 v Kopru/Capodistria. Po končani gimnaziji se je vpisala na Akademijo za likovno umetnost v Benetkah, kjer je leta 2012 diplomirala s tezo »Il cuore nell'arte e nella medicina« pri profesorjih Carlo di Raco in Elena Ribero. Nadaljevala je podiplomski študij v Benetkah in leta 2015 magistrirala iz slikarstva pri profesorjih Carlo di Raco in Aldo Grazzi s tezo »Il tempo e l'arte«.
Born in 1989 in Koper (Capodistria). After nishing high school, she enrolled at the Academy of Fine Arts in Venice, where she graduated in 2012 with the thesis »Il cuore nell'arte e nella medicine« (The Heart in Art and Medicine) with professors Carlo di Raco and Elena Ribero as mentors. She continued her postgraduate study in Venice and in 2015 obtained a masters degree in painting under guidance of professors Carlo di Raco and Aldo Grazzi, with the thesis »Il tempo e l'arte« (Time and Art).
UMAZANA VODA / DIRTY WATER, 2017 mešana tehnika / mixed media, 160x300 cm
72 ŽIVKO MARUŠIČ
Rojen leta 1945 v Colornu blizu Parme v Italiji. Leta 1967 se je vpisal na Akademijo za likovno umetnost v Benetkah. Študij slikarstva je pozneje nadaljeval na ljubljanski Akademiji za likovno umetnost, kjer je leta 1975 zaključil specialistični študij s temo Fotograja kot osnova za nastanek slike. Dela kot svoboden umetnik in živi v Kopru. Za umetniško delovanje je leta 1998 prejel Jakopičevo nagrado, za retrospektivno razstavo v Moderni galeriji pa leta 1999 nagrado Prešernovega sklada.
Born in 1945 in Coloren, near Parma, Italy. In 1967, he enrolled at the Academy of Fine Arts in Venice. Later, he continued his study of painting at the Academy of Fine Arts in Ljubljana, where he completed his specialization in 1975, with a thesis entitled Photo as Basis for the Creation of a Painting. He works as a freelance artist and lives in Koper. In 1998, he received the Jakopič Prize for artistic engagement, and in 1999 the Prešeren Fund Award for a retrospective exhibition at the Modern Gallery.
MOJI MAJHNI KRISTALNI FANTAZMI / I MIEI PICCOLI FANTASMI DI CRISTALLO, 2006 mešana tehnika / mixed media, 300x300 cm
73 FRANC NOVINC
Rojen 1938 v Godešiču. Po končani Šoli za oblikovanje je leta 1964 diplomiral na Akademiji za likovno umetnost pri profesorjih Francetu Miheliču in Maksimu Sedeju. Delal je kot restavrator na Zavodu za spomeniško varstvo v Ljubljani in bil svobodni umetnik. Leta 1986 je bil izvoljen za docenta, 1991 za izrednega in 1996 za rednega profesorja za risanje in slikanje na ALU. Od leta 1969 je član Društva slovenskih likovnih ustvarjalcev. Veliko je razstavljal na samostojnih in skupinskih razstavah doma in v tujini, tako v Evropi kot v Afriki, Severni in Južni Ameriki ter Aziji. Njegova dela so bila na ogled na več kot osemdesetih samostojnih razstavah.
Born 1938 in Godešič. After nishing the School of Design, he graduated at the Academy of Fine Arts in 1964 under guidance of professors France Mihelič and Maksim Sedej. He worked as a restorer at the Institute for Monument Protection in Ljubljana, and as freelance artist. In 1986, he was elected assistant professor, in 1991 he became associate professor and in 1996 regular professor of drawing and painting at the University of Fine Arts in Ljubljana. Since 1969 he is a member of the Fine Artists Association of Slovenia. He exhibited at numerous solo and group exhibitions home and abroad, not only in Europe and Africa, but also in North and South America and Asia. His works were on display at more than eighty solo exhibitions.
LOVCI / HUNTERS olje na platnu / oil on canvas, 200x139 cm
74 KAREL PEČKO
Rojen leta 1920 v Vuhredu (umrl 2016, Slovenj Gradec). Diplomiral na Akademiji za likovno umetnost v Ljubljani pri prof. Gojmirju Antonu Kosu. Leta 1957 je sodeloval pri ustanovitvi Umetnostnega paviljona, ki ga je sprva upravljal ob svojem rednem delu v šoli, od leta 1963 pa kot njegov ravnatelj. S strani avstrijskega veleposlanika v Sloveniji Valentina Inzka pa je leta 2009 prejel častni križ za znanost in umetnost. Poleg slikarstva se je ukvarjal tudi z oblikovanjem keramike, scenograje, tapiserijo, mozaikom, vitraži in gračnim oblikovanjem ter deloval kot mentor drugim slikarjem. Eden njegovih glavnih motivov je Uršlja gora.
Born in 1920 in Vuhred (died in 2016, Slovenj Gradec). He graduated at the Academy of Fine Arts in Ljubljana with prof. Gojmir Anton Kos as mentor. In 1957 he took part in the establishment of the Art Pavilion, which he initially administered during his regular job at school, and from 1963 on as its manager. In 2009, the Austrian ambassador in Slovenia Valentin Inzko granted him the honorary cross for science and art. In addition to painting, he was also involved in the design of ceramics, scenography, tapestry, mosaics, stained glass and graphic design, and has been active as mentor to other painters. One of his main motives is the Slovenian mountain Uršlja Gora.
iz cikla / from the series: URŠLJA GORA pastel na papirju / pastel on paper, 110x80 cm
75 POLONA PETEK
Rojena 1970 v Freiburgu, Nemčija. Leta 1994 je diplomirala na Akademiji za likovno umetnost in oblikovanje v Ljubljani pri prof. Janezu Berniku in prof. dr. Tomažu Brejcu. Ker je njena druga ljubezen matematika, se je po zaključeni akademiji vpisala še na študij računalništva na Fakulteti za elektrotehniko, računalništvo in informatiko v Mariboru. Magistrski študij slikarstva je pri prof. Metki Krašovec zaključila leta 2009. Od leta 1999 redno razstavlja v doma in v tujini.
Born in 1970 in Freiburg, Germany. In 1994 she graduated at the Academy of Fine Arts and Design in Ljubljana with Prof. Janez Bernik and Prof. Dr. Tomaž Brejc as mentors. Due to her passion for mathematics, after completing the academy, she enrolled in computer studies at the Faculty of Electrical Engineering, Computer Science and Informatics in Maribor. She obtained her M.Sc. in painting with Prof. Metka Krašovec as mentor in 2009. Since 1999, she regularly hosts exhibition, both home and abroad.
RDEČE IZ KAMENJA / RED FROM THE STONE, 2007 oglje in olje na platnu / charcoal and oil on canvas, 153x208 cm
76 UROŠ POTOČNIK
Rojen leta 1974 v Slovenj Gradcu. Leta 2006 je diplomiral na Akademiji za likovno umetnost in oblikovanje v Ljubljani in leta 2012 opravil magistrski študij na temo Fotoslika. Živi v Belih vodah nad Šoštanjem. Deluje na područjih slikarstva, fotograje, videa, znanstvene ilustracije, nois rocka, alternativne in eksperimentalne glasbe. Med drugim je leta 2009 v okviru razstave nalistov nagrade Essl Award prejel posebno povabilo, leta 2010 in 2016 pa sodeloval na trienalih sodobne umetnosti v Sloveniji U3. Leta 2015 je za svoje delo prejel Jakopičevo priznanje.
Born in 1974 in Slovenj Gradec. In 2006 he graduated at the Academy of Fine Arts and Design in Ljubljana, and in 2012 he completed his master's study on the subject of Photopainting. He lives in Bele Vode near Šoštanj. He is actively involved in painting, photography, video, scientic illustration, noise rock, and alternative and experimental music. Among other things, in 2009, within the framework of the exhibition of nalists of the Essl Award, he received a special invitation to the Triennial of Contemporary Art in Slovenia U3, while in 2010 and 2016 he participated there. In 2015, he received the Jakopič Prize for his work.
VRT / GARDEN, 2011 mešana tehnika platnu / mixed media canvas, 165x226 cm
77 GREGOR PRATNEKER
Rojen 1973 v Mariboru. S slikarstvom se je začel ukvarjati v devetdesetih. Slika izključno v tehniki olje na platnu. Leta 2006 je diplomiral na Oddelku za likovno umetnost na Pedagoški fakulteti v Mariboru Med leti 2007 do 2012 je bil podiplomski študent na Akademiji za likovno umetnost in oblikovanje v Ljubljani, kjer je magistriral z nalogo »Abstrahiranje in deformacije oblik v mojem slikarstvu«. Imel je več samostojnih razstav doma in v tujini, sodeloval je tudi na številnih skupinskih razstavah ter na likovnih kolonijah. Živi in ustvarja v Mariboru.
Born in 1973 in Maribor. He started painting in the nineties. He paints exclusively using the oil on canvas technique. In 2006 he graduated at the Faculty of Education in Maribor, Department of Fine Arts. From 2007 to 2012, he was a postgraduate student at the Academy of Fine Arts and Design in Ljubljana, where he obtained a master's degree with the thesis entitled »Abstraction and Deformation of Forms in My Painting«. He hosted several solo exhibitions home and abroad, and has participated in numerous group exhibitions and artists’ colonies. He lives and works in Maribor.
OBREŽJE / RIVERSIDE, 2015 olje na platnu / oil on canvas, 200x300 cm
78 MIRKO RAJNAR
Rojen leta 1961 v Murski Soboti. Diplomiral je na Akademiji za likovno umetnost v Ljubljani. Je član Zveze društev likovnih umetnikov Slovenije. Od leta 1995 deluje kot samozaposleni v kulturi na področju slikarstva in pedagog na področju likovne umetnosti. Svoja dela razstavlja od leta 1983 v galerijah doma in v tujini.
Born in 1961 in Murska Sobota. He graduated at the Academy of Fine Arts in Ljubljana. He is a member of the Fine Artists Association of Slovenia. Since 1995 he is self-employed in culture in the eld of painting, and works as lecturer in the eld of ne arts. He has been exhibiting his works in galleries home and abroad since 1983.
JUTRO / MORNING, 2009 & 2010 olje na platnu / oil on canvas, 50x200 cm
79 VIKTOR REBERNAK
Rojen leta 1967 na Ptuju. Leta1995 je diplomiral iz slikarstva na Akademiji za likovno umetnost v Ljubljani, kjer je leta 1997 opravil še slikarsko specialko pri prof. Andreju Jemcu. Svoja dela je predstavil na več kot 30 samostojnih razstavah. Poleg slikarstva se ukvarja s fotograjo, videom, lmom, performansom in publicistiko.
Born in 1967 in Ptuj. In 1995 he graduated in painting at the Academy of Fine Arts in Ljubljana, where in 1997, he also completed his specialization in painting under the mentorship of Prof. Andrej Jemec. So far, he has presented his work at more than 30 solo exhibitions. In addition to painting, he is involved in photography, video, lm, performance and journalism.
MIMIKRIJA / MIMICRY, 2002 olje na platnu / oil on canvas, 170x360 cm
80 JASNA SAMARIN
Rojena 1966 v Ljubljani. Študirala je na Akademiji za likovno umetnost in oblikovanje pri prof. Emeriku Bernardu v Ljubljani. Diplomirala je leta 1989. Kot štipendistka francoske vlade je med letoma 1990 in 1991 študirala na Beaux Arts v Parizu (ENSBA), med letoma 1989 in 1992 je nadaljevala tudi podiplomski študij slikarstva na ALUO v Ljubljani pri prof. Emeriku Bernardu.
Born in 1966 in Ljubljana. She studied at the Academy of Fine Arts and Design in Ljubljana and graduated under the mentorship of Prof. Emerik Bernard in 1989. During her postgraduate study of painting at the Academy of Fine Arts in Ljubljana from 1989 to 1992, she was granted a scholarship of the French government, so she studied at the Beaux Arts in Paris (ENSBA) between 1990 and 1991, and later on continued her postgraduate study under the mentorship of Prof. Bernard.
NOCTURNO N0.7, 2016 mešana tehnika / mixed media, 190x130 cm
81 SILVESTER PLOTAJS SICOE
Rojen 1965 v Ljubljani. Leta 1988 je diplomiral pri profesorju Emeriku Bernardu na Akademiji za likovno umetnost v Ljubljani ter tam nadaljeval podiplomski študij iz slikarstva pri profesorju Gustavu Gnamušu in iz grake pri profesorju Lojzetu Logarju. Leta 1990 se je študijsko izpopolnjeval pri profesorju Martinu Tissingu na Akademiji Minerva v Groningenu na Nizozemskem. Je dobitnik več nagrad, med drugim Priznanja Riharda Jakopiča leta 2013. Živi in dela v Ljubljani.
Born in 1965 in Ljubljana. In 1988, he graduated under the mentorship of Professor Emerik Bernard at the Academy of Fine Arts in Ljubljana, where he continued his postgraduate studies in painting, with Professor Gustav Gnamuš, and graphics with Professor Lojze Logar. In 1990 he took classes with Professor Martin Tissing at the Minerva Academy in Groningen, the Netherlands. He was awarded several times; among others he received the Rihard Jakopič Award in 2013. He lives and works in Ljubljana.
INGRID B. POD VULKANOM / INGRID B. UNDER VULCANO, 2016 olje na platnu / oil on canvas, 250x200 cm
82 APOLONIJA SIMON
Rojena v Brežicah leta 1967. Leta 1985 se je vpisala na Akademijo za likovno umetnost v Ljubljani, smer slikarstvo. Je prejemnica študentske Prešernove nagrade leta 1989. Diplomirala je leta 1990 pri prof. Andreju Jemcu in prof. Jožefu Muhoviču. Leta 1995 je končala specialistični študij slikarstva. V letih od 1994 do 1997 je bila asistenka-stažistka za risanje in slikanje pri prof. Andreju Jemcu na Akademiji za likovno umetnost v Ljubljani. Od leta 1999 poučuje risanje na Srednji šoli za oblikovanje in fotograjo v Ljubljani.
Born in Brežice in 1967. In 1985, she enrolled in the study of painting at the Academy of Fine Arts in Ljubljana. She is the recipient of the Prešeren Prize for students in 1989. She graduated in 1990 under the mentorship of Prof. Andrej Jemec and Prof. Jožef Muhovič. In 1995 she nished her specialization study of painting. From 1994 to 1997, she was an intern student for drawing and painting in the class of Prof. Andrej Jemec at the Academy of Fine Arts in Ljubljana. Since 1999, she teaches drawing at the School of Design and Photography in Ljubljana.
BREZKRAJNI SVETOVI / ENDLESS WORLDS, 2011 olje na platnu / oil on canvas, 200x300 cm
83 ANDRAŽ ŠALAMUN
Rojen leta 1947 v Ljubljani. Leta 1975 je diplomiral je na lozofski fakulteti. Njegova aktivnost na likovnem področju seže vse do leta 1968. Je pomemben predstavnik srednje generacije slovenskih umetnikov. Med leti 1966 in 1971 je bil član skupine OHO. Avtor je samostojno razstavljal že v Ljubljani, Mariboru, Novem mestu, Škofji Loki,... Beogradu, Rimu, Stuttgartu in drugod ter sodeloval na mnogih skupinsih razstavah. Za svoje je delo prejel številne nagrade.
Born in 1947 in Ljubljana. In 1975 he graduated at the Faculty of Arts in Ljubljana. His presence in the eld of art goes back to 1968. He is an important representative of the middle-aged generation of Slovenian artists. Between 1966 and 1971 he was a member of the OHO Group. As author he has hosted several solo exhibitions in Ljubljana, Maribor, Novo mesto, Škofja Loka, Belgrade, Rome, Stuttgart and elsewhere, and has participated in various group exhibitions. He was awarded several times.
BREZ NASLOVA / UNTITLED, 2007 akril na platnu / acrylic on canvas, 300x450 cm
84 MIHA ŠTRUKELJ
Rojen leta 1973 v Ljubljani. Diplomiral je na Akademiji za likovno umetnost v Ljubljani, nato pa študij slikarstva nadaljeval na isti akademiji. Obenem je svoje znanje nagrajeval tudi med šolanjem na Univerzi Indiana v Pennsylvanii, ZDA. V svoji dosedanji umetniški karieri je prejel že številne mednarodne nagrade, med pomembnejše sodijo Henkel Art.Award. in The Pollock- Krasner foundation grant. Leta 2009 je predstavljal Slovenijo na 53. beneškem bienalu.
Born in 1973 in Ljubljana. He graduated at the Academy of Fine Arts in Ljubljana and continued his study of painting at the same academy. At the same time, he expanded his knowledge during his education at the Indiana University in Pennsylvania, USA. In his artistic career so far, he has received numerous international awards, among which are the Henkel Art.Award and the Pollock-Krasner Foundation Grant. In 2009, he was representing Slovenia at the 53. Venice Biennale.
GENERIČNO / GENERIC, 2016 mešana tehnika / mixed media, 140x200 cm
85 MARUŠA ŠUŠTAR
Rojena leta 1977 v Kranju. Leta 1996 se je vpisala na Akademijo za likovno umetnost v Ljubljani, smer industrijsko oblikovanje. Med leti 1998 in 2006 je študirala na Akademiji za likovno umetnost v Ljubljani, smer slikarstvo. Leta 2006 se je vpisala na magistrski študij slikarstva na Akademiji za likovno umetnost v Ljubljani, ki ga je zaključila leta 2016.
Born in 1977 in Kranj. In 1996, she enrolled in the study of industrial design at the Academy of Fine Arts in Ljubljana. From 1998 to 2006 she studied painting at the Academy of Fine Arts in Ljubljana. In 2006, she enrolled a master's degree programme of painting at the Academy of Fine Arts in Ljubljana, which she completed in 2016.
BENEŠKA FANTAZIJA / VENICE FANTASY, 2011 olje na platnu / oil on canvas, 190x160 cm
86 SAŠO VRABIČ
Rojen leta 1974 v Slovenj Gradcu. Študiral slikarstvo na Akademiji za likovno umetnost v Ljubljani (prof. Andrej Jemec), diplomiral leta 1997. Leta 2001 opravil magisterij iz umetnosti na Oddelku za grako (prof. Lojze Logar). Ukvarja se s slikarstvom in drugimi oblikami vizualne umetnosti. Za svoje delo je prejel že več nagrad in priznanj, med drugimi Prešernovo nagrado za študente (1998) ter Bernekerjevo nagrado (2004), delovno štipendijo Ministrstva za kulturo RS (2006). Izpopolnjeval na kulturni rezidenci Ministrstva za kulturo RS v Berlinu (2009) in Londonu (2014). V zadnjih dvajsetih letih ustvarjanja je imel 38 samostojnih razstav, sodeloval je tudi na veliko skupinskih projektih, projekcijah, delavnicah, v 31. državah Evrope, obeh Amerik in Azije.
Born in 1974 in Slovenj Gradec. He studied painting at the Academy of Fine Arts in Ljubljana (Prof. Andrej Jemec), where he graduated in 1997. In 2001, he completed his master's degree study of art at the Department of Graphics (Prof. Lojze Logar). He is engaged in painting and other forms of visual art. He received several awards and distinctions for his artwork, among others the Prešeren Prize for students (1998), the Berneker Prize (2004), and a working scholarship from the Ministry of Culture of the Republic of Slovenia (2006). He enriched his knowledge at the Cultural Residence of the Ministry of Culture of the Republic of Slovenia in Berlin (2009) and in London (2014). In the last twenty years of his career, he has hosted 38 solo exhibitions; he has also participated in many group projects, projections and workshops in 31 countries across Europe, both of the Americas and Asia.
ZABLODE ILUZIJ / DELUSION OF ILLUSION, 2016 olje na platnu / oil on canvas, 100x150 cm
87 UROŠ WEINBERGER
Rojen 1975, živi in ustvarja kot samostojni kulturni ustvarjalec v Ljubljani. Zaključil študij slikarstva (2003) in podiplomski študij slikarstva (2005) na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Leta 2001 je prejel študentsko Prešernovo nagrado. Kulturne rezidence: Akademija za likovno umetnost v Soji, Bolgarija (2002), Ministrstvo za kulturo RS v Berlinu, Nemčija (2009), Schafhof – Europäisches Künstlerhaus Oberbayern, Freising, Nemčija (2013). Ukvarja se s sodobnim guralnim slikarstvom, občasno tudi z intermedijskimi instalacijami, aktiven pa je tudi na glasbenem področju. Njegova dela spodbujajo družbeno ozaveščenost, ukvarjanje z lokalnimi in globalnimi problemi, ki vplivajo na naša vsakodnevna življenja.
Born in 1975, currently lives and works as an independent cultural artist in Ljubljana. He completed his study of painting in 2003 and his postgraduate study in 2005, both at the Academy of Fine Arts and Design in Ljubljana. In 2001, he received the Prešeren Prize for students. Cultural residences: Academy of Fine Arts in Soa, Bulgaria (2002); Ministry of Culture of the Republic of Slovenia in Berlin, Germany (2009); Schafhof – Europäisches Künstlerhaus Oberbayern, Freising, Germany (2013). He deals with contemporary gurative painting, occasionally also with media installations, in addition, he is also active in the eld of music. His works promote social awareness and show local and global problems, which affect our everyday lives.
EXXONMOBIL, 2014 olje na platnu / oil on canvas, 200x350 cm
88 JURE ZADNIKAR
Rodil se je leta 1968 v Ljubljani. V letih 1987–1991 je študiral slikarstvo na Akademiji za likovno umetnost v Ljubljani. Leta 1995 je na isti ustanovi zaključil tudi podiplomslki študij slikarstva. Leta 1994 je bil v Solunu, kot štipendist programa Tempus. V šolskem letu 1994-95 je bil asistent za risanje na ALU. Od leta 1997 živi v Kassandriji v Grčiji, kjer poučuje otroke likovnosti. Leta 1993 je prejel priznanje, leta 1999 pa nagrado na razstavah Zdslu.
He was born in 1968 in Ljubljana. Between 1987 and 1991, he studied painting at the Academy of Fine Arts in Ljubljana. In 1995 he completed his postgraduate study of painting at the same institution. In 1994, he studied in Thessaloniki as holder of a scholarship granted by the Tempus programme. In the school year 1994/1995 he was an assistant for the drawing classes at the Academy of Fine Arts. Since 1997 he has been living in Kassandria, Greece, where he works as art teacher for children. In 1993 he received the distinction, and in 1999 the award of the ZDSLU.
SMETI / GARBAGE, 2005 olje na platnu / oil on canvas, 125x220 cm
89 JONI ZAKONJŠEK
Rojena 1974 v Kopru. Po opravljeni gimnaziji je dve leti preživela v Londonu in tam dokončala Foundation Course of Art na White Chapel Art School. Nato se je leta 1996 vpisala na Akademijo za likovno umetnost v Ljubljani ter leta 2003 diplomirala pri profesorju Emeriku Bernardu in profesorju Marku Uršiču. Od leta 2004 je samostojna likovna ustvarjalka. Živi in dela v Beli krajini. Od leta 2002 je postavila vrsto samostojnih razstav v priznanih razstaviščih ter se udeležila številnih skupinskih razstav doma in v tujini. Za svoje ustvarjalno delo je prejela vrsto nagrad in priznanj.
Born 1974 in Koper. After nishing secondary education at the Gimnazija, she spent two years in London where she completed the Foundation Course of Art at the White Chapel Art School. In 1996, she enrolled at the Academy of Fine Arts in Ljubljana and graduated in 2003 with Professor Emeric Bernard and Professor Mark Uršič as mentors. Since 2004 she works as an independent visual artist. She lives and works in the region of Bela Krajina. Since 2002, she has set up a series of solo exhibitions in acknowledged exhibition premises and has participated in numerous group exhibitions home and abroad. For her creative work she received a number of awards and distinctions.
„TI SI ŽARELO, POLNO SONČNIH ŽARKOV/IN HREPENELO, DVIGALO SE V ZRAK,/ A JAZ SEM HODIL MED PŠENICO TVOJO/ IN TRGAL TVOJE ŽIVE MISLI, MAK.", 2009-2012 (iz pesmi Ljubljansko polje Otona Župančiča) olje na platnu / oil on canvas, 88x224 cm
90
Leo Ferdinand Demetz, Mare morto / Dead Sea, 2010 GALERIJA FO.VI / FO.VI GALLERY, STRNIŠČE
VIDNO POLJE FIELD OF VISION
MEDNARODNA SKUPINSKA RAZSTAVA INTERNATIONAL GROUP EXHIBITION
KUSTOSINJA / CURATOR: MARIKA VICARI VIDNO POLJE / FIELD OF VISION, razstava / exhibition VIDNO POLJE 0.4.3.4.1/ FIELD OF VISION 0.4.3.4.1 kustosinja / curator: Marika Vicari besedilo / text: Marika Vicari
Narava vstopa v naš vsakdanjik v številnih oblikah, na različnih mestih in ob različnih časih, umetnost pa se vedno bolj izraža kot srečanje z naravo in njenimi fenomeni, kot njihov izraz in posnetek. Še v 19. stoletju so slikarji odhajali na raziskovanje Alp, kot izpričano v znameniti sliki Casparja Davida Friedricha z naslovom Pohodnik nad morjem oblakov, ki premišljuje o dolinah in vrhovih gorovja Elbsandsteingebirge; dandanes pa moderni človek vse pogosteje gleda na pokrajino kot na sliko in pri tem ceni predvsem njen vizualni učinek. Sodobna umetnost v koraku s kulturo stopa dlje. Narave ne dojema več zgolj kot vir navdiha ali predmet predstavitve, temveč predvsem kot dejavnik, ki s svojim delovanjem vpliva na dinamiko zemeljskih, svetovnih in človeških sprememb. Prav to razmišljanje je dalo povod za srečanje in dialog med štirinajstimi mladimi mednarodnimi umetniki, kjer bodo predstavili svoja izvirna stališča. Razstava, ki jo je kurirala Marika Vicari in bo na ogled v Galeriji FO.VI v Kidričevem, je torej potovanje v naravo.
Pogled na sibirski gozd, v katerem se človek z lahkoto izgubi, je prva stvar, ki nas pričaka pri vhodu; razstava se pravzaprav odpira z intimnim in osebnim poklonom naravi, kjer si gledalec lahko spočije svoje misli. Tajga je del narave tam, od koder prihaja ruska umetnica Olga Schigal. Njeno delo se poigrava z urbanim kontekstom, iz katerega črpa tako obliko, saj gre v resnici za velik reklamni oglas, kot tudi simbolični pomen. Nudi razmislek o resničnosti in naravi, ki počasi a vztrajno izginjata in tako ustvarjata prostor za raztreseno urbano krajino. Resnična narava, v svoji osnovni obliki prikazana ob cesti, s tem postane le predmet reklamnega sporočila.
So veliki, prefinjeni akvareli Silvie De Bastiani, na katerih je upodobljeno neokrnjeno gorovje Dolomitov, le prizor, ki kliče po dolgih sprehodih, izletu z nahrbtnikom na ramah ali obujanju spominov na aperitiv v kakšnem majhnem, iz vseh strani pozabljenem zatočišču? Nikakor ne, predstavljajo nekaj veliko bolj intimnega in globljega – opominjajo nas na veličastnost narave. In ko se tako dvigujejo eden nad drugim, nam prinašajo občutek naše lastne pripadnosti zemlji, omogočajo nam, da jo vsaj nekaj časa pozorno opazujemo in pri tem razmislimo tudi o odnosu, ki ga ima človek do narave.
Med nadaljnjim potovanjem se naš pogled na eni strani sreča s predirnim in z izpraševalnim pogledom nadrealističnega slikarja Gabriela Gronesa, na drugi pa z bolj racionalnim pogledom Michaela Kosa. Medtem ko Gronesovi Fragmenti predstavljajo koščke sveže zelene trave, ki jo lahko skoraj vonjamo, v njej slišimo svoje stopinje, šelestenje listov in čutimo žgečkanje bosih nog, pa Kos prikazuje drugačen način kartiranja pokrajine, ustvarjen z manipuliranjem, oblikovanjem in kombiniranjem kiparsko-slikarskih blokov ter zemljevidov, s čimer zariše novo geografijo in perspektivo krajev, pri tem pa sooči upodobitve, barve in slikarstvo z geometričnimi abstrakcijami, drugimi barvami in strukturnimi oblikami.
95 Bistvo vsega je, da še enkrat prevzamemo pravo dimenzijo, v tem primeru človeško, prisluhnemo svojim čutom – vidu, sluhu, vonju, dotiku, z njimi vzpostavimo dialog in se tako po eni strani povežemo z naravo, po drugi pa odkrijemo nove smeri, ki nam pomagajo zgraditi nove poti, tudi geografske, in nova vidna polja.
Kot pravo nasprotje majhnim posnetkom od blizu, pomladi ukradenemu intenzivnemu zelenju in barvitim kartografskim blokom nastopajo velike, črno-bele poslikave na les in ozadja z zimsko tematiko Marike Vicari; gozdovi, krajina, zemlja, razpoke in brazde v črni in beli barvi služijo kot prikaz metamorfoze krajev in časa, izrazov in resničnosti, ki jih določajo. Pravijo, da je Narava s stvaritvijo drevesa svoje delo zaključila onkraj dosega človeškega očesa. Tako se znajdemo izgubljeni med gozdovi, v katerih se sprehajamo, jih prečimo in v njih oblikujemo nove poglede.
Narava se v želji, da bi našla harmonijo v obliki in vsebini, poigrava s kulturo in z njo išče dialog. To je tudi osnovna tema v skulpturah Lea Ferdinanda Demetza, v videih Cyryla Zakrzewskega in na platnih Arkadiusza Karapude. Demetzevi skulpturi Mrtvo morje, narejeni iz lipovega lesa, dajeta misliti o svetovnih spremembah, ki jih je povzročil človek z nevestnim delovanjem v lastnem okolju, tako da nam na koncu ostanejo le škornji, polni katrana, ali zeleni kombinezon na mestu človeka. Metamorfoza, video Zakrzewskega, po drugi strani upodablja alegorijo in odnos med naravo ter civilizacijo. Pred nami je veja, premočena z žgočim črnilom. Okoli nje se nabira in zmrzuje dim ter ustvarja podobo, ki je vsakič drugačna, saj temelji na metamorfozi naravne v umetno obliko.
Medtem nas večplastna kompozicija in močne barve, ki so zaščitni znak Karapudovih platen, opominjajo: Narava je namenjena preteklosti, kultura pa prihodnosti. Razmislek je namenjen procesom, ki spremljajo gospodarski, družbeni in kulturni razvoj. Tako ni naključje, da na prvem platnu upodobljeni barki, privezani med dvema drevesoma, na drugem platnu sledi veliko stopnišče z jasno vidnimi razpokami, iz ene od teh pa zmagoslavno vznika majhna, občutljiva in krhka rastlina. Dela Zakrzewskega, Demetza in Karapude nas torej pripravijo k soočenju z okoljskimi in zemeljskimi spremembami, ki so nastale kot posledica delovanja naše kulture, civilizacije in zgodovine.
Tudi Elisa Bertaglia, Ina Loitzl, Annalu in Olga Schigal se lotevajo tem, povezanih z naravo in metamorfozami, vendar z drugačnim pristopom. S pomočjo govorice, ki hkrati deluje tako sanjava kot simbolična, Bertaglia s serijo Out of the Blue ponovno sestavi bogat slovar, razpet med realističnimi in abstraktnimi elementi, a vedno prežet z rastlinami, živalmi in ljudmi v imaginarnih pokrajinah. Daleč od ilustrativnega pristopa je tudi delo Ine Loitzl – potiskana vezenina, na kateri lahko najdemo sledi oblik, procesov živalske mutacije in človeške navzočnosti.
Brezov gozdiček Olge Schigal v sebi združuje vso čarovnijo gozda, izpričano skozi oči umetnika. Iz tega nastane dialog med simbolično upodobitvijo (gozdom) in osnovo (lestvijo), ki združeni predstavljata preplet med resničnostno dimenzijo in imaginarnim zemljevidom narave.
96 Tudi Annalu išče navdih za oblikovanje svojih skulptur v naravi, pri poustvarjanju metuljevih kril, rož, dreves, slame in prepletenih vej pa spretno uporablja steklena vlakna. Njena izrazna govorica je sočasno vizionarska in metamorfozna, polna nedoločljivih občutkov in zaradi krhkosti komajda slišnih elementov, ki pa v sebi združujejo čudesa narave.
Zadnje v vrsti je veliko platno Riccarda Costantinija, ki zaključuje krog, a v resnici tudi spodbuja nova zanimiva razmišljanja o spremembah pokrajine in odnosih med naravo, človekom in njegovimi življenjskimi pogledi. Znova se torej znajdemo pred mogočno pokrajino, ki prikazuje gorovje, le da ji je tokrat dodan še par izletnikov. Človek, ki je bil na sliki Marmolada Silvie De Bastiani še odsoten, se pravi otrok zemlje, globoko navezan na svoje okolje, celo tako zelo, da se popolnoma zlije z naravo, sedaj prepušča svoje mesto podobi velikega turista – tistemu, ki se je v okolju sposoben gibati z veliko hitrostjo, a ga v resnici več ne doživlja, temveč »obiskuje«.
To je torej ta moderen človek, ki smo ga omenjali na začetku; na pokrajino gleda kot na sliko in ceni njen vizualni učinek. A za razliko od imaginarnih pokrajin Bertaglie in Loitzlove Costantini s tem, ko za predmet slike izbere vsakdanjost, resničnosti podarja nov, dopolnjujoč pomen, ki nam omogoča, da prevrednotimo naša dojemanja.
Torej smo spet na potovanju. In čeprav nas morda prevevajo površinski občutki, čutimo, da moramo obnoviti svoj odnos s stvarstvom in naravnim okoljem, preden se popolnoma izgubimo, saj se moramo zavedati, da, navkljub umetnosti in vsem novim spoznanjem, ki so jih odprla prikazana dela, onkraj vsake upodobitve, transformacije in manipulacije, »ima le narava to moč, da se obnovi in ustvari novo življenje«.
97 Nature enters our everyday life in countless forms, in different places and at different times, while art is becoming increasingly perceived as an encounter, expression, and imitation of nature and its phenomena. If 19th century painters set out on travels to explore the Alps (as celebrated, for example, in the famous painting by Caspar David Friedrich titled Wanderer above the Sea of Fog, contemplating the valleys and ridges of the Elbe Sandstone Mountains), today, more and more often modern man looks at the landscape as if it were a painting, appreciating especially its visual effect. Contemporary art in step with culture goes beyond that. It no longer considers nature only as a source of inspiration or an object of representation, but mainly as a factor affecting the dynamics of earthly, worldly, and human transformations. It is precisely these considerations that have served as an incentive to fourteen international young artists to meet, create a dialog, and open up new perspectives. The exhibition, therefore, is a journey into nature. Curated by Marika Vicari, it will be showcasing the artists' works at the FO.VI Gallery in Kidričevo.
A look at the Siberian forest at the entrance makes us feel like we could get lost in it; the exhibition opens, in fact, with an intimate and personal homage to nature, a place for the viewer where he can set his mind to rest. Where Russian artist Olga Schigal comes from, the taiga is a part of nature. Her work, however, also plays with the urban context, drawing from it both form - as it is really a large-sized advertisement banner - as well as a symbolic meaning. She provides a reflection on reality and nature, which are disappearing slowly but persistently, thus creating a space for a scattered urban landscape. The real nature, which is presented in its essence along the road, is thus reduced to an object of commercial communication.
Are the large-scale intricate watercolors by Silvia De Bastiani, which depict the unspoiled mountains of the Dolomites, nothing more but an inspirational picture, calling for a long walk or a backpack trip, or an image rekindling the memory of a drink you had once at some little, long- forgotten place? Certainly not; they are much more intimate and deep – a reminder of the majesty of nature. And as they rise up one above the other, fulfilling us with a sense of belonging to the Earth, they give us time to observe it in detail at least for a little while, and to reflect on the relationship between man and nature.
The next step on our journey discovers the penetrating and inquiring perspective of surrealist painter Gabriele Grones, and on the other hand, a more rational view as expressed by Michael Kos. While Grones' Fragments represent patches of fresh green grass – you can almost smell it, hear the sound of your footsteps in it, the rustling leaves and the tickling of your bare feet – Kos' piece depicts a different way of mapping the landscape, created by manipulating, shaping and combining the sculpting-painting blocks and maps, whereby he outlines a new geography and perspective of places. Figures, colors, and painting are confronted with geometrical abstractions, more colors, and structural forms.
The idea is to re-appropriate once again the right dimension, in this case, the human one; to sense what we are feeling – our vision, hearing, smell, touch, and to create a dialog with these sensations, thus connecting with nature, but also discovering a new direction, which will help us
98 construct new paths (including geographical), and new fields of vision.
A perfect counterpoint to the small-sized close-ups, to the intense springtime greens and the colorful cartographic blocks, are the large black-and-white panels and backgrounds with winter motifs in the paintings by Marika Vicari. The woods and landscapes, painted in black-and-white, evoke images of soil, forests, cracks, and cervices. They are a testimony to the transformations of space and time, of the languages and realities that determine them. It is said that a tree is Nature's final act of creation, which is beyond the reach of the human eye. And so – we find ourselves lost deep in the woods, walking, strolling around, and forming new perspectives.
The interplay and dialog between nature and culture are a form of reaching a state of harmony between form and content. This is the central theme expressed in the exhibited works by Leo Ferdinad Demetz (sculptures), Cyryl Zakrzewski (videos), and Arkadiusz Karapuda (paintings). Entitled Dead Sea, Demetz's two wooden linden tree sculptures reflect on the transformations of the world inflicted by man through the manipulation of his own environment, so that tar-stained boots and green jumpsuits are all that is left behind us. Zakrzewski's Metamorphosis, on the other hand, reflects on the allegory and the relationship between nature and civilization. We see a branch soaked in burning ink, with smoke gathering and freezing around it, creating each time a different image, because it is based on the metamorphosis of natural into artificial form.
In the meantime, the multi-layered composition and full-toned colors, a typical characteristic of Karapuda's works, remind us that 'Nature belongs to the past, and culture to the future'. The work reflects on the processes of economic, social, and cultural development. It is therefore no coincidence that the first canvas, depicting a boat moored between two trees, is followed by an image of a large staircase dented with visible cracks. Out of one of those cracks, a delicate and fragile little plant sprouts triumphantly. Through the works by Zakrzewski, Demetz and Karapuda, we are thus confronted with the issue of environmental and global changes that have occurred as a result of our culture, civilization, and history.
Elisa Bertaglia, Ina Loitzl, Annalu, and Olga Schigal also address issues related to nature and metamorphoses, but with a different approach. By means of a language both oneiric and symbolic, Bertaglia's series Out of the Blue reconstructs a rich vocabulary, torn between realistic and abstract elements, but always brimming with plants, animals, and people in imaginary landscapes. Another work that breaks away from the illustrative approach is that of Ina Loitzl – a printed embroidery with traces of forms, processes of animal mutations, and human presence.
Olga Schigal's Little Birch Forest depicts the magic of the forest as reflected through the eyes of the artist. The result is a dialog between a symbolic depiction (the forest) and a basis (the ladder), which together represent an intersection between the reality dimension and the imaginary map of nature.
99 The sculptures of Annalu are also inspired by shapes and forms from nature. She recreates butterfly wings, flowers, trees, grass and branches through the skillful use of fiberglass. Her expressive language is at the same time visionary and metamorphic, teeming with impalpable sensations and whisper-like elements, barely audible in their fragility and form, which, however, encompass in themselves the true wonders of nature.
Completing the cycle, but in fact opening up new and intriguing reflections about the relationship between nature, man and his outlook on the world, is a large-size painting by Riccardo Costantini, which, reflecting on transformations of space, explores human attitudes and interpersonal relationships. We thus find ourselves again in front of a majestic landscape depicting a mountain range, but this time with an additional figure of a couple of mountain hikers. The absence of the human figure as we observe it, for example, in De Bastiani's Marmolada, the "child of the earth", one deeply attached to his environment, to the extent of blending entirely with nature – now leaves his place to the image of a great tourist, who may indeed be moving around at a fast pace, but instead of truly experiencing the environment, he is only "visiting" it. Finally, then – this is the modern man from the beginning of this text: observing the landscape as if it were a painting, appreciating it especially for its visual effect. But unlike the imaginary landscapes of Bertaglia and Loitzl, Costantini, by using the everyday routine as the subject of his paintings, bestows a new, complementary importance upon reality, allowing us to re-evaluate our own perceptions.
And so, our journey continues. And while there may well be a quick thrill in it for us, we also feel that we have to rebuild our relationship with the space around us, with the natural environment, before we get completely lost. We must realize, namely, that even with all this art and all the potential insights opened up by the exhibited works, which are beyond any kind of representation, transformation, or manipulation, it is indeed "only Nature that possesses the power of regenerating itself and creating new life."
100 VIDNO POLJE / FIELD OF VISION, razstava / exhibition ANNALÚ
Annalù se je rodila v mestu San Donà di Piave v beneški pokrajini leta 1976, kjer živi in dela. Leta 1999 je diplomirala na Akademiji za likovno umetnost v Benetkah. Njena dela so bila razstavljena na številnih samostojnih in kolektivnih muzejskih razstavah ter v privatnih zbirkah v Italiji in tujini, med drugim je leta 2001 in 2011 sodelovala na beneškem bienalu. Osvojila je več priznanj in nagrad: Arte Laguna Prize v 2007 in 2008, Pagine Bianche d'Autore leta 2006, Stoney za sodobno umetnost v 2008, Ora leta 2011, Opera le vie dell'Acqua leta 2012 in Zaha Hadid v 2016.
Annalù was born in San Donà di Piave (VE) in 1976. In 1999, she graduated from the Academy of Fine Arts in Venice. Her works have been shown in numerous solo and collective exhibits in Italy and abroad (among them, the Venice Biennale in 2001 and 2011). She has won several awards and mentions (Premio Arte Laguna 2007 e 2008, Premio Pagine Bianche 2006, Premio Stoney per l'Arte Contemporanea 2008, Premio Ora 2011, Premio Opera le vie dell'Acqua 2012, Premio Zaha Hadid 2016). Her works have been shown in a number of Italian and foreign museums and belong in public and private collections in Italy and abroad. She lives and works in San Donà di Piave (VE).
UCHIVA, 2016 mešana tehnika / mixed media, 110x147x12 cm, courtesy Punto Sull’Arte, Varese
102 ELISA BERTAGLIA
Elisa Bertaglia, rojena leta 1983 v Rovigu v Italiji, kjer živi in ustvarja, je leta 2009 magistrirala na temo slikarstva na beneški Akademiji za likovno umetnost. Od leta 2007 prejema vabila za udeležbo na različnih državnih in mednarodnih razstavah, sodelovala je s številnimi kustosi, kuratorji in umetnostnimi galerijami; njena dela so bila razstavljena v različnih muzejih, nahajajo se v javnih in privatnih zbirkah. Aprila 2011 je bila izbrana za sodelovanje v akademskem paviljonu na 54. beneškem festivalu. Leta 2016 je bila s strani fundacije ESKFF izbrana za umetniško rezidenco v kulturnem centru Mana Contemporary (Jersey City, ZDA).
Elisa Bertaglia was born in 1983, in Rovigo (Italy). In 2009 she received her MFA in painting from the Venice Academy of Fine Arts. From 2007, she has been invited to take part in national and international shows, she has collaborated with different art curators and art galleries, exhibiting her artworks in Museums, Public and Private Collections. In April 2011, she has been selected to take part in the 54. Venice Biennial, Academy Pavilion. In 2016, she won an Artist Residency at ESKFF at MANA Contemporary in Jersey City, USA. She lives and works in Rovigo, Italy.
IZ MODRINE / OUT OF THE BLUE, 2016 mešana tehnika na papirju / mixed media on paper, 30x24 cm, courtesy Ofcine dell’Imagine, Milano
103 RICCARDO COSTANTINI
Riccardo Costantini se je rodil v Buranu leta 1980 in diplomiral iz slikarstva na Akademiji za likovno umetnost v Benetkah. Svoja dela je razstavljal v umetnostnih galerijah L'Occhio in Melori&Rosenberg v Benetkah ter v pariški Galerie L'Echaude. Živi in dela med Buranom in Benetkami.
Riccardo Costantini was born in Burano in 1980 and is a graduate in painting from the Accademia di Belle Arti art school in Venice. He has exhibited his work at the L’Occhio art gallery and the Melori&Rosenberg Art Gallery in Venice, and at the Galery L’Echaude in Paris. He lives and works between Burano and Venice, Italy.
„I LOVE NOT MAN THE LESS BUT NATURE MORE“, 2017 olje na platnu / oil on canvas, 160x360 cm
104 SILVIA DE BASTIANI
Silvia de Bastiani se je leta 1981 rodila v Feltru v italijanski pokrajini Belluno, trenutno živi v mestu Imer v pokrajini Trento. Od leta 2007 do 2012 je sodelovala s profesorjem M. Zocchetto pri predmetu anatomija umetnosti na beneški Akademiji za likovno umetnost in od leta 2008 poučuje slikanje z akvareli na veronski Akademiji za likovno umetnost G. B. Cignaroli. Zraven poučevanja izvaja tudi delavnice in pleneristične seanse, njena dela pa so bila predstavljena na različnih razstavah; eno od njenih večjih del je tudi del stalne zbirke v Naravoslovnem muzeju (MUSE) v Trentu.
Born in Feltre, Belluno (Italy) in 1981. In 2007 she received her MFA in painting from the Venice Academy of Fine Arts. From 2007 to 2012 she has collaborated with Professor M. Zocchetta, Artistic Anatomy class, at the Academy of Fine Arts (Venice)and since 2008 she has been teaching watercolor painting at the Academy of Fine Arts "G.B. Cignaroli" (Verona). In addition to teaching, including conducting short workshops and en plein air sessions, her work has been featured in several exhibitions. A large-sized artwork of hers is permanently exhibited at the Science Museum (MUSE) in Trento. She currently lives in Imer, Trento.
MARMOLADA, 2014 akvarel / watercolor, 161x342 cm
105 LEO FERDINAND DEMETZ
Leo Ferdinand Demetz, rojen leta 1967 v Bolzanu, je po zaključeni umetniški šoli za rezbarstvo v Val Gardeni, s katero je pridobil naziv »umetnostni mojster«, kariero nadaljeval kot kipar. Njegove skulpture temeljijo na človeških gurah, v prvi vrsti predstavljajo naravne like v vsakdanjem okolju na dramatičen ali komičen način. Sodeloval je na razstavah v Italiji, Avstriji, Nemčiji in na Češkem. Živi in dela v Selvi v Val Gardeni.
Leo Ferdinando Demetz, born in Bolzano in 1967. After concluding the art school for carving of Val Gardena – Bolzano and obtaining the qualication of "Maestro d´arte" he begins his career of sculptor on his own. The sculptures of Demetz are based on human gure, representing most of all characters in their way of being, catching the daily scenery, dramatic or comic. He takes part in many exhibitions in Italy, Austria, Germany, and Czech Republic. He lives and works in Selva di Val Gardena.
MRTVO MORJE II / DEAD SEA II, 2010 les in barva / wood and color, h 53 cm
106 GABRIELE GRONES
Gabriele Grones se je rodil leta 1983 v Italiji, leta 2009 je magistriral iz slikarstva in vizualnih umetnosti na beneški Akademiji za likovno umetnost. Razstavljal je na številnih skupinskih in samostojnih razstavah, na prizoriščih, ki vključujejo londonski National Portrait Gallery in Mall Galleries, beneški bienale, Muzej sodobne umetnosti v Barceloni, muzej MART v italijanskem Roveretu, galerijo Undercurrent Projects v New Yorku, Narodni muzej likovnih umetnosti v malteški Valletti, Galerie MZ v nemškem Augsburgu, Fort Wayne Museum of Arts (Indiana, ZDA), Narodni muzej likovnih umetnosti v romunskem Cluju in galerijo Bernarducci Meisel Gallery (New York, ZDA). Njegove slike so bile večkrat nagrajene in so del različnih javnih in zasebnih zbirk.
Gabriele Grones was born in Italy in 1983. In 2009, he received his MFA in painting and visual arts from the Academy of Fine Arts, Venice, Italy. Grones has exhibited in numerous group and solo exhibitions, in venues including The National Portrait Gallery (London, UK), Venice Biennale (Italy), Mall Galleries (London, UK), MEAM Museum (Barcelona, Spain), MART Museum (Italy), Undercurrent Projects Gallery (New York, USA), National Museum of Fine Arts (Valletta, Malta), Galerie MZ (Augsburg, Germany), Fort Wayne Museum of Arts (IN, USA), National Museum of Fine Arts (Cluj, Romania), and Bernarducci Meisel Gallery (New York, USA). His paintings have been selected for numerous art prizes and his works are included in several public and private collections.
FRAGMENT 17 / FRAGMENT 17, 2016 olje na platnu / oil on canvas, 30x30 cm, courtesy Galerie MZ, Augsburg
107 ARKADIUSZ KARAPUDA
Arkadiusz Karapuda je bil rojen leta 1981 v Żyrardówu na Poljskem, živi in dela v Varšavi. Študiral je na Fakulteti za likovno umetnost v Varšavi, kjer je tudi diplomiral z odliko. Leta 2011 je doktoriral s področja vizualnih umetnosti. Zaposlen je kot profesor asistent na varšavski Akademiji za likovno umetnost.
Arkadiusz Karapuda was born in 1981 in Zyrardow, Poland. He lives and works in Warsaw. He studied at the Faculty of Fine Arts in Warsaw, where he also graduated with honors. In 2011, he received a PhD in Visual Arts. He works as an assistant professor at Warsaw’s Academy of Fine Arts.
KULTURA ZA PRIHODNOST / CULTURE FOR THE FUTURE, 2017 olje na platnu / oil on canvas, 100x130 cm
NARAVA ZA PRETEKLOST / NATURE FOR THE PAST, 2017 olje na platnu / oil on canvas, 100x130 cm
108 MICHAEL KOS
Michael Kos se je rodil leta 1963 v Beljaku. Med letoma 1986 in 1991 je študiral na Univerzi za uporabne umetnosti na Dunaju pri profesorju Petru Weiblu. Živi in dela na Dunaju in v Retzu v Spodnji Avstriji. Iz papirnatih izdelkov, kot so prepognjeni zemljevidi, lepenke in zloženke, izdeluje strukturirane slike, tako imenovane surogate, ki od leta 2004 zaznamujejo njegovo gračno ustvarjanje. Pri tem papir izgubi svoj prvotni namen, saj je poudarek na njegovih formalnih lastnostih, kot so barva, svetloba in tekstura. Vizualni rezultat tovrstnega mapiranja je v veliki meri odvisen od naključne zasnove, saj so si strukture na prvi pogled zelo podobne.
Michael Kos was born in 1963 in Villach. Between 1986 and 1991, he studied at the University of Applied Arts in Vienna, under mentorship of Prof. Peter Weibel. He lives and works in Vienna and in Retz, Lower Austria. He uses various paper products, such as folded paperbacks and maps, to create structured panel paintings, the so-called surrogates that have determined his graphic work since 2004. The original purpose of the paper is lost in favor of its formal properties, such as color, brightness, or texture. The visual result of this mapping is based largely on a random design, as the structures are highly similar at rst glance.
MAPIRANJE / MAPPING, 2014 mešana tehnika / mixed media, 80x80X10 cm
109 INA LOITZL
Ina Loitzl, rojena v avstrijskem Celovcu leta 1972, je študirala vizualne komunikacije na akademiji Mozarteum v Salzburgu in se nato preselila na Dunaj, da bi nadaljevala študij na Akademiji za likovno umetnost. Tam živi in ustvarja, največ na področju fotograje in videa, izdeluje pa tudi tekstilne izdelke in kolaže. Pri delu rada tematizira in analizira ženske vzornice in klišejske podobe, vse, kar ima opraviti z ženskami na splošno, kot glavne teme pa nastopajo žensko telo, lepotni mit, staranje in spolnost.
Ina Loitzl was born 1972 in Klagenfurt, Austria, Ina Loitzl studied visual media at the Mozarteum Academy at Salzburg, Austria, and then moved to Vienna in order to continue these studies at the Academy of Fine Arts Vienna. She lives currently in Vienna. She works primarily in photography and video, and creates textile objects and collages. In her work, she gladly thematizes and analyses various feminine role models and clichéd images of and about the so-called “fair sex”. Her subject matter includes the female body, the beauty myth, ageing and sexuality.
BREZ NASLOVA / UNTITLED mešana tehnika / mixed media, 130x230 cm
110 OLGA SCHIGAL
Olga Schigal se je leta 1980 rodila v ruskem Išimbaju. Do svojega sedemnajstega leta je živela v sibirskem mestu Njagan in se nato preselila v Nemčijo. Leta 2002 je bila sprejeta na Akademijo za likovno umetnost v Münstru, kjer se je pod vodstvom prof. Katharine Fritsch specializirala za upodabljajočo umetnost. Od leta 2009 živi in dela v Milanu.
Olga Schigal was born in Ishimbay, Russia in 1980. She had lived in Nyagan, Siberia until she was 17, then she moved to Germany. In 2002, she was admitted to the Academy of Fine Arts in Munster, where she has specialized in plastic arts with Prof. Katharina Fritsch. From 2009, she lives and works in Milan.
BREZOV GOZDIČEK / BIRCH LITTLE FOREST, 2011 les in barva / wood and color, 100x74x40 cm
111 MARIKA VICARI
Marika Vicari se je rodila leta 1979 v Vicenzi, živi in dela v Creazzu v pokrajini Vicenza. Leta 2003 je z odliko diplomirala iz slikarstva (prof. Carlo Di Raco) na Akademiji za likovno umetnost v Benetkah in leta 2005 magistrirala iz vizualnih komunikacij na Fakulteti za oblikovanje in umetnost Univerze IUAV v Benetkah. Od leta 2000 aktivno sodeluje na samostojnih in skupinskih razstavah po Evropi, v Združenih državah, Mehiki, Braziliji, Kanadi in na Kitajskem, njene umetnine pa so del javnih in zasebnih zbirk v Evropi, Kanadi, ZDA in Združenih arabskih emiratih. Ustvarja dela velikega in majhnega formata, iz lesa ali papirja, na katerega z gratom riše in slika gozdove ter naravne krajine.
Marika Vicari was born in 1979 in Vicenza. She lives and works in Creazzo, Vicenza. Graduated with Honors in Painting (Prof. Carlo Di Raco) at the Academy of Fine Arts in Venice in 2003, she graduated in 2005 in MFA, Design and Production of Visual Arts at the Faculty of Design and Arts, IUAV University of Venice Architecture Studies. Since 2000, she has been active in numerous personal and collective exhibitions in Europe, United States, Mexico, Brazil, Canada, and China. Her works appear in both public and private collections in Europe, Canada, United States, and in United Arab Emirates. She works both in small and large size, on wood and paper, on which she draws and paints, with graphite, forests and natural landscapes.
„SPASIMA IL CIELO DI FENDERE LA TERRA... ED IO SONO LA RADICE DI TUTTO“., 2017 grat na papirju / graphite on paper, 100x70 cm
112 CYRYL ZAKRZEWSKI
Cyryl Zakrzewski se je leta 1986 rodil v Poznanju na Poljskem, kjer je leta 2011 diplomiral na Univerzi za umetnost, nato pa v bližnjem Suchy Lasu odprl kiparski atelje. Leta 2012 je za izvedbo stalne instalacije v botaničnem vrtu Univerze Adama Mickiewicza prejel štipendijo od guvernerja Velikopoljskega vojvodstva in v okviru umetniške rezidence na 10. festivalu Art Stays na Ptuju izdelal javno instalacijo na prostem. Sodeloval je na številnih samostojnih in skupinskih razstavah na Poljskem, v Italiji, Avstriji, Sloveniji in na Japonskem.
Cyryl Zakrzewski was born in 1986 in Poznan, Poland. In 2011, he graduated from the University of Arts in Poznan and opened a sculpture studio in Suchy Las. In 2012, he received a stipend from the Marshal of the Wielkopolska Region for the creation of the permanent installation in the University of Adam Mickiewicz Botanical Garden in Poznan, and was invited to create a permanent outdoor work for the 10th Art Stays Festival in Ptuj, Slovenia. He had multiple solo and group exhibitions in Poland, Italy, Austria, Slovenia and Japan.
METAMORFOZA / METAMORPHOSIS, 2013 video procesa / process video, 4:00
113 Bernd & Hilla Becher, Hochofen Youngstown Ohio, USA, 1981, Zbirka / Collection Dionisio Gavagnin, Treviso GALERIJA MESTA PTUJ / PTUJ CITY GALLERY
TLA IN CEMENT GROUND AND CEMENT
ČLOVEK, KRAJINA IN FOTOGRAFIJA MAN, LANDCAPE AND PHOTOGRAPHY
KUSTOS / CURATOR: CARLO SALA FOTOGRAFIJE IZ ZBIRKE / PHOTOS FROM THE COLLECTION: DIONISIO GAVAGNIN TLA IN CEMENT / GROUND AND CEMENT ČLOVEK, KRAJINA IN FOTOGRAFIJA / MAN, LANDCAPE AND PHOTOGRAPHY kustos / curator: Carlo Sala besedilo / text: Carlo Sala
Ko pišem te besede, me Googlova domača stran opozarja na to, da danes, 5. junija, obeležujemo svetovni dan okolja. Tako je pred več kot štiridesetimi leti odločila Generalna skupščina Združenih narodov. Tema za leto 2017 je Povezovanje ljudi z naravo, oziroma odnos med okoljem in ljudmi. Letošnji svetovni dan okolja ima v luči nedavnih dogodkov posebno grenak priokus, saj je predsednik ZDA Donald Trump pred nedavnim naznanil, da ZDA odstopajo od pariškega podnebnega sporazuma. To bo nedvomno močno omejilo domet sporazuma in oslabilo njegovo učinkovitost v prihodnosti. Tudi iz takšnih razmišljanj, ki jih sprožijo najbolj grozeči aspekti aktualnosti, je nastala razstava »Ground and Cement«, ki opisuje zapleteno in protislovno razmerje med človekom in zemljo. Razstava zajema izbor sedemdesetih del mednarodnih avtorjev, ki so od zadnjih treh desetletij devetnajstega stoletja in vse do današnjega časa s pomočjo fotografskega medija raziskovali pokrajino v vseh njenih pojavnostih, od arkadijske vizije do težavnega sožitja med naravo in človeškim delovanjem - od tod tudi naslov »Ground and Cement«.
Razstava se odvija po petih osnovnih tematskih oseh, ki raziskujejo daljše časovno obdobje in povezujejo podobe, ki so v številnih primerih nastale iz dokumentarnih namenov, s podobami, ki so plod avtorskih iskanj, nimajo pa izdelane zavesti o tematiki. Z izmeničnim vrstenjem fotografij in dihotomijami, ki jih te izražajo v obliki vizualne deflagracije in nepričakovane refleksije, te podobe problematizirajo vprašanja, povezana s sodobno pokrajino.
Prvi sklop sestoji iz serije del, v katerih so predstavljene pokrajine z bohotno in cvetočo naravo. Zato ima odprtje razstave z delom fotografa Carletona Eugenea Watkinsa tako simbolično kot tudi kronološko vrednost. Watkinsova dela so namreč največ prispevala k izgradnji imaginarija ameriškega zahoda (»novega« ozemlja par excellence). Njegovi posnetki temeljijo na delitvi na dva pola: en pol predstavlja bogata narava, ki ima lastnost deviškosti, na drugi pa človekova osvojitev teh krajev, ki neizbežno vodi v njihovo izkoriščanje in spreminjanje. V svoje fotografije je umetnik ujel najgloblje lastnosti teh pokrajin, s čimer sega onkraj meja dokumentarne fotografije in predstavlja pomemben prispevek k ustvarjanju okoljske zavesti. Tako je menil tudi ameriški kongres, ki so ga fotografije prepričale v to, da je razglasil park Yosemite za zaščiteno naravno območje, ki je še danes izrednega pomena za ohranjanje biotske raznovrstnosti. Watkinsovim fotografijam sledijo dela ostalih pionirjev, ki so delovali na ameriških tleh, kot so William Henry Jackson, Eadweard Muybridge in Timothy O'Sullivan. Tem sledijo avtorji 20. stoletja, kot sta Edward Weston in Lee Friedlander. Pogled se nato usmeri v Evropo, začenši z gorskimi razgledi alpinista in fotografa Vittoria Selle in se nato sprehodi skozi ruralna območja, kipeča od identitete, ki jih je v objektiv ujel Mario Giacomelli. Sledijo jim idealizirane vizije Wilhelma von Gloedena, ki spominjajo na klasična dela, kjer je v oblikovno-kompozicijsko popolnost vključena človeška prisotnost, kar ustvari dimenzijo teatraličnosti, ki je distancirana
117 od realnosti. To brezčasno vzdušje je pretrgano v drugem delu, v katerem je zbran obsežen korpus industrijskih fotografij iz obdobja dvajsetega stoletja, ko so tovarne in montažne linije predstavljale najbolj otipljive znake napredka, ki ga je pogosto spremljalo uničevanje ravnovesja pokrajin, ki so bile podvržene naglim spremembam. V tem delu so na ogled fotografije, ki jih je posnel Albert Renger-Patzsch, za katere je značilna okleščena estetika »nove objektivnosti«, ki se izogiba vsakršnemu umetniškemu učinku, in fotografije Bernda in Hille Becher, za katere so značilne enote industrijske arhitekture, razdeljene po tipologijah. Tem sledijo novejše podobe industrializacije, ki sta jih ujela Olivo Barbieri z umetno svetlobo in Guido Guidi z značilno vizualno temperaturo. Podobno soočenje z okoljem za nekatere avtorje pomeni prisotnost človeka, kot na primer na socialnih fotografijah, ki jih je ujel Lewis Hine. Njegove fotografije so bile izrednega pomena v boju za pravice delavcev v Ameriki v začetku dvajsetega stoletja. Podobno velja za fotografije, ki jih je posnel Sebastião Salgado, ki pričajo o nečloveških delovnih pogojih v rudnikih zlata Sierra Pelada v Braziliji.
Naslednji sklop pozdravlja zamisel o hibridni pokrajini, ki je predstavljena skozi dela ameriških fotografov, članov gibanja, imenovanega Nove topografije (New Topographics), kot sta Stephen Shore in Joel Meyerowitz, ki pogled usmerjajo v okolja, kjer se človekov vpliv kaže na anonimen in neoseben način. Italijanske fotografe, ki so delovali v 70. in 80. letih prejšnjega stoletja, je po drugi strani bolj pritegnila vsakdanja pokrajina. Mednje se prištevajo Luigi Ghirri, Vincenzo Castella in Giovanni Chiaramonte, ki so tolmačili kraje, zaznamovane z neznatnimi in le navidezno obrobnimi znaki, ki so pravzaprav ključnega pomena, saj so najbližje priče človekovega življenja.
V poznih 60. letih so se umetniki, ki pripadajo gibanju Land Art, kot sta Dennis Oppenheim in Richard Long, soočali s širnimi in nedotaknjenimi pokrajinami, ki so postale sestavni del njihovega umetniškega delovanja. Drugim predstavnikom, ki v ospredje postavljajo uporabo telesa, kot sta Gina Pane in Hamish Fulton, pokrajina predstavlja prostor za ustvarjanje performansov ali akcij, ki slonijo na neposrednih izkušnjah. Razstava se zaključi z nekaterimi akterji sodobne umetniške scene, kot so Roni Horn, Jenny Holzer in Olafur Eliasson, za katere pokrajina postane prizorišče številnih konceptualnih in procesnih iskanj. Delo, ki idejno povzema celotno razstavo in pooseblja vse napetosti ter zgodovinske in geopolitične razmere, ki vplivajo na pokrajino, je Aral - T51 (2008), katerega avtor je Francesco Jodice. Fotografija prikazuje ladjo, ki sameva sredi puščavske pokrajine in je nema priča krčenja Aralskega jezera, ki velja za eno najhujših okoljskih katastrof našega časa. Samovolja in aroganca vlade Sovjetske zveze je ogrozila obstoj lokalnih skupnosti in za vedno uničila naravno ravnovesje na tem ozemlju, ki zdaj spominja na prizor iz post-apokaliptičnega filma.
Razstava kot celota ponuja tok podob, ki sprožijo vizualno pripoved z aktualno tematiko, ki jo zaznamuje sodoben pogled na okoljska vprašanja, zlasti na razmišljanja o antropocenu, s ciljem, da v gledalcu izzove zavestno in kritično dojemanje realnosti.
118 As I am writing these words, Google's home page reminds me that today, June 5, is World Environment Day, as established over 40 years ago by the United Nations. The theme for 2017 is Connecting People to Nature, celebrating the relationship between the environment and people. This year's World Environment Day leaves a particularly bitter taste in one's mouth, in light of the recent announcement by U.S. President Donald Trump that the U.S. are withdrawing from the Paris Climate Agreement, effectively weakening the scope and future effectiveness of the agreement. It was also reflections brought on by the pressing realities of our time that fostered the evolution of the exhibition "Ground and Cement", which aims to explore the intricate and contradictory relationship between man and territory. The exhibition features a selection of over seventy works by international authors, who, from the last three decades of the nineteenth century to the present day, have photographed the landscape in its various declinations: from an Arcadian vision of the landscape to the difficult coexistence between nature and anthropic activity - hence the title "Ground and Cement".
The exhibition unfolds along five thematic axes exploring art that happened over an extended period, linking images that in many cases were created for documentary purposes, or vice versa, as a result of the author's creative process, but without full awareness of the subject. In their alternation and in the dichotomies that these images reflect in the form of a visual deflagration and unexpected reflection, they are able to tackle subjects related to contemporary landscapes.
The first section consists in a series of works depicting landscapes characterized by a prosperous and luxuriant nature. That is why the exhibition opening with the work of photographer Carleton Eugene Watkins assumes a symbolic as well as a chronological value. No other artist's contribution to the construction of the imagery of the American West (the "new" territory par excellence), has been as great as his. Watkins's shots are based on two polarities: on the one hand, a flourishing, sometimes virginal nature, and on the other, the epic of the conquest of these territories by man, which inevitably leads to their exploitation and modification. In his images, the artist captured the deeper traits of those landscapes, reaching beyond the boundaries of documentary photography. His work was so effective in creating environmental awareness that it even compelled the United States Congress to declare Yosemite a protected wilderness area that still plays an extraordinary role in safeguarding biodiversity. Watkins's work is followed by the work of other pioneers who worked on American soil, such as William Henry Jackson, Eadweard Muybridge or Timothy O'Sullivan. These are followed by 20th century authors, such as Edward Weston and Lee Friedlander. The exhibition's focus then shifts towards Europe, starting with the mountain views of climber and photographer Vittorio Sella, passing through the rural territories overflowing with identity that were captured by Mario Giacomelli, or the idealized visions of Wilhelm von Gloeden, which resemble classical works, where formal- compositional perfection incorporates the presence of humans, giving birth to a dimension of staged scenes that are disconnected from reality. This timeless atmosphere comes to an end in the second section of the exhibition, which consists of a substantial corpus of industrial photographs from the twentieth century, where factories and assembly lines are the most tangible signs of a progress that often
119 undermined the balance of landscapes undergoing sudden changes: from the photography of Albert Renger-Patzsch, characterized by the aesthetics of the "New Objectivity" movement, which distances itself from any sort of artistic effect, from the works of Bernd & Hilla Becher, who grouped buildings according to their typology, to the signs of a more recent industrialization highlighted by Olivo Barbieri with his artificial lighting, or by the art of Guido Guidi with his unmistakable visual temperature. A similar confrontation with the environment implies for some authors the presence of man, as is the case with Lewis Hine's social images. His photographs were a crucial weapon in the struggle for workers' rights in America at the beginning of the twentieth century. The same is true of the photographs taken by Sebastião Salgado, which bear witness to the inhumane working conditions in the gold mines of Sierra Pelada in Brazil.
The next section welcomes the idea of a hybrid landscape through the work of the New Topographics, a group of American photographers that includes Stephen Shore and Joel Meyerowitz, who turn their gaze toward environments where man has intervened in a manner that is anonymous and impersonal. On the other hand, Italian photographers of the 1970s and 1980s, including Luigi Ghirri, Vincenzo Castella and Giovanni Chiaramonte, were more interested in everyday landscapes and in interpreting places marked by minute and only seemingly marginal signs that are in fact of fundamental importance, because they are the closest witnesses of human life.
By the end of the 1960s, artists belonging to the Land Art movement, including Dennis Oppenheim and Richard Long, were confronting vast uncontaminated lands that became an integral part of their artistic expression. For those who instead focus on the use of bodies, such as Gina Pane and Hamish Fulton, the landscape serves as a space in which to create performances or actions based on direct experience. The exhibition ends with some of the protagonists of the contemporary art scene, such as Roni Horn, Jenny Holzer and Olafur Eliasson, for whom the landscape becomes a stage for a multitude of conceptual and processual explorations. The one piece that ideally synthesizes the entire exhibition and encompasses all the tensions and historical and geopolitical conditions affecting the landscape, is Aral - T51 (2008) by Francesco Jodice. The image features a ship, abandoned in the middle of a desert land, serving as a reminder of one of the worst environmental disasters of our time - the shrinking of the Aral Sea, caused by the arbitrary and thoughtless decisions of the government of the Soviet Union, which caused irreparable damage to the local communities and forever compromised the natural balance of those territories, resulting in a post-apocalyptic scenario.
The exhibition as a whole offers a stream of images that triggers a very topical visual narrative in line with modern attitudes towards environmental issues and, in particular, with reflections on the Anthropocene, in order to elicit in the viewer a conscious and critical perception of reality.
120 ARKADIJA / ARCADIA CARLETON EUGENE WATKINS
(Oneonta, 1829 – Napa, 1916) Fotograf, ki je imel velik vpliv na izoblikovanje podobe ameriškega Zahoda ("novega" ozemlja v pravem pomenu besede): na eni strani prikazuje cvetočo naravo z deviškimi potezami, na drugi pa pripoveduje o zavzetju teh krajev s strani človeka, ki jih želi izkoriščati in nepovratno spremeniti. Watkins je s svojimi posnetki uspel prepričati kongres Združenih držav, da je razglasil park Yosemite za zaščiteno naravno območje, kar še danes igra izjemno pomembno vlogo pri ohranjanju biotske raznovrstnosti.
More than any other photographer, Watkins contributed to the building of the imagery of the American West (a "new territory" par excellence), showing on one hand the presence of a blossoming, sometimes virgin nature, and on the other, man's epic conquest of such places, which he wishes to exploit, and change irreversibly. The artist's photographs have convinced the United States Congress to declare the Yosemite Park as a protected natural area, which is still of great importance for the preservation of its natural biodiversity.
MAMMOTH TREE GROVE HOTEL, Calaveras Co. California, 1865-70
122 EADWEARD MUYBRIDGE
(Kingston upon Thames, 1830 – Kingston upon Thames, 1904) Zanimala ga je pokrajina in spremembe, ki jih je na njej pustila razvijajoča se industrija. Sodeloval je na geografskih ekspedicijah v Srednji Ameriki, se nato posvetil predvsem preučevanju gibanja živali s pomočjo kronograje in si tako prislužil naziv pionirja na področju fotograje gibanja. Proslavil se je zlasti z znamenito serijo fotograj z naslovom The horse in motion, ki prikazuje različne faze gibanja konja v galopu; to mu je uspelo s pomočjo štiriindvajsetih fotoaparatov, razporejenih vzdolž poti, ki so se sprožili s pomočjo žice ob dotiku konjskega kopita.
He was interested in the landscape and the changes imposed on it by the rising industry. He participated in several geographic expeditions in Central America, and later devoted himself to the study of the movement of animals, using the method of chronophotography, which earned him the status of a pioneer of motion photography. His most famous series is The Horse in Motion, a sequence of photographs depicting the various phases in the movement of a galloping horse; made with the help of 24 cameras arranged along the path, which were triggered by a piece of metal thread, when hit by the horses' hoofs.
DOLINA YOSEMITE / VALLEY OF THE YOSEMITE, California, 1880 ca.
123 WILLIAM HENRY JACKSON
(Keeseville, 1843 – New York, 1942) V letu 1870 se je skupaj z geologom Ferdinandom Vandiveerjem Haydnom podal na ekspedicijo v Wyoming, vzdolž reke Green River in vse do yellowstonskega jezerskega območja. Jacksonove slike so prve objavljene fotograje, ki prikazujejo Yellowstone, in so v veliki meri pripomogle k temu, da so slednjega marca 1872 razglasili za prvi ameriški narodni park. Je tudi prvi, ki je fotograral prazgodovinska domovanja ameriških domorodcev v Mesa Verde v Koloradu. Kasneje se je ustalil v Denverju in deloval kot krajinski komercialni fotograf, svoje fotograje je objavljal tudi v obliki razglednic.
In 1870, Jackson accompanied geologist Ferdinand Vandiveer Hayden on an expedition across Wyoming, along the Green River, and nally into the Yellowstone Lake area. His images were the rst published photographs of Yellowstone and thus contributed to proclaiming it as the rst national park in the United States in March 1872. Jackson was also the rst to photograph the prehistoric Native American dwellings in Mesa Verde, Colorado. After settling in Denver, he worked as a commercial landscape photographer and continued to publish his photographs as postcards.
ROYAL GORGE, Grand Canyon of the Arkansas, 1880
CRATER OF GEYSER, Yellowstone Park, California, 1872 ca.
124 TIMOTHY O'SULLIVAN
(New York, 1840 – New York, 1882) Spada med pionirje vojne fotograje, med letoma 1861 in 1865 je dokumentiral ameriško secesijsko vojno in zaslovel predvsem s podobami bojnih polj, posnetimi takoj po prenehanju spopadov; povzemal je prizore, nabite z dramatičnostjo, tako zaradi prikaza podrobnosti padlih kot tudi zaradi širokokotnih posnetkov, ki prikazujejo raztresena telesa do koder seže pogled. Prva zbirka vojnih fotograj, Gardner's Photographic Sketch Book of the War, vsebuje tudi štiriinštirideset njegovih fotograj.
Considered one of the pioneers of war photography, O'Sullivan documented the American War of Secession between 1861 and 1865. Particularly famous are his images of battleelds, taken immediately after the cessation of ghting, where he captures scenes of great dramatism, both in terms of the details of the fallen ghters, as well as in terms of the wide shots depicting bodies scattered around almost as far as the eye can reach. Forty-four of his photographs were published in Gardner's Photographic Sketch Book of the War, the rst war photographs collection.
GORSKO JEZERO / ALPINE LAKE CERRO BLANCO MOUNTAINS COL. Height of Peak over 14.000 feet. Lake 11.000 feet above sea-level, 1874
125 WESTON EDWARD
(Highland Park, 1886 – Carmel, 1958) V dvajsetih letih je s fotograjami, ki jih je posnel v jeklarni ARMCO v Ohiu, izkazal izrazito realistično estetiko. Med bivanjem v Mehiki je skupaj s Tino Modotti iskal načine za izražanje preprostosti in jasnosti oblik v slikah. Leta 1927 naredi prve fotograje zelenjave, sadja in školjk, za katere je značilna prenjena tehnika in izjemna pozornost na detajle. Leta 1933 skupaj z Anselom Adamsom in drugimi fotogra ustanovi skupino F/64, v kasnejšem obdobju pa se pozorneje posveti raziskovanju krajine in akta.
His photos taken at the Armco steel factory in Ohio during the 1920s, convey a highly realistic aesthetics. During the period of his stay in Mexico, he was searching, together with Tina Modotti, for ways of expressing the simplicity and linearity of forms in images. In 1927 he produced his rst shots of vegetables, fruits, and seashells, reecting his sophisticated photographing technique, and his extremely sharp sense of detail. In 1933 he co-founded the F / 64 group together with Ansel Adams and other photographers. His later works focused on exploring landscapes and nudes.
EEL RIVER RANCH, 1937
126 LEE FRIEDLANDER
Leta 1934 v Aberdeenu (Washington, ZDA) rojeni umetnik živi in ustvarja v New Yorku. Kot predstavnik ulične fotograje si je pridobil mednarodni sloves leta 1967, ko ga je kustos newyorške MoME John Szarkowski uvrstil na zgodovinsko razstavo New Documents, ki je proslavila avtorjev dokumentaristični stil, zlasti njegove urbane krajine. Je trikratni prejemnik Guggenheimove štipendije, dobitnik nagrade fundacije Hasselblad in številnih drugih priznanj.
Born 1934 in Aberdeen, Washington, USA; lives and works in New York. This representative of American street photography of the 1960’s gained international recognition in 1967, when the curator of New York's MoMA, John Szarkowski, included him in the ground-breaking exhibition New Documents, which celebrated the author's documentary style, especially in his urban landscapes. He received the Hasselblad Award, and was a three-time winner of a Guggenheim Foundation Grant.
PUTNEY, Vermont, 1972
127 VITTORIO SELLA
(Biella, 1859 – Biella, 1943) Fotograf in alpinist je strast do gora podedoval od strica Quintina Selle, ustanovitelja italijanske planinske zveze. Opravil je več pomembnih vzponov v Alpah, vključno s prvim zimskim vzponom na Matterhorn in Monte Roso, ter prvo zimsko prečkanje Mont Blanca. Še danes velja za enega največjih gorskih fotografov v zgodovini.
A photographer and mountaineer, Sella inherited his passion for mountain-climbing from his uncle Quintino Sella, founder of the Italian Alpine Association. His mountaineering record includes several remarkable climbs in the Alps, including the rst winter climb of the Cervino and Monte Rosa, and the rst winter crossing of Mont Blanc. He is still considered one of the greatest mountain photographers in history.
COLLE DONGUSORUN FROM THE GLACIER CIAT-KOGUTAI, 1889
128 MARIO GABINIO
(Torino, 1871 – Torino, 1938) Posvečal se je predvsem gorski fotograji. Od leta 1890 je v sodelovanju z geologom Federicom Saccom ustvarjal fotograje za likovno opremo raznih poljudnoznanstvenih besedil. Leta 1903 njegova dela dopolnijo publikacijo Carla Reynaudija, posvečeno Dolini Aoste, kasneje, leta 1934, pa še delo Federica Sacca, posvečeno Alpam, skupaj s fotograjami avtorja knjige.
He was mainly devoted to photographing the alps and mountain villages. In 1890 he began collaborating with geologist Federico Sacco, producing footage to accompany various popular science articles and texts. In 1903, many of his images were published in a volume by Carlo Reynaudi dedicated to the Aosta Valley, while later, in 1934, several Gabinio's photographs were also included in a book by Federico Sacco, dedicated to the Alps, alongside Sacco's own images.
ŽIVLJENJE V HRIBIH / VITA DI MONTAGNA, 1930 ca. SONČNI ZAHOD NAD REKO PAD / TRAMONTO SUL PO, 1930 ca.
129 MARIO GIACOMELLI
(Senigallia, 1925 – Senigallia, 2000) Leta 1954 se na spodbudo Ferruccia Ferronija pridruži fotografski skupini »Misa« in v naslednjih letih ustvari nekaj svojih najbolj znanih serij, kot so Lourdes (1957), Scanno (1957/59), Zingari (1958), Loreto (1959), Pretini (1961/63) in La buona terra (1964/66). Tem sledijo krajinske fotograje, ki so mu prinesle mednarodni sloves: kmetom proti plačilu ponudi, da s svojimi traktorji na zemlji zarišejo določene sledi (avtor jih kasneje na fotograjah poudari) in na ta način neposredno delujejo na fotograrano pokrajino.
In 1954 he joined the photographic collective Misa, promoted by Ferruccio Ferroni, creating over the following years some of his most well-known series, including Lourdes (1957), Scanno (1957/59), Zingari (1958), Loreto (1959), Pretini (1961/63), and La buona terra (1964/66). These were followed by a series of landscapes, which would ultimately make him famous: he offered to pay the farmers to take their tractors and create specic patterns on the soil with their tracks. In this way, they intervened directly with the photographed landscape, while the photographer later accentuated their tracks in the printed works.
BREZ NASLOVA / SENZA TITOLO, 1960-’70 POKRAJINA / PAESAGGIO, 1970 ca.
130 WILHELM VON GLOEDEN
(Wismar, 1856 – Taormina, 1931) Del življenja je preživel v Taormini v Italiji in tam posnel fotograje, s katerimi je zaslovel. Snemal je akte sicilijanskih fantov v pastoralnem okolju, skupaj z amforami ali kostumi, ki se zgledujejo po antični Grčiji in spominjajo na idilično lokacijo v antiki in utopijo. Za doseganje popolnosti umetniških del je na inovativen način uporabljal fotografske ltre, izumil pa je tudi poseben losjon za kožo, narejen iz mešanice mleka, oljčnega olja in glicerina, s katerim je prekril nepravilnosti na koži.
He spent part of his life in Taormina, Italy, where he created the images that later made him famous: male nudes in the Sicilian pastoral environment, photographed with amphoras or in costumes inspired by ancient Greece, suggesting an idyllic antique setting, referring to Arcadia. The artistic perfection of his works was achieved also through an innovative use of photographic lters, and the invention of a skin lotion, which is a mixture of milk, olive oil and glycerin, used to conceal skin imperfections.
BREZ NASLOVA / SENZA TITOLO (Moški in ženska od zadaj / Uomo e donna di spalle), 1902
MLADA, SEDEČA SICILJANCA / DUE GIOVANI SICILIANI SEDUTI, 1900 ca.
131
INDUSTRIJA / INDUSTRY ALBERT RENGER-PATZSCH
(Würzburg, 1897 – Wamel bei Soest, 1966) Po študiju kemije je med letoma 1921 in 1925 deloval kot direktor slikovnega arhiva Folkwang Publishing Company v Hagnu in se kasneje pridružil gibanju »nova stvarnost«. Njegovo najbolj znano stvaritev, fotografsko zbirko Die Welt ist schön (Svet je lep, 1928), lahko obravnavamo kot neke vrste manifest: v nasprotju z likovno estetiko avtorja navdušujejo zlasti predmeti iz vsakodnevnega življenja, strojna oprema, urbana in industrijska krajina, ki jih predstavlja na ekstremno realističen način, pri tem pa uporablja močno, skoraj obsesivno osvetlitev, s katero poudari vsako podrobnost.
After graduating in chemistry in Dresden, he worked as head of the Photographic Department of the Folkwang Archives in Hagen, between 1921 and 1925. He is associated with the movement New Objectivity. His best known work, the photography collection Die Welt ist schön (The World Is Beautiful, 1928) can be considered a sort of a manifesto: in contrast to visual aesthetics, the author was fascinated especially by objects from the everyday life, such as machinery or urban and industrial landscapes, which he presents extremely realistically, using a very strong, almost obsessive lighting that highlights every detail.
ROGO-WERKE, 1936
BREZ NASLOVA / UNTITLED (Schubert & Salzer, Ingolstadt), 1950 ca.
PREDILNI STROJ / SPINNING MACHINE, 1950 ca.
134 WALKER EVANS
(Saint Louis, 1903 – New Haven, 1975) Delal je za Farm Security Administration (FSA, Uprava za kmetijsko varnost) in med potovanjem po državi s pomočjo socialne in dokumentarne fotograje dokumentiral posledice velike depresije iz leta 1929. Ob koncu tridesetih in v začetku štiridesetih je pričel s fotograranjem ljudi na newyorški podzemni železnici; fotograje so bile posnete na skrivaj s fotoaparatom, skritim pod jakno, in 25 let kasneje objavljene v knjigi z naslovom Many Are Called. Med 1940 in 1960 je deloval kot fotograf za številne revije, tudi za Time in Fortune.
He worked for the Farm Security Administration (FSA), documenting, throughout the nation, the effects of the Great Depression of 1929 through social documentary photography. Between the end of the thirties and the early forties, Walker decided to photograph people on the New York subway: photos were taken secretly, with his camera hidden inside his jacket, and were published 25 years later in a book „Many Are Called“. Between 1940 and 1960 he worked as a photographer for various magazines, including Time and Fortune.
CONTAINER CORPORATION LTD, 1950 ca.
135 BERND & HILLA BECHER
Bernhard Becher, imenovan Bernd (Siegen, 1931 – Rostock, 2007), in Hilla Becher, rojena Wobeser (Potsdam, 1934 – Düsseldorf, 2015), sta bila nemški umetniški tandem, poznana predvsem po svojem objektivnem črno-belem stilu, s katerim sta na tipološki način portretirala arhitekturne stavbe. Nastopala sta kot pedagoga in promotorja »düsseldorfske šole« fotograje, iz katere izhaja nekaj največjih imen sodobne fotograje, med njimi Andreas Gursky, Thomas Ruff in Candida Höfer. Za svoje delo sta prejela številne nagrade, tudi zlatega leva na beneškem bienalu, in nagrado fundacije Hasselblad.
Bernhard Becher, called Berndt (Siegen, 1931 – Rostock, 2007), and Hilla Becher, née Wobeser (Potsdam, 1934 – Düsseldorf, 2015), were a German artist duo, known especially for their objective black-and-white style used to typologically portray the architecture of buildings. They were pedagogues, and promoters of the so-called Dusseldorf School of photography, which produced some of the greatest names of contemporary photography, including Andreas Gursky, Thomas Ruff, and Candida Höfer. They received numerous awards for their work, including a Golden Lion at the Venice Biennial, as well as the Hasselblad Award.
HOCHOFEN YOUNGSTOWN OHIO, USA, 1981
136 UGO MULAS
(Pozzolengo, 1928 – Milano, 1973) S svetom umetnosti ga je povezoval privilegiran odnos, ustvarjal je reportaže o beneškem bienalu in delu različnih umetnikov. Leta 1971 se posveti seriji Veriche, sestavljeni iz dvanajstih del, ki vsako zase predstavljajo strukturno analizo tehničnih, jezikovnih in etičnih elementov fotograje skozi kompleksen sistem podob, naslovov in posvetil.
He had a privileged relationship with the art world, producing numerous coverages of the Venice Biennal, and documenting in general the work of many artists. Since 1971 he was committed to realizing the remaining works from the series Veriche, composed ultimately of twelve works, which constitute a structural analysis of the technical, linguistic, and ethical elements of photography through a complex system of images, titles and dedications.
TOVARNA OLIVETTI V IVREI / LE OFFICINE OLIVETTI AD IVREA, 1956
137 PAOLO MONTI
(Novara, 1908 – Milano, 1982) Sprva se je zanimal za amatersko fotograjo in se nato z njo začel ukvarjati še profesionalno. Specializiral se je za področje urbane krajine. Leta 1947 je skupaj z Lucianom Scattolo, Ginom Bologninijem in Giorgiom Brescianijem ustanovil fotografski krožek La Gondola, okoli katerega so se zbirali najbolj uspešni amaterski fotogra iz štiridesetih let.
A photographer who moved from photo-amateurism, through professional photography, to specialist urban landscape photography. In 1947 he founded, together with Luciano Scattola, Gino Bolognini, and Giorgio Bresciani, a photographic club called La Gondola, around which the most famous amateur photographers of the forties were gathered.
AMBROSOLI – MILANO, 1950 ca.
138 GABRIELE BASILICO
(Milano, 12. avgust 1944 – Milano, 13. februar 2013) S fotograjo se je začel ukvarjati v začetku sedemdesetih let in se pri tem posvetil predvsem dokumentiranju urbane pokrajine in milanskega predmestja; njegov prvi fotografski projekt je bil »Milano, portreti tovarn«. Med letoma 1984 in 1985 je s projektom »Bord de mer« kot edini Italijan sodeloval pri Mission Photographique de la DATAR, ki ga je francoska vlada zaupala skupini mednarodnih fotografov, da bi dokumentirali spreminjajočo se pokrajino.
Became a photographer in the early nineteen-seventies, focusing mostly on documenting urban landscapes and the Milan suburbs; his rst photographic project was Milan. Portraits of Factories. During 1984 and 1985 his project Bord de mer was the only Italian project in Mission Photographique de la DATAR, entrusted by the French government to a group of international photographers, to document the changing landscape.
ELEKTRARNA / CENTRALE ELETTRICA, 1970 -’80
MILANO, ANNI ’70
139 GILBERT FASTENAEKENS
Leta 1955 se je rodil v Bruslju, kjer živi in dela. Je predstavnik dokumentarnega fotografskega sloga, znan zlasti po nočnih urbanih krajinah, posnetih med letoma 1980 in 1987. V letu 1984 se je udeležil fotografske misije Datar, katere namen je bil dokumentirati francosko ozemlje; dela iz tega časa so objavljena v publikacijah Nocturnes in Eseji za imaginarno arheologijo (Essai pour une archeologie imaginaire). Leta 1986 je prejel Kodakovo nagrado fotografskih kritikov, leta 1993 pa je ustanovil založniško hišo ARP Editions in deluje kot njen urednik.
He was born in Brussels in 1955, where he lives and works. A representative of the documentary photographic style, Fastenaekens is known especially for his night-time urban landscapes, taken between 1980 and 1987. In 1984, he participated in the Datar Photographic Mission, documenting the territory of France. His work from this period was published in the books Nocturne and Essai pour une archeologie imaginaire. In 1986, he was awarded the Kodak Prize by photography critics and in 1993, he founded the ARP Editions and has since then been working as a publisher.
SIDÈRURGIE, ROMBARS, 1984
140 OLIVO BARBIERI
Rojen leta 1954 v Carpiju (MO) v Italiji, kjer živi in dela. V zgodnjem raziskovalnem delu se osredotoča na umetno razsvetljavo v evropskih in azijskih mestih. Od leta 1989 redno potuje na vzhod, predvsem na Kitajsko. Leta 2003 začne projekt Site Specic (fotograje in lmi), v katerega je vključenih več kot 40 mest; na to temo Aperture (New York, 2013) izda tudi knjigo Site Specic 03_13. V letih 1993, 1995, 1997 in 2011 sodeluje na beneškem bienalu. Razstavljal je v številnih pomembnih muzejih, med njimi so MoMA v San Franciscu, Centre Pompidou in Tate Modern.
Born 1954 in Carpi (MO), Italy where he lives and works. His early research work focused on articial lighting in European and Asian cities. Since 1989 he has travelled regularly to the East, mostly to China. In 2003 he initiated the project Site Specic (photographs and lms), with over 40 participating cities. A book on the project, entitled Site Specic 03_13, was published in 2013 by Aperture (New York). In 1993, 1995, 1997, and 2011, he participated in the Venice Bienniale, and exhibited in numerous other important museums, including the Museum of Modern Art in San Francisco, Centre Pompidou, and Tate Modern.
SOUTHAMPTON, ENGLAND, 1987
141 GUIDO GUIDI
Rojen je leta 1941 v Ceseni, kjer živi in ustvarja. Od konca šestdesetih let se posveča raziskovanju pokrajine in njenih transformacij, hkrati pa tudi jeziku fotograje. Leta 1989 skupaj s Paolom Costantinijem in Williamom Guerrierijem v Rubieri začne projekt Linea di Conne. Znan je zlasti po seriji raziskovalno obarvanih del, ki se med drugim dotikajo vprašanja nenačrtovanih gradenj v Romagni, vzdolž državne avtoceste Romea, ali v Porto Margheri; odlikujeta pa ga predvsem zanj značilen nenavaden barvni slog in pogled na pokrajino, ki se skozi umetnikove oči razkriva kot marginalna in ne spektakularna.
Born 1941 in Cesena; lives and works in Cesena, Italy. Since the late sixties his eld of research has revolved around the landscape and its transformations, as well as around the language of photography. In 1989, he initiates the project Linea di Conne in Rubiera, Italy, together with Paolo Costantini and William Guerrieri. He is famous for his series of research works, concerned, for example, with the issue of unplanned settlements in Romagna, alongside the Romea state highway, or in Porto Marghera. His works are characterized by his peculiar chromatic style, and a view of the landscape as marginal, rather than spectacular.
OD RIMINI NORD / DA RIMINI NORD, 1980 ca.
142 LEWIS BALTZ
(Newport Beach, 1945 – Pariz, 2014) Sodeloval je na zgodovinski razstavi New Topographics: Photographs of a Man-Altered Landscape (1975), ki se je odvijala v George Eastman House pod kuratorstvom Williama Jenkinsa, na njej pa so razstavljali še drugi izvirni fotogra, kot so Bernd in Hilla Becher, Robert Adams, Joe Deal, Nicholas Nixon in Stephen Shore. Objavil je več knjig, med njimi »The New Industrial Parks«, »San Quentin Point«, »Candlestick Point« in »Nevada«, ki vse po vrsti pričajo o škodi, ki jo je povzročil človek s svojo destruktivno tehnologijo.
He participated in the landmark exhibition New Topographics: Photographs of a Man-Altered Landscape (1975), curated by William Jenkins at the George Eastman House, which featured other prominent photographers such as Bernd and Hilla Becher, Robert Adams, Joe Deal, Nicholas Nixon, and Stephen Shore. Author of several books, among them "The New Industrial Parks", "San Quentin Point", "Candlestick Point", and "Nevada", all of which testify to the damage caused by man with his destructive technology.
DUŠE #1 / ANIME #01 (IZ / DA PLENTY), 2003
143 MARCO ZANTA
Rodil se je v Trevisu leta 1962, tam živi in ustvarja. S fotograjo se je začel ukvarjati v osemdesetih letih prejšnjega stoletja in se osredotočil zlasti na predstavitev urbanih območij. Izdal je več monograj, med njimi Rumore Rosso (Rdeči hrup, Charta, 2000) in UrbanEurope (Contrasto, 2008); njegova dela so bila predstavljena v različnih galerijah in mednarodnih inštitucijah, med drugim v Kanadskem centru za arhitekturo v Montrealu, v bruseljskem Espace Contretype, na milanskem trienalu, v marsejskem Maison de l'Architecture in na beneškem umetnostnem bienalu.
Born 1962 in Treviso; lives and works in Treviso, Italy. Marco Zanta has been a photographer since the mid- 1980s. His work focuses on the representation of urban spaces. He has published several monographs, including Rumore Rosso (Red Noise, Charta, 2000), and UrbanEurope (Contrast, 2008), and presented his works in various galleries and international institutions, including C.C.A. of Montreal, Espace Contretype of Brussels, the Milan Triennal, Maison de l'Architecture in Marseille, and the Venice Biennial.
BREZ NASLOVA / SENZA TITOLO, 2000
144 LEWIS HINE
(Oshkosh, Wisconsin, 1874 – Dobbs Ferry, New York, 1940) Rodil se je leta 1874 v Oshkoshu in je eden prvih fotografov, ki uporablja fotograje kot sredstvo družbenega protesta. Med letoma 1904 in 1909 dokumentira prihode imigrantov, neustrezna prenatrpana bivališča in zavzetje tovarn in trgovin. V letu 1908 postane uradni fotograf organizacije National Child Labor Committee, ki skrbi za nadzor nad izkoriščanjem otroške delovne sile v težki industriji, predvsem v rudnikih in tovarnah, ter izpostavlja nevzdržne pogoje. Leta 1918 na prošnjo mednarodnega Rdečega križa odpotuje v Evropo, da bi posnel stanje v državah starega kontinenta, ki jih je opustošila prva svetovna vojna.
Born 1874 in Oshkosh, Hine is one of the rst photographers who used his camera as a tool for social reform. Between 1904 and 1909, he recorded the arrival of immigrants, their overcrowded and unhealthy housing conditions, and the occupation of factories and shops. In 1908, he became the ofcial photographer of the National Child Labor Committee, an organization created to combat child labor in heavy industry, such as mines and factories, underlining their intolerable conditions. In 1918 he traveled to Europe to document, at the request of the International Red Cross, the situation of the countries of the Old Continent devastated by the First World War.
ITALIJANSKA PRISELJENKA / IMMIGRANTE ITALIENNE OTROCI - DELAVCI / CHILD LABOURERS, 1910 À L'ATELIER DE HULL HOUSE, 1910
HOLLAND MANUFACTURING COMPANY, 1908-09
145 AUGUST SANDER
(Herdorf, 1876 – Köln, 1964) Bil je eden najpomembnejših portretnih fotografov dvajsetega stoletja. Njegova prva knjiga Antlitz der Zeit (Obrazi našega časa), izdana leta 1929 in v obdobju nacizma označena za sporno, je kolektivni portret nemške družbe. Dela, objavljena v tej knjigi, so bila kasneje vključena v monografsko publikacijo Menschen des 20. Jahrhunderts (Ljudje 20. stoletja), ki zajema 60 portretov in želi prikazati izsek družbe v Weimarski republiki. Sander je želel skozi izčrpen prikaz vseh poklicev, obrti in družbenih razredov dokumentirati družbeno strukturo Nemčije po prvi svetovni vojni ter tako ustvariti univerzalni portret človeštva.
He was one of the most important portrait photographers of the twentieth century. His rst book Antlitz der Zeit (Face of Our Time), published in 1929, and labeled as highly controversial during the Nazi period, is a collective portrait of the German society. The works published in this book were subsequently included in the monographic publication Menschen des 20 Jahrhunderts (People of the 20th Century), which contains a series of 60 portraits, and aims to point to a cross-section of the society of the Republic of Weimar. Sander tried to document the social structure of Germany in the post-war years through a comprehensive presentation of all the trades, professions, and social classes, creating a universal portrait of humanity.
VOJAKI ANGLEŠKIH OKUPACIJSKIH SIL / SOLDATEN DER ENGLISCHEN BESATZUNGSTRUPPEN, 1924
146 SEBASTIÃO SALGADO
Leta 1944 v Aimorésu rojeni umetnik živi in dela v Parizu. Po študiju ekonomije in statistike se je v začetku sedemdesetih pričel ukvarjati s fotografskim novinarstvom. Zaslovel je z delom Workers (Delavci), ki je bilo objavljeno leta 1993 in vsebuje okoli 350 fotograj, ki skupaj tvorijo ogromen mozaik na temo izkoriščanja in zičnega dela. Kasneje je svojo pozornost usmeril na področje človeških migracij in leta 2000 izdal publikacijo Migrations: Humanity in Transition (Migracije: človeštvo na prehodu).
Born 1944 in Aimorés, Brazil; lives and works in Paris, France. After studying economics and statistics, he was drawn to photographic journalism at the beginning of the 1970s. The work that made him famous, Workers (1993), collects about 350 photographs that constitute a colossal fresco, dedicated to workers' exploitation and manual labor around the world. He later focused his attention on the topic of human migration, publishing Migrations: Humanity in Transition in 2000.
SIERRA PELADA, 1980 ca.
147 BORIS MIKHAILOV
Rodil se je v Harkovu v Ukrajini leta 1938, živi in dela v Berlinu. V času sovjetskega režima je bil zaposlen kot inženir v eni od tovarn v Harkovu in se hkrati posvečal svoji strasti do fotograje; svoja dela je razstavljal že v šestdesetih letih. Ko so agenti KGB-ja odkrili nekaj golih posnetkov njegove žene in ga obtožili distribucije pornograje, je moral zapustiti svoje delovno mesto. Med opravljanjem priložnostnih del je svoj prosti čas izkoristil za nadaljnjo raziskovanje. V svojih fotografskih serijah se Mikhailov posveča različnim družbenim vprašanjem na podlagi konkretnih primerov, ki kažejo na stanje v družbi in na spremembe, ki jih je povzročila perestrojka.
Born in Kharkiv in the Ukraine in 1938; lives and works in Berlin. During the Soviet regime, while working as an engineer in a Kharkiv factory, he also pursued his passion for photography, with his rst exhibitions dating back to the 1960s. After KGB agents discovered some nude shots of his wife, he was accused of distributing pornography, and was dismissed from his employment. Forced to survive on casual jobs, he used his extra time to carry on with his research. In his photographic series, Mikhailov addressed various social issues, using concrete examples to point to the state of the society, and to the changes caused by perestroika. BREZ NASLOVA / UNTITLED (iz serije / from “BY THE GROUND”), 1991
BREZ NASLOVA / UNTITLED (iz serije / from “BY THE GROUND”), 1991
148 HIBRIDNO / HYBRID WILLIAM EGGLESTON
Živi in dela v Memphisu, kjer se je rodil leta 1939. Kot pionir barvne fotograje je leta 1974 prejel Guggenheimovo štipendijo in s prejetim denarjem posnel serijo z naslovom Los Alamos, saj je ravno obiskal območje jedrskih poskusov v New Mexicu. Sestavljajo jo podobe s potovanj po Mississippiju, New Orleansu in južni Kaliforniji. Dokončno se je uveljavil z razstavo v Muzeju moderne umetnosti v New Yorku leta 1976. V razstavnem katalogu (William Eggleston's Guide) pripoveduje o svojem prvem srečanju s tedanjim direktorjem muzeja, Johnom Szarkowskim, o svojih strahovih pa tudi o svoji nameri, da osvobodi barvno fotograjo od številnih predsodkov, ki jih je bila deležna v tistih časih.
Born 1939 in Memphis, USA; lives and works in Memphis. This pioneer of color photography was awarded a Guggenheim Fellowship grant in 1974. With the money he received he created a series of works titled Los Alamos, since he had recently visited the nuclear test site in New Mexico. The images were created during his travels across Mississippi, New Orleans, and Southern California. He nally established himself as a full-edged artist with an exhibition at the Museum of Modern Art in New York in 1976. In the exhibition catalog, titled William Eggleston's Guide, the photographer recounts his rst meeting with the then museum director, John Szarzowsky, revealing his initial fears, but also his idea of liberating color photography of the many prejudices still associated with it in those times.
BREZ NASLOVA / UNTITLED, 1970
150 STEPHEN SHORE
Ta inovativen fotograf se je rodil leta 1947 v New Yorku, kjer živi in ustvarja. Njegova dela so bila razstavljena v newyorškem Metropolitan Museum of Art, ko je imel šele štiriindvajset let. Je mojster barvne fotograje, znan zlasti po seriji American Surfaces, ki predstavlja skupek slik s potovanja po Ameriki iz leta 1973, ko je posnel vse, kar je srečal na poti: sobe, v katerih je spal, zaužite obroke, ljudi, bencinske črpalke in drugo.
Born 1947 in New York; lives and works in New York. The rst exhibition of works by this innovative photographer was shown at the Metropolitan Museum in New York, when he was only twenty-four. He is a master of color photography, especially known for his American Surfaces series, a collection of travel images created in 1973 during his journey across the United States, portraying everything he had met along the way, including rooms where he slept, meals he ate, people, gas service stations, and other.
WEST 4TH ST., LITTLE ROCK, ARKANSAS. OCTOBER 5, 1974-1975
151 JOEL MEYEROWITZ
Rodil se je leta 1938 v New Yorku. Od konca šestdesetih dalje je razvijal umetniški izraz, ki je omogočal izboljšanje barvnega in opisnega potenciala fotografskega medija in ki se ga da razpoznati iz njegovih barvnih fotograj. Temu obsežnemu področju raziskovanja lahko pripišemo krajine, ki jih je posnel leta 1976 za serijo posvečeno Cape Codu in ki so bile leta 1979 objavljene v zbirki Bay/Sky/Porch, leta 1985 pa v A Summer's Day.
Born 1938 in New York. Since the late 1960s, he developed his artistic expression, which enabled him to enhance the chromatic and descriptive potential of the photographic medium, recognizable in his color photographs. This extensive research phase comprises the landscapes created in 1976 for a series dedicated to Cape Cod (published in Bay / Sky / Porch, 1979, and in A Summer's Day, 1985).
ST. LOUIS, MC DONALD’S, TWO ARCHES, 1978
152 LEWIS BALTZ
(Newport Beach, 1945 – Pariz, 2014) Sodeloval je na zgodovinski razstavi New Topographics: Photographs of a Man-Altered Landscape (1975), ki se je odvijala v George Eastman House pod kuratorstvom Williama Jenkinsa, na njej pa so razstavljali še drugi izvirni fotogra, kot so Bernd in Hilla Becher, Robert Adams, Joe Deal, Nicholas Nixon in Stephen Shore. Objavil je več knjig, med njimi »The New Industrial Parks«, »San Quentin Point«, »Candlestick Point« in »Nevada«, ki vse po vrsti pričajo o škodi, ki jo je povzročil človek s svojo destruktivno tehnologijo.
He participated in the landmark exhibition New Topographics: Photographs of a Man-Altered Landscape (1975), curated by William Jenkins at the George Eastman House, which featured other prominent photographers such as Bernd and Hilla Becher, Robert Adams, Joe Deal, Nicholas Nixon, and Stephen Shore. Author of several books, among them "The New Industrial Parks", "San Quentin Point", "Candlestick Point", and "Nevada", all of which testify to the damage caused by man with his destructive technology.
SAN QUENTIN POINT 10A, 1984
153 LUIGI GHIRRI
(Fellegara, 1943 – Roncocesi, 1992) V sedemdesetih letih je pod vplivom konceptualne umetnosti ustvaril vrsto del, ki raziskujejo koncept vizije: naravne in umetne podobe, dvoumnost sodobne krajine, navajanje zgodovine, podobe potrošništva. Zlasti pomembna so njegova fotografska raziskovanja, usmerjena k pokrajini in arhitekturi, k čemer ga je spodbudil Aldo Rossi, ter razstave, ki so globoko zaznamovale zgodovino italijanske fotograje; med slednjimi velja omeniti predvsem Viaggio in Italia (1984) in Esplorazioni sulla Via Emilia (1986).
During the 1970s, inuenced by conceptual art, Ghirri produced a series of works exploring the very concept of vision: the natural and the articial image, the ambiguity of the contemporary landscape, the quotation of history, the imagery of consumerism. His photographic landscape- and architecture-oriented research (encouraged by Aldo Rossi), as well as his exhibitions, have left an important mark on the history of Italian photography, especially his Viaggio in Italia (1984), and Esplorazioni sulla Via Emilia (1986).
PARK CASTELLO / PARCO CASTELLO, 1980 ca.
POKRAJINA / LANDSCAPE, 1988
RIM / ROMA, 1980
VIA L. MAINO, ANNI ’80
154 VINCENZO CASTELLA
Leta 1952 v Neaplju rojeni umetnik živi in dela v Milanu. Njegovo prvo pomembnejše fotografsko delo, Geograa privata, je serija barvnih fotograj interierjev, nastala med leti 1975 in 1982. Leta 1991 je sledil projekt Zone, od leta 1997 dalje pa je začel ustvarjati delo Città Nomadi, v katerem se je osredotočil na sodobna zahodna mesta. Leta 1994 je nastal projekt Buildings, z urbanimi portreti, posnetimi iz velikih višin. Njegova dela so bila med drugim razstavljena na milanskem bienalu in trienalu.
Born 1952 in Naples; lives and works in Milan. His rst notable photographic work, Geograa Privata, is a series of color shots of interiors, created between 1975 and 1982. In 1991, project Zone followed, while he has been working on Città Nomadi since 1997, focusing on modern, Western cities. From 1994 onwards he has been devoted to his project Buildings, a cycle od urban portraits, shot from great altitudes. Among other, his works have appeared at the Milan Biennial and Triennial.
ITALIJANSKA POKRAJINA / PAESAGGIO ITALIANO, 1982
155 GIOVANNI CHIARAMONTE
Rodil se je leta 1948 v Vareseju, živi in ustvarja v Milanu. V začetku šestdesetih sta imela nanj velik kulturološki vpliv kinematograja Andreja Tarkovskijega in teologija Pavla Evdokimovega in Oliviera Clementa. Leta 1974 je v galeriji Il Diaframma ustanovitelja Lanfranca Colomba razstavljal deli Sequenza nel tempo in Dov'è la nostra terra. V 1977 z Luigijem Ghirrijem ustanovita založniško hišo Punto e Virgola. Leta 1984 skupaj z drugimi fotogra Ghirrijevega kroga sodeluje na zgodovinski razstavi Viaggio in Italia, dve leti kasneje pa še na Esplorazioni sulla via Emilia.
Born 1948 in Varese, Italy, lives and works in Milan. In the beginning of the sixties, he was signicantly inuenced by the culture of Andrei Tarkovsky's cinematography, and by the theology of Paul Evdokimov and Olivier Clement. In 1974, his works Sequenza nel tempo in Dov’è la nostra terra were exhibited at Lanfranco Colombo's Il Diaframma Gallery. In 1977 he co-established the Punto e Virgola publishing house together with Luigi Ghirri. Alongside other photographers from Ghirri's circle he participated in the historic exhibition Viaggio in Italia, and two years later in Esplorazioni sulla via Emilia.
POTOVANJE PO ITALIJI / VIAGGIO IN ITALIA, 1996
156 GUIDO GUIDI
Rojen je leta 1941 v Ceseni, kjer živi in ustvarja. Od konca šestdesetih let se posveča raziskovanju pokrajine in njenih transformacij, hkrati pa tudi jeziku fotograje. Leta 1989 skupaj s Paolom Costantinijem in Williamom Guerrierijem v Rubieri začne projekt Linea di Conne. Znan je zlasti po seriji raziskovalno obarvanih del, ki se med drugim dotikajo vprašanja nenačrtovanih gradenj v Romagni, vzdolž državne avtoceste Romea, ali v Porto Margheri; odlikujeta pa ga predvsem zanj značilen nenavaden barvni slog in pogled na pokrajino, ki se skozi umetnikove oči razkriva kot marginalna in ne spektakularna.
Born 1941 in Cesena; lives and works in Cesena, Italy. Since the late sixties his eld of research has revolved around the landscape and its transformations, as well as around the language of photography. In 1989, he initiates the project Linea di Conne in Rubiera, Italy, together with Paolo Costantini and William Guerrieri. He is famous for his series of research works, concerned, for example, with the issue of unplanned settlements in Romagna, alongside the Romea state highway, or in Porto Marghera. His works are characterized by his peculiar chromatic style, and a view of the landscape as marginal, rather than spectacular.
BREZ NASLOVA / SENZA TITOLO (iz / da "STRADA OVEST 04.02"), 2002
157 WILLIAM GUERRIERI
Leta 1952 se je rodil v Rubieri, v pokrajini Reggio Emilia, kjer živi in dela. Od začetka devetdesetih se posveča raziskovanju negotove identitete javnih krajev, ki so postali odlagališča kolektivnega spomina. S pomočjo anonimnih in arhivskih posnetkov pripoveduje o ljudeh, ki so nekoč predstavljali te kraje in se z njimi poistovetili, ter tako ponuja umetniški odgovor na nevarnost, ki jo predstavlja kulturna homogenizacija. Guerrieri je direktor in skupaj z Guidom Guidijem in Robertom Marginijem tudi idejni vodja projekta Linea di Conne, ki je nastal leta 1990 v Rubieri kot laboratorij za fotografsko raziskovanje območja.
Born 1952 in Rubiera in Reggio Emilia; lives and works in Rubiera. From the early 1990s onwards, his research has been aimed at investigating the uncertain identity of public places that have become repositories of collective memory. Using anonymous and archive images he tells the story of people, who once represented and became identied with these places, thus offering an artistic response to the danger of cultural homogenization. In addition to his role as an author, Guerrieri is a co-creator (together with Guido Guidi and Roberto Margini) and director of the Linea di Conne project, created in 1990 in Rubiera as a laboratory for photographic surveying of the territory.
ORDINACIJA / AMBULATORIO, 1991
158 THOMAS RUFF
Rodil se je leta 1958 v mestu Zell am Harmersbach, živi in dela v Düsseldorfu. Kot predstavnik düsseldorfske šole je pod mentorstvom zakoncev Becher od sredine osemdesetih dalje izvajal vrsto večplastnih raziskav in pri tem, kljub različnim načinom pristopanja, vseskozi ohranjal pozornost na fotograji kot analitičnem orodju in dokumentarnem sredstvu. To je značilno tako za portrete, zamišljene kot velike fotografske izkaznice, kot za nočne posnetke skozi vojaški daljnogled iz devetdesetih ter nenazadnje tudi za digitalno manipulirane fotograje, ki so sestavni del njegove umetniške prakse.
Born 1958 in Zell am Harmersbach, Germany; lives and works in Düsseldorf. As a representative of the Düsseldorf School, and under the guidance of the Bechers, he has developed since the mid-1980s a series of complex research works, in which, despite the great diversity of approaches to this medium, he has kept a constant attention on photography as an analytical tool and a means of documentation. His works range from portraits, designed as giant identity cards, through night-vision images created with the help of military binoculars during the nineties, to digitally manipulated images, which became an integral part of his artistic practice.
HIŠA ŠT. 5 / HAUS NR. 5, 1982
159 AXEL HÜTTE
Rodil se je v Essnu leta 1951, živi in dela v Düsseldorfu. Kot učenca zakoncev Becher ga pri ustvarjanju zanima tema krajine, tako naravne kot urbane, ki jo posnema s pomočjo dokumentarne estetike. Za njegove podobe je značilno napeto in brezčasno vzdušje. Zanima se tudi za idejo čistega, zato skozi leta večkrat potuje na popolnoma nedotaknjena območja, kot so arktični ledeniki, deževni pragozd in puščave. Njegova dela so bila med drugim razstavljena v pariškem muzeju sodobne umetnosti in v madridskem muzeju Reina Soa.
Born 1951 in Essen, Germany; lives and works in Düsseldorf. As a student of Bernd Becher, his creations focus on urban and natural landscapes, portrayed through a documentary-style aesthetics. Because of long exposure times, his images possess an air of suspension, and an atmosphere of timelessness. He is also interested in the idea of a purity in a photograph, having spent many years traveling to unspoiled places like the arctic glaciers, rainforests, or deserts. His works have been exhibited, among others, at the Museum of Modern Art in Paris, and at the Queen Soa Arts Center in Madrid.
MONTEMOR O NOVO I & II, PORTUGALSKA / PORTUGAL, 1993
160 PHILIP-LORCA DICORCIA
Leta 1951 v Hartfordu rojeni umetnik živi in deluje v New Yorku. Zahvaljujoč bogatim izkušnjam v lmski industriji je razvil edinstven jezik, ki združuje dokumentarno tradicijo s kcijo kina in reklam ter na ta način ustvarja podobe, ki nihajo med resničnostjo, fantazijami in željami. Fotograf pri svojem delu kombinira fotograje z natančnimi scenskimi kompozicijami, naravno in umetno osvetlitev ter simbolične detajle z nenasičenimi barvami.
Born 1951 in Hartford, USA; lives and works in New York. Thanks to rich experience from the movie industry, he has developed a unique language, which brings together the documentary tradition with the ction of movie theaters and advertisements, creating images that swing between reality, fantasy, and desire. In his work, he combines photographs with precise stage-set compositions, natural light with articial lighting, and symbolic details with unsaturated colors.
NEAPELJ / NAPLES, 1995
161
LAND ART LUCA MARIA PATELLA
Rodil se je leta 1934 v Rimu, kjer živi in ustvarja. Je večplasten avtor, ki se ukvarja s slikarstvom, z oblikovanjem predmetov, instalacijami, videi, s fotograjo in lmom, z grako in novimi koncepti knjig in pisanja. V šestdesetih letih je s svojimi predlogi, odprtimi za medije in tehnične raziskave, sledil konceptualnim trendom, po katerih se zgledujejo še danes. Prvič se je predstavil v rimski galeriji L'Attico z delom Ambiente proiettivo animato (1966 - 1968) in s lmoma Terra animata (1967) in SKMP2 (1968).
Born 1934 in Rome; lives and works in Rome, Italy. He is a very versatile author, working in painting, creating objects-sculptures and installations, as well as photography, lm, videos, graphics, and introducing new concepts of books and writing. In the 1960s, with his proposals open to media and technical research, he has set many conceptual tendencies, which are still considered today as a reference point. His rst exhibition was held at L'Attico Gallery in Rome, showcasing his work Ambiente proiettivo animato (1966 - 1968), and his two lms, Terra animata (1967), and SKMP2 (1968).
IZ FILMA: ANIMIRANA ZEMLJA / DA: TERRA ANIMATA, 1967
164 GER VAN ELK
(Amsterdam, 1941 - Amsterdam, 2014) Sodeloval je na zgodovinskih razstavah Op Losse Schroeven' v amsterdamskem Stedelijk Museumu (1969) in When Attitudes Become Form v bernski Kunsthalle (1969), ki sta zaznamovali konceptualno umetnost v Evropi. Dela z različnimi mediji, od skulpture, fotograje in videa, ter razvija konceptualne procese po navdihu dadaizma. Umetnik sam razkriva, da pri delu teži k ustvarjanju »realističnih upodobitev nerealističnih situacij«; s pomočjo majhnih, a vznemirjajočih posegov postavlja povsem običajne prizore v absurdne dimenzije.
He participated in the historic exhibitions Op Losse Schroeven' at the Stedelijk Museum (1969), and When Attitudes Become Form at the Kunsthalle in Bern (1969), exhibitions that dened the era of conceptual art in Europe. Working with numerous media, from sculpture to photography and video, and developing conceptual processes inspired by the Dada movement, the artist himself reveals that with his work he aspires to create "realistic depictions of unrealistic situations", shifting ordinary scenes to absurd dimensions through the use of little, but disturbing interventions.
BREZ NASLOVA / UNTITLED, 1968
165 PETER HUTCHINSON
Rodil se je leta 1930 v Londonu, živi v Princetownu. Je konceptualni umetnik in eden od pionirjev land arta, večino svojih okoljskih intervencij je izvedel v Združenih državah. Zahvaljujoč angleškim koreninam navdih črpa iz krajinskega slikarstva in vrtne umetnosti, tako da izvaja intervencije v naravi, s katero se želi povezati in preučiti njene procese in spremembe. Med svojimi potovanji po vsem svetu je zbiral najdene predmete in jih organiziral na način, da je z njimi ustvaril nove krajine, barvite in idealne, vsa njegova dela pa vsebujejo tudi lastnoročno napisane opombe.
Hutchinson was born in London in 1930 and currently lives in Provincetown. He is a conceptual artist and one of the pioneers of Land Art, realizing most of his environmental interventions in the United States. Due to his English roots, he is inspired by landscape painting and garden art, conceiving interventions in nature and trying to integrate with it while simultaneously examining its processes and recurring changes. During his travels around the world, he collects found objects and organizes them in a way that creates new, colorful and ideal landscapes, all of which contain a handwritten note from the artist.
TRIKOTNIK JABOLK / APPLE TRIANGLE, 1970
166 BILL BECKLEY
Rodil se je leta 1946 v Hamburgu, živi in dela v New Yorku. Uvrščamo ga med ustanovitelje narrative arta, gibanja iz začetka sedemdesetih let, ki izhaja iz konceptualnih raziskav, katerih namen je izpostaviti, kako slike, zlasti fotografske, in besede vzpostavljajo odnose zunaj vsakršne medsebojne podrejenosti. Je raziskovalni umetnik, ki preučuje izrazne možnosti performansov in spada med prve umetnike, ki so barvni fotograji podarili estetsko dostojanstvo.
He was born in 1946 in Hamburg, he lives and works in New York. Beckley is one of the founders of Narrative Art, a movement formed at the beginning of seventies in the wake of conceptual research, aiming to highlight how images, mostly photographic, and words establish relationships outside of any mutual subordination. As an experimenting artist, he explores the expressive potential of performance and was among the rst artists to attribute an aesthetic value to color photography.
HODIL SEM... / I WAS WALKING…, 1974
167 RICHARD LONG
Rodil se je v Bristolu leta 1945, tam živi in ustvarja. Od nekdaj je kazal veliko zanimanje za odnos med umetnostjo in naravo in je eden od protagonistov »land arta« oz. krajinske umetnosti. Ustvarja dela, ki prikazujejo harmoničen odnos med naravo in krajino; sledi od hoje na zemlji, preproste geometrične skulpture iz naravnih materialov, izdelane in situ ali reproducirane v razstavnih prostorih. Leta 1972 je sodeloval na Documenti v Kasslu, leta 1976 se je predstavil na beneškem bienalu, v letu 1989 pa je prejel Turnerjevo nagrado londonske Tate Gallery.
Born 1945 in Bristol; live sand works in Bristol, UK. He has always been proundly interested in the relationship between art and nature, and has become one of the protagonists of land art, creating works centered around a constant harmonic relationship between nature and landscape: traces left by his walking; simple geometric sculptures made from natural materials, made in situ or reproposed in exhibition environments. In 1972 he attended Documenta in Kassel and in 1976 exhibited at the Venice Biennale; he won the Turner Prize at the Tate Gallery in London (1989).
SREDA - POČASI SE PREMIKAM / WEDNESDAY - MOVING SLOWLY', 1971
168 DENNIS OPPENHEIM
(Electric City, 1938 – New York, 2011) Je predstavnik konceptualne umetnosti in avtor okoljskih intervencij ter performansov (Annual rings, 1968: sledi v snegu in na zamrznjeni reki, Directed seeding wheat, 1968); zasnoval je ogromne kinetične skulpture in dela, ki v ustreznem merilu reproducirajo najbolj običajne vsakdanje predmete. Od sredine osemdesetih let dalje se v njegovih delih, velikokrat zaznamovanih z ironijo, vse pogosteje pojavljajo mutirani in popačeni predmeti.
He is a representative of conceptual art, and the author of environmental interventions, environments, and performances (Annual rings, 1968, a series of rings carved in the snow and on the frozen river surface; Directed seeding wheat, 1968). He designed giant kinetic sculptures and works that reproduce to scale the most common everyday objects. From the mid-eighties onward, his works, enormous imaginary objects, mutant and distorted, are all pervaded by a new violent and playful irony.
ODSEK IDENTITETE / IDENTITY STRETCH, 1975
169 UGO LA PIETRA
Rodil se je leta 1938 v mestu Bussi sul Tirino, živi in dela v Milanu kot arhitekt in oblikovalec. Leta 1963 je bil med ustanovitelji skupine Gruppo del Cenobio. Spada med inovatorje radikalnega oblikovanja, proslavil pa se je tudi kot krajinar in organizator razstav, ki so požele velik uspeh v Evropi in na Japonskem; omeniti velja Cinquanta anni di architettura italiana 1928/78 (Petdeset let italijanske arhitekture 1928/78), ki se je leta 1978 odvijala v Milanu. Njegovo intenzivno in vplivno raziskovanje estetike je dalo zanimive rezultate na področju odnosov med človekom in okoljem. Oblikoval je tudi številne izvirne kose opreme za različne industrije.
Born 1938 in Bussi sul Tirino, Italy; lives and works in Milan. Ugo la Pietra is an architect and designer, who was among the founders of the Cenobio Group in 1963. This innovative radical design artist also distinguished himself as a designer and organizer of highly successful exhibitions in Europe and Japan, including Cinquanta anni di architettura italiana 1928/78 (Fifty Years of Italian Architecture 1928/78; Milan 1978). His intense and inuential aesthetic research has produced interesting results on the subject of the relationship between the individual and the environment. He designed a variety of original pieces for various industries.
OKREVANJE IN PONOVNO ODKRITJE / RECUPERO E REINVENZIONE, 1969-70
170 GINA PANE
(Biarritz, 1939 – Pariz, 1990) Ob koncu šestdesetih let postane ena vodilnih mednarodnih predstavnic telesne umetnosti oziroma body arta. Med performansi postavi na ogled svoje lastno telo, na koncu pa ostanejo fotograje kot simbolična sled njenih dejanj. Leta 1974 izvede svoj najznamenitejši performans, Azione sentimentale (Sentimentalno dejanje), v milanski galeriji Diagramma. V letu 1972 sodeluje na beograjskem bienalu, leta 1977 na Documenti v Kasslu in leta 1980 na beneškem bienalu.
By the end of the 1960s she became one of the leading artists on the international body art scene. During her performances she staged her own body, with photographs remaining after as a symbolic trace of her actions. In 1974 she delivered her most famous performance, Azione sentimentale (Sentimental Action), at the Diagramma Gallery in Milan. She participated in the Belgrade Biennial (1972), at the Documenta in Kassel (1977), and in 1980 at the Venice Biennial.
TERRE PROTEGÈE II, 1970
DUXIEME PROJET DU SILENCE, 1970
171 LAPO BINAZZI (UFO)
Rodil se je leta 1943 v Firencah, kjer živi in ustvarja. Leta 1967 skupaj s Carlom Bachijem, Patrizio Cammeo, Riccardom Foresijem, Sandrom Giolijem in Tittijem Maschiettom na krilih študentskih protestov, ki so zajeli Fakulteto za arhitekturo v Firencah, ustanovi UFO, skupino radikalnih arhitektov, za katero je značilen nespoštljiv in ironičen odnos do meščanskih navad.
Born 1943 in Florence, lives and works in Florence, Italy. In 1967, together with Carlo Bachi, Patrizia Cammeo, Riccardo Foresi, Sandro Gioli, and Titti Maschietto, given wing by the student protests that erupted at the Faculty of Architecture, they establish UFO, a radical architecture group, which adopted a desecrating and ironic approach to bourgeois habits.
VRTOVI / ORTI, 1970
172 JOCHEN GERZ
Rodil se je leta 1940 v Berlinu, živi in dela na Irskem. Kot konceptualni umetnik ustvarja dela, ki temeljijo na odnosu med umetnostjo in življenjem, med zgodovino in spominom, ter se ukvarja s pojmi, kot so kultura, družba, javni prostor, participacija in javno avtorstvo. Kariero je začel na literarnem področju, medtem pa raziskoval tudi številne druge umetnostne zvrsti in medije. Ne glede na to, ali ustvarja besedila, fotograje, videe, knjige umetnika, instalacije, performanse ali javna avtorska dela, je njegovo raziskovanje vedno usmerjeno v iskanje tistih oblik umetnosti, ki bi lahko prispevale k demokraciji.
Born 1940 in Berlin, Germany; lives and works in Ireland. This conceptual artist creates works based on the relationship between art and life, between history and memory; and deals with concepts such as culture, society, public space, participation, and public authorship. He began his career in the literary eld, exploring several other artistic disciplines and media in the meantime. Whether he works with text, photography, videos, artist's books, installation, performances, or public works and pieces of art, Gerz's practice is always in search of a form of art, which could contribute to democracy.
VSE GORE / ALL THE MOUNTAINS, 1975
173 HAMISH FULTON
Rodil se je leta 1946 v Londonu, živi in dela v Canterburyju. Od leta 1972 ustvarja dela, ki temeljijo na izkušnji sprehoda, ki ga umetnik prevaja v različne medije, kot so fotograja, ilustracije in stenski napisi. Leta 1994 prične s prakticiranjem skupinskih sprehodov in ugotavlja, da »je hoja sama po sebi umetnost«. Razstavljal je v številnih muzejih, med njimi Tate Britain (London) in newyorški Muzej moderne umetnosti MoMA.
Born 1946 in London, lives and works in Canterbury, UK. Fulton is a British walking artist. Since 1972 he has only made works about the experience of walking. He translates his walks into a variety of media, including photography, illustrations, and wall texts. Since 1994 he has begun practicing group walks, arguing that 'walking is an artform in its own right'. His work has been presented in numerous museums, including Tate Britain in London, and MoMA in New York.
BREZ NASLOVA: 2. DAN / UNTITLED: DAY 2, WALES ENGLAND, POLETJE / SUMMER, 1987
174 SODOBNO / CONTEMPORARY WALTER NIEDERMAYR
Rodil se je v Bolzanu leta 1952, kjer živi in dela. Njegova pozornost je usmerjena k alpski krajini in dokumentiranju posledic, ki jih za sabo puščata masovni turizem in industrializacija, njegova ustvarjalnost pa se izraža v serijskih projektih »v teku«, za katere je značilno opuščanje ene same podobe v korist kompozicij na večih zaslonih, ustvarjanje prekinitev in prostorsko-časovno prekrivanje. Ta pristop je mogoče najti v fotografskih nizih Alpine Landschaften iz leta 1987, Raumfolgen iz 1991, Rohbauten iz 1997 in v Bildraum iz leta 2001.
Born 1952 in Bolzano, Italy; lives and works in Bolzano. He focuses on the Alpine landscape, observing the consequences left behind by mass tourism and industrialization. His creative air nds expression in "on- going" projects, in which abandoning the single image in favor of multiple screen compositions creates space-time interruptions and overlays. This approach can be observed in his series Alpine Landschaften (1987), Raumfolgen (1991), Rohbauten (1997), and Bildraum (2001).
MARMOLADA, ZATOČIŠČE / RIFUGIO SERAUTA, 1993
176 FRANCESCO JODICE
Leta 1967 v Neaplju rojeni Jodice živi in dela v Milanu. Pri umetniškem raziskovanju preučuje spremembe v sodobni družbeni krajini, posebno pozornost pa posveča novim pojavom v urbani antropologiji. S svojimi projekti želi vzpostaviti povezavo med umetnostjo in geopolitiko, in sicer na način, da umetniško prakso predstavi kot civilno poezijo. Je eden od ustanoviteljev kolektivov Multiplicity in Zapruder, sodeloval je na večih razstavah, med njimi na Documenti, beneškem bienalu in bienalu v Sao Paulu. Med njegovimi projekti so najbolj izpostavljeni fotografski atlas What We Want in lmska trilogija Citytellers, ki pripoveduhe o novih oblikah urbanizma.
Born 1967 in Naples; lives and works in Milan, Italy. His artistic research investigates the changes in the contemporary social landscape, underlining new relevant phenomena occurring in urban anthropology. His projects aim at building a common ground between art and geopolitics by proposing the practice of art as civil poetics. He is one of the founders of the collectives Multiplicity and Zapruder. His projects have been exhibited at Documenta in Kassel, at the Venice Biennal, and at the Sao Paulo Art Biennial. Among his main research projects are What We Want, a photography world wide atlas; and Citytellers, a lm trilogy about new forms of social and urban landscapes.
ARAL-T51, 2008
177 WIM WENDERS
Rodil se je v Düsseldorfu leta 1945, živi in dela v Berlinu. Je predstavnik novega nemškega lma, za svoje delo je leta 1984 prejel zlato palmo na lmskem festivalu v Cannesu, leta 2015 pa še častnega zlatega medveda za življenjsko delo na berlinskem lmskem festivalu. Med njegove najbolj znane lme uvrščamo: Alice in den Städten (Alice v mestu, 1974), Falsche Bewegung (Napačna kretnja, 1975), Im Lauf der Zeit (V teku časa, 1976), Der amerikanische Freund (Prijatelj iz Amerike, 1977), Hammett (1982), Der Stand der Dinge (Stanje stvari, 1982), Paris-Texas (1984), Der Himmel über Berlin (Nebo nad Berlinom, 1987), Bis ans Ende der Welt (Do konca sveta, 1991), In weiter Ferne, so nah! (Tako daleč, tako blizu!, 1993), Lisbon story (Zgodba iz Lizbone, 1995) in Al di là delle nuvole (Nad oblaki, 1995, režiral ga je skupaj z Michelangelom Antonionijem). Poleg režiserskega dela se je ukvarjal tudi s fotograjo.
Born 1945 in Düsseldorf; lives and works in Berlin, Germany. He is a representative of the New German Cinema, winner of the Golden Palm in Cannes (1984), and of the Golden Bear for lifetime achievements at the Berlin Film Festival (2015). Among his most important lms are: Alice in den Städten (Alice in the Cities, 1974), Falsche Bewegung (The Wrong Move, 1975), Im Lauf der Zeit (In the Course of Time, 1976), Der amerikanische Freund (The American Friend, 1977), Hammett (1982), Der Stand der Dinge (The State of Things, 1982), Paris-Texas (1984), Der Himmel über Berlin (Wings of Desire, 1987), Bis ans Ende der Welt (Until the End of the World, 1991), In weiter Ferne, so nah! (Faraway, So Close!, 1993), Lisbon story (1995), and Al di là delle nuvole (Beyond the Clouds, 1995, co-directed by Michelangelo Antonioni). Apart from being a lmmaker, Wenders is also devoted to photography.
WESTERN WORLD, blizu / near Four Corners, California, 1983
178 STEFANO CAGOL
Rodil se je v Trentu leta 1969, tam živi in ustvarja. Leta 2009 je za zmago v kategoriji megawatt prejel nagrado terna; v 2014 je s transnacionalnim projektom The Body of Energy, pri katerem so sodelovali muzeji (rimski MAXXI, neapeljski Madre, bolzanski Museion, karlsruški ZKM in essenski Museum Folkwang) in energetske centrale, osvojil umetniško rezidenco kot gostujoči umetnik pod okriljem fundacije RWE. Predstavljal se je na Manifesti 11 v Zürichu in leta 2013 v maldivskem paviljonu na 55. beneškem bienalu.
He was born in 1969 in Trento, where he lives and works. In 2009, he was announced as winner of the Terna Prize in the Megawatt category, and in 2014, he won in VISIT Artist in residence program of the RWE Foundation with the trans-national project The Body of Energy, developed between museums (MAXXI of Rome, Madre of Naples, Museion of Bolzano, ZKM Karlsruhe, and Museum Folkwang of Essen), and power plants between 2014 and 2015. He participated at the Manifesta 11 in Zurich, and in 2013, he exhibited in The Maldives Pavilion at the 55. Biennale of Venice.
BREZ NASLOVA / UNTITLED, SILICON VALLEY, 2000 ca.
179 JENNY HOLZER
Rodila se je leta 1950 v Gallipolisu, v zvezni državi Ohio, živi in dela v Hoosicku v New Yorku. Je konceptualna umetnica, ki z javnim umetniškim delovanjem razširja svoja sporočila zunaj ustaljenih razstavnih prostorov. Svoje delo razvija skozi besedila, sprva kratka in jedrnata, nato pa vse bolj kompleksna, pripovedna in intimna, natisnjena na papirju ali tkanini (na plakatih in majicah), na oglasnih panojih ali na monumentalnih elektronskih znakih (LED), kot glavne teme pa nastopajo spolnost, smrt, vojna in vera.
Born 1950 in Gallipolis, Ohio, USA; lives and works in Hoosick, New York. By practicing "public art", this conceptual artist spreads her message outside traditional exhibition spaces. Her work is elaborated through texts, at rst short and concise, and later increasingly complex, narrative, and intimate, printed on paper or cloth (on posters or T-shirts), appearing on advertisement boards or in the form of monumental electronic LED signs; with recurring topics addressing issues related to sex, death, war, and religion.
JAPONSKI VRT / JAPANESE GARDEN, 1994
180 OLAFUR ELIASSON
Leta 1967 se je rodil v Kopenhagnu, živi in dela v Berlinu. Njegovo raziskovanje monumentalnega in spektakularnega je zasnovano v sodelovanju s široko mrežo strokovnjakov, od znanstvenikov, arhitektov in inženirjev, njegove postavitve, pogosto zelo velikih dimenzij, pa pritegujejo občinstvo v čustvenem in kognitivnem smislu. Gostoval je v nekaterih največjih mednarodnih institucijah, kot sta Muzej moderne umetnosti v New Yorku (Seeing yourself sensing, 2001) in londonski Tate Modern (The weather project, 2003).
Born 1967 in Copenhagen, Denmark; lives and works in Berlin, Germany. His exploration of the monumental and the spectacular is designed in collaboration with a large network of experts (scientists, architects, technicians): his environments of often monumental dimensions, involve spectators in an emotional and cognitive sense. His works have been hosted by some of the major international institutions such as the Museum of Modern Art in New York with (Seeing yourself sensing, 2001), and Tate Modern in London with The weather project (2003).
BREZ NASLOVA / UNTITLED, iz Islandske serije / from the Iceland Series, 2001
181 RONI HORN
Živi in dela v New Yorku, kjer se je rodila leta 1955. Sprva je nanjo vplival minimalističen nauk Donalda Judda, nato se je od njega oddaljila in začela razvijati svoj izraz, osredinjen na temo časa in identitete. V svoji umetniški praksi Hornova dojema identiteto kot spremenljiv in večplasten pojem, kar se odraža tudi v raznolikosti izrazov, ki jih uporablja pri svojem delu: od skic, knjig, fotografskih instalacij in skulptur. Ta dimenzija večplastnosti služi kot podlaga njenih del, s katerimi želi dati obliko procesu nastajanja, kar je razvidno iz njenih stvaritev, za katere črpa navdih v islandski pokrajini, v neštetih odtenkih vode in v spremenljivem izgledu človeških potez.
Born 1955 in New York. Initially inuenced by minimalism, led by Donald Judd, she then distanced herself from it, developing a personal focus on the themes of time and identity. In Horn’s artistic practice, identity – both individual and geographic – is not a xed and monolithic concept, but variable and multi-faceted. This is echoed in her wide-ranging practices and media: drawings, books, photographic installations, sculptures etc. This diversity lies at the heart of her work, which gives form to the process of becoming, as shown by the pieces she has created inspired by Iceland's landscapes, the countless hues of its waters, and the changing geography of human features.
POSTAJAM KRAJINA / BECOMING A LANDSCAPE, 1999
182 SILVIA CAMPORESI
Leta 1973 se je rodila v Forliju, tam živi in dela. Diplomirala je iz lozoje. Z jezikom fotograje in videa gradi zgodbe, za katere črpa navdih v mitologiji, literaturi, religiji in realnem življenju. Njene podobe se venomer osredotočajo na raziskovanje meja med resničnostjo in kcijo. Pred nedavnim je izdala publikacijo Atlas Italiae (2015), ki ponuja pregled zapuščenih italijanskih krajev. Nadaljuje s projektom Mirabilia in iskanjem nenavadnih, posebnih in bizarnih krajev na meji pravljičnosti.
Born 1973 in Forli, Italy, lives and works in Forli. She graduated in philosophy. Through the language of photography and video, she constructs stories inspired by mythology, literature, religion, and real life. Her images explore borderline areas between reality and ction. Recently published publications include a volume titled Atlas Italiae (2015), offering an overview of abandoned sites found across Italy. She is currently working on a project called Mirabilia, and continues to search for unusual, special, bizarre places on the borders of fantasy.
SOL MISLI / THE SALT OF THOUGHTS / IL SALE DEL PENSIERO, 2006
183 ALESSANDRO SAMBINI
Leta 1982 je bil rojen v Rovigu, živi in dela v Milanu. Ukvarja se s fotograjo, videom in drugimi multimedijskimi pripomočki; preizprašuje se o vzgibih in načinih, ki urejajo izdelavo fotograj, njihovo razširjanje in kroženje, ter o povezavah v odnosu med samo podobo in javnostjo. Med umetniške institucije, s katerimi je sodeloval v zadnjih letih, lahko med drugim prištejemo Muzej sodobne umetnosti v Milanu in milanski trienale. Je član raziskovalne platforme Poiuyt.
Born 1982 in Rovigo, Italy; lives and works in Milan. He works with photography, video, and other multimedia tools. His works address issues related to the needs and ways that govern the production of new images, their circulation and dissemination, and the different connections between the image and the public. In recent years he has collaborated with several art institutions, including the Cinisello Balsamo Museum of Photography (Milan), and the Milan Triennial. He is a member of the Poiuyt search platform.
GLEJ NAOKROG / LOOK AROUND / GUARDATI INTORNO, 2016
184
Joseph Beuys, Difesa della natura DOMINIKANSKI SAMOSTAN / DOMINICAN MONASTERY, PTUJ
POKLON JOSEPHU BEUYSU HOMMAGE TO BEUYS
OBRAMBA NARAVE THE DEFENSE OF NATURE DIFESA DELLA NATURA
KUSTOSA / CURATORS: JERNEJ FORBICI & MARIKA VICARI POKLON JOSEPHU BEUYSE / HOMMAGE TO JOSEPH BEUYS, razstava / exhibition POKLON JOSEPHU BEUYSU / HOMMAGE TO JOSEPH BEUYS kustosa / curators: Jernej Forbici & Marika Vicari besedilo / text: Marika Vicari
»Še nekaj časa nam je ostalo, da svobodno sprejmemo odločitev o tem, ali bomo sledili drugačni poti od tiste, ki smo jo prehodili v preteklosti. Še vedno se lahko odločimo, da bomo uskladili svojo inteligenco z inteligenco narave.« J. Beuys
Z razstavo se želimo pokloniti enemu najbolj priznanih in zagonetnih ustvarjalcev na mednarodni umetniški sceni v zadnjih desetletjih. Veliki raziskovalec Joseph Beuys je svojo vlogo v svetu umetnosti odigral z gorečnostjo kozmičnega ognja in nam vedno na vznemirljiv način, najpogosteje z uporabo besede ali aktivnega udejstvovanja, pri tem razkrival skrivnosti narave in postavljal sebe, umetnika in človeka, v obrambo pred samim sabo.
Zlasti nepozabna so njegova konceptualna dela, ustvarjena med šestdesetimi in osemdesetimi leti prejšnjega stoletja, s katerimi je želel spodkopati splošno izhodišče o definiciji narave. Konceptualna dejanja, instalacije in družbeni, naturalistični ter okoljski nastopi tako postanejo moralna, izobraževalna in politična obveza.
Od leta 1973 pa vse do svoje smrti se Beuys pri delu osredotoča na človeka, ki ga dojema kot aktivnega udeleženca. Organizira srečanja, eksperimentira s kmetijskimi praksami in načini gojenja rastlin, ustanovi Fundacijo za oživljanje kmetijstva, Mednarodno svobodno univerzo (FIU), med drugim ustvari dela Grassello (1979), La chimica del viaggio (Kemija potovanja), 7000 querce (7000 hrastov, 1980), Olivestone (1984) in Diary of Seychelles (Dnevnik Sejšelov). To je tudi tisti del njegovega raziskovanja, ki ga, zahvaljujoč nekaterim izbranim dokumentom, postavljamo na ogled v tej manjši arhivski razstavi. Razstavljene replike, fotografije, plakate in knjige dojemamo kot čisto prava umetniška dela, hkrati pa, zaradi svoje reprodukcijske narave, služijo kot nazoren prikaz širjenja Beuysove filozofije – besede dihajo.
V tem je zaobjet ves smisel tega majhnega, intimnega poklona Beuysu in njegovemu projektu Obramba narave (Difesa della natura), ki nastopa kot enotno telo, živahen in vitalen organizem, kamor se vse steka in s pomočjo katerega se da izraziti umetnost, naravo, svet. Kreativnost je namreč edini človeški kapital, ki preko komunikacije in sodelovanja vodi k preporodu človeka, končni nauk pa je ta, da lahko človek le s pomočjo zemlje najde ustrezne smernice in smisel svojega potovanja.
189 »For some time we still have the chance to freely come to a decision, that is following a different flow from the one we went through in the past. We still can decide to align our intelligence to that of nature.« J. Beuys
With this exhibition, we wish to pay tribute to one of the most acclaimed and enigmatic artists on the international art scene over the past decades. Joseph Beuys, the great researcher endowed with a flashing cosmic fire, played his game with the world of art in an always baffling manner, often only with the use of words or active propulsion, revealing the secrets of nature and putting himself, as an artist and a man, in defense of himself.
Especially memorable are his works of conceptual character designed between the 1960s and 1980s with the intention of putting a strain on the common notion of definition of nature. Conceptual actions, installations, social, naturalistic and environmental performances become a means of moral, educational and political engagement.
From 1973 until his death, Beuys focuses his work on man, always an active contributor. He is involved with organization of meetings, experiments with agricultural and cultivation practices, sets up the Foundation for the Rebirth of Agriculture and the Free International University (FIU); he creates, among others, the works Grassello (1979), The Chemistry of the Journey, 7000 Oaks (1980), Olivestone (1984), and Diary of Seychelles. Thanks to a few selected documents, it is precisely this part of his research that we wish to put on display in this small archive exhibition, where reproductions, photographs, posters and books, very compelling in their contrasting configuration, can be perceived as real artworks, while, due to their reproductive nature, they suitably represent the dissemination of Beuysian thought – words can breathe.
This captures the whole sense of this little, intimate homage to Beuys and his project The Defense of Nature, depicted as a unitary body, a pulsating and vital organism where everything flows and through which he communicates art, nature, humans. Creativity is the only human capital that, through communication and collaboration, leads to the rebirth of man. And finally, as he himself teaches us, it is only through the earth that a man can discover the meaning of his path and the necessary guidance.
190 DREVESA / TREES, Poklon Josephu Beuysu / Hommage to Joseph Beuys, Art Stays 2017, Slovenski trg JOSEPH BEUYS
Umetnik Joseph Beuys (1921 - 1986) se je rodil v Nemčiji in ustvarjal v Evropi in v Združenih državah Amerike od leta 1950 do zgodnjih 80-ih let prejšnjega stoletja. V zgodovino se je zapisal kot eden izmed akterjev mednarodnega proto-konceptualnega umetniškega gibanja Fluxus, ki je delovalo v tistem obdobju. Njegov izjemno raznolik opus obsega vse od tradicionalnih medijev, kot so risanje, slikanje in kiparstvo, do procesno naravnanih ali časovnih medijev "akcijske" umetnosti. Beuys umetniški performans, ki obravnava teme psihološke, socialne in/ali politične narave, pojmuje kot način zdravljenja, ki deluje tako na umetnika kot na občinstvo. Beuys je zlasti znan po delih, ki so vsebovala živalsko maščobo in klobučevino. Ta dva zelo vsakdanja materiala, od katerih je eden organski in drugi umeten, oziroma industrijsko izdelan, sta imela za umetnika zelo oseben pomen. Oba materiala sta bila tudi ponavljajoča se motiva v delih, ki pričajo o nerazdružljivosti umetnosti, vsakdanjih materialov in "vsakdanjega življenja" slehernika.
Joseph Beuys (1921 – 1986) was a German-born artist active in Europe and the United States from the 1950s through the early 1980s, who came to be loosely associated with that era's international, proto- Conceptual art movement, Fluxus. Beuys's diverse body of work ranges from traditional media of drawing, painting, and sculpture, to process-oriented, or time-based "action" art, the performance of which suggested how art may exercise a healing effect (on both the artist and the audience) when it takes up psychological, social, and/or political subjects. Beuys is especially famous for works incorporating animal fat and felt, two common materials - one organic, the other fabricated, or industrial - that had profound personal meaning to the artist. They were also recurring motifs in works suggesting that art, common materials, and one's "everyday life" were ultimately inseparable.
plakat / exhibition poster GRASSELLO, Ca(OH)2 + H2O, DIFESA DELLA NATURA, Yvon Lambert, Paris, 100.1 x 67.7 cm, podpisan / signed, 1981
192 plakat / exhibition poster DIFESA DELLA NATURA, Lucrezia de Domizio, Pescara Bolognano, 60 x 82 cm, podpisan / signed, 1984
OLIVE STONE, F.I.A.C. GRAND PALAIS, PARIS 1985, Lucrecia De Domizio, Pescara, 16 x 22 cm, podpisano z rdečim pisalom in žigosano s FIU žigom / signed with red felt-tip pen and FIU-stamp, 1985
193 Luca Piovaccari, Pokrajina / Landscape, 2010 MIHELIČEVA GALERIJA / MIHELIČ GALLERY, PTUJ
INVERZNI KANON / INVERSE CANON /
KUSTOSA / CURATORS: ITALO BERGANTINI & GAIA CONTI INVERZNI KANON / INVERSE CANON, razstava / exhibition INVERZNI KANON / INVERSE CANON kustosa / curators: Italo Bergantini & Gaia Conti besedilo / text: Gaia Conti
»Nisem se niti zavedal, da je to, kar je našlo svojo končno uresničitev v začetnem preblisku, že pred časom začelo svoje retrogradno gibanje, odštevanje, oziroma, če uporabimo glasbeni termin, svoj inverzni kanon.« (Paolo Maurensig, »Inverzni kanon«)
Ko se sprehajamo med umetniškimi deli, ki jih ponuja razstava, vsak od nas doživlja svojo zgodbo. Lahkoten korak, tavajoč pogled, stenska dela, okoljske instalacije in gibljive slike; vse je na vpogled, vse poteka tekoče, toda ostaja negibno, razpeto med mislijo in pomenom. Na začetku vsega je naslov; ta spodbuja k razmisleku, je tista stvar, ki že opredeljuje občutek, pristop, služi kot postavka in namig o ohlapnosti ali specifičnosti teme. Včasih povezava ni takoj opazna, a tudi dvoumnost skriva svoj čar. Inverzni kanon (Canone Inverso) je eden od dogodkov, umeščenih v širši kontekst letošnje 15. izdaje ptujskega Festivala sodobne umetnosti Art Stays, tokrat z naslovom NATUR-AL(L), govori pa o naravi, tako v konkretnem kot tudi širšem smislu, in o njenih pojavnih oblikah, pa naj bo pastoralna, neokrnjena, arkadijska, spremenjena, raznolika, razvrednotena, izkoriščana, popačena ali izkrivljena na način, da ustreza našim potrebam in potrošnji.
Namerna dvoumnost naslova deluje kot iztočnica, ki napeljuje na glasbeni izraz »kanon«. Gre za kompozicijo, temelječo na kontrapunktični imitaciji melodije, kjer eden ali več glasov sledi točno določenim pravilom, tako da igrajo isto melodijo, vendar s časovnim zamikom. Pri inverznem kanonu, ki ga včasih imenujemo tudi rakov kanon, pa igranje poteka v obratni smeri, začenši z branjem zadnje note kot prve. Enaka prostorska in ekstenzivna govorica je značilna tudi za pričujočo razstavo; začne se v eni smeri in se vzporedno uresničuje tudi v nasprotni.
Razstavni projekt je ustrezno razporejen na dva dela, ki zasedata vsak svoje nadstropje Miheličeve galerije. Začne se v pritličju, kjer so predstavljeni Matteo Cremonesi, Luca Piovaccari, Daniele Rocci, Cinzia N. Rojas in Gabriele Rossi, nadaljuje pa v zgornjem nadstropju, ki ga zasedajo Sebastiano Guerrera, Claudio Marini, Luigi Menichelli, Svetlana Ostapovici in Giuseppe Ripa. Sodelujejo torej umetniki različnih generacij, ki so v zadnjih letih z različnimi umetniškimi oblikami na bolj ali manj ekspliciten način delovali na tem področju in prispevali svoj izraz.
Njihov jezik izraža raznolikost pogledov, ki sega od poetičnih meditacij in živahnih urbanih izrazov do krhkih simbolov in sintetičnih projekcij, venomer pa se vrti okoli razmisleka o prisotnosti in dejavnostih človeka ter o vlogi, ki jo igra v razmerju do narave. Rezultat je široko
197 razvejan kontekst, v katerem ne samo generacije, temveč tudi različni umetniški stili sobivajo eden zraven drugega in skupaj z drugimi v lirični napetosti med lahkomiselno sedanjostjo in mračno preteklostjo, med vzgibi notranjosti in umetno zunanjostjo.
V »inverznem kanonu« se glasba predvaja in previja nazaj, ne da bi pri tem spremenila bistvo melodije, toda spremembe, ki nastanejo na ta način, so trajne in absolutno nepovratne. To pomeni, da imamo opravka z glasbeno metaforo, ki izraža idejo večplastne in nepovratne transformacije, ki za sabo pušča predornine in se uresničuje v komplementarnih dimenzijah. Daljnosežen pregled sledi odnosu z naravo in jo predstavlja v obliki (ek)statične pokrajine, pa tudi v njeni vsakdanji, tehnološki in potrošniški podobi, zaznamovani z ranljivostjo okolja, ekologijo in odtujitvijo. Gre za normiranje naše prihodnosti ob zavedanju, da je obstoj slednje popolnoma soodvisen od pojavov v njeni preteklosti.
Zgodba, ki jo imamo pred sabo, dopušča odprto razlago in nenehno preizpraševanje; lahko jo obračamo in v njej iščemo rešitve, ki so hkrati začetek in konec nekega drugega dejanja. Razvija se skozi dela desetih umetnikov, ki gledalca vodijo čez fizični prostor in razkrivajo dinamično ter raznovrstno vsebino. Inverzni kanon ni le estetsko kontemplativen trenutek, temveč od nas zahteva bolj poglobljeno in kritično razmišljanje o svetu, v katerem živimo.
198 "I didn't even realize that what has found its ultimate realization in the initial idea, had long since begun its retrograde movement, its countdown, or, to use a musical term, its inverse canon." (Paolo Maurensing, Inverse Canon)
When we stroll around and admire works of art exhibited in an exhibition, we each have our own, free and subjective interpretation. A light step, a wandering look, wall works, environmental installations, moving images; everything is in sight, everything flows, but remains immobile, torn between thought and meaning. The first thing is a title. The title encourages reflection; it is that „something“, which already defines the feeling, the setting, the approach; like a premise or a clue about the vagueness or specificity of the topic. Sometimes this connection is not immediately perceptible, but ambiguity is often part of the charm. Inverse Canon (Canone Inverso) is one of the events that is part of the wider context of this year's 15th edition of the Art Stays Festival of Contemporary Art in Ptuj, Slovenia, entitled NATUR-AL(L). The topic is nature, both in a concrete and broader sense of the many ways in which it is presented: bucolic, unspoiled, arcadic, transformed, diversified, depreciated, exploited, distorted, bent to fit our needs and consumption.
The deliberate ambiguity of the title serves as a starting point alluding to the musical term "canon". A canon is a compositional technique based on the contrapuntal imitation of a melody by one or more voices or instruments, which follow specific rules: the theme passes from one voice to the other so that they have the same melody, but with time intervals occurring between them. An inverse canon (also known as crab canon), however, is when the melody proceeds in the reverse direction, with the last note being read as the first. The same spatial and extensible language appears in the present exhibition: it starts in one direction, but at the same time also runs parallel, in the opposite one.
Accordingly, the project is divided into two parts, each occupying one of the two floors of the Mihelič Gallery: the ground floor features works by Matteo Cremonesi, Luca Piovaccari, Daniele Rocci, Cinzia N. Rojas, and Gabriele Rossi, and continues on the upper floor with Sebastiano Guerrera, Claudio Marini, Luigi Menichelli, Svetlana Ostapovici, and Giuseppe Ripa. The participating artists of different generations have all been involved with the same topic in a more or less explicit way through their various artistic formulations over the recent years.
Their expression reflects diverse perspectives, spanning between poetic meditations, dynamic urban manifestations, delicate symbols and synthesized projections, but all constantly gravitating around a reflection about the presence and actions of man and the role he plays in nature. The result is a highly articulated context, in which not only generations, but also different artistic genres coexist one next to the other, and together with the others, in a lyrical tension between a carefree present and a gloomy past, between internal impulses and exterior artifices. In this inverse canon, the music plays and rewinds without changing the substance of the melody,
199 but in reality the changes created in this way are absolutely permanent and irreversible. A musical metaphor, therefore, which expresses the idea of a stratified and irreversible transformation, leaving behind the superfluous, and becoming realized in complementary dimensions. A wide-ranging vision that builds on our relationship with nature as an (ec)static landscape, but equally on its everyday, technological, and consumer-related aspects − fragility of the environment, ecology, and alienation. A codification of our future with the awareness of the total interdependence of its past phenomena.
The story in front of us is entirely open to interpretation; it is a story constantly challenged, tossed upside down, producing solutions that are the beginning or the end of some other action. A story that unfolds through the works of ten artists, who guide a visitor while revealing a physical space full of dynamic and diversified content. Inverse Canon is not just an aesthetic-contemplative moment: it aims to inspire in us a much more critical and in-depth reflection on the world in which we live.
200 INVERZNI KANON / INVERSE CANON, razstava / exhibition MATTEO CREMONESI
Rojen leta 1986 v Milanu (Italija). Živi in dela med Milanom in Trentino Alto Adige. Born in 1986 in Milan (Italy). Works between Milan and Trentino Alto Adige.
Narava kot čas Počasnost in neizbežnost sta značilnosti, ki spremljata videa Зелени питон (Zeleni piton) in Крокодил (Krokodil), posneta v skoraj fotografskem stilu, kjer se vse dogaja, ne da bi imeli občutek, da se je resnično kaj zgodilo. Mikro zaznave nas prisilijo k pozornemu in nenehnemu opazovanju v tem času, ki je tako zelo zaznamovan z ekstremno hitrostjo in površnostjo.
Nature as Time Slowness and inevitability characterize Зелени питон (Green Python), and крокодил (Crocodile), two videos, almost reminiscent of still photographs, where everything seems to ow but without the impression that something has really happened. In an age marked by extreme velocity and superciality, micro- perceptions force us into an attentive, uninterrupted act of observation.
ZELENI PITON / ЗЕЛЕНИ ПИТОН (GREEN PYTHON), 2016 foto izsek / Frame HD, Video, 2016, Beograd Video instalacija - eno kanalni video / Video installaton - single channel - (25:39) © umetnik / artist, courtesy Romberg
202 SEBASTIANO GUERRERA
Rojen leta 1964 v Cataniji (Italija). Živi in dela v Pesaru (Italija). Born in 1964 in Catania (Italy). Lives and works in Pesaro, Italy.
Narava kot poezija Osnovna umetnost je sestavljena iz vsebinskih znakov, edinstvenih delčkov, ki združeni tvorijo enotno skladenjsko celoto. Risbe Drevesa učitelji (Alberi Maestri) izpostavljajo naravo brez umetnih dodatkov, ki se v svoji čistosti in hkrati raznolikosti odpira pred našimi očmi, a s težavo dojemamo njeno preprosto kompleksnost.
Nature as Poetry A basic form of art, made up of meaningful signs, single fragments that compose a collective syntax when combined with one another. The drawings in Teaching Trees (Alberi Maestri) recall the idea of a nature devoid of articiality, clean and diversied at the same time, a nature that unfolds in front of our eyes, yet we struggle to grasp its simple complexity.
HRAST / OAK, 2015 iz cikla / from the series: Alberi Maestri Grat na papirju / Graphite on paper, 25x25 cm foto: Paolo Semprucci, courtesy Romberg
203 CLAUDIO MARINI
Rojen leta 1947 v Velletru (Rim - Italija), kjer živi in dela. Born in 1947 in Velletri (Roma - Italy), where he lives and works.
Narava kot prekoračitev Za večino predmestij je značilno, da nosijo predznak sivine, so natrpana s prebivalci in prepredena z industrijskimi območji. Že sama beseda vzbuja asociacijo na pojem marginalnosti, obrobnosti, na idejo, da se nahajamo nekje na meji nečesa. Tukaj predstavljena predmestja krepijo to podobo; so mogočni portreti degradiranih naravnih krajev, sivih con in območij, kjer nesprejemljiva in izkrivljena realnost ostaja zakonita.
Nature as Violation In most cities peripheries carry a grey undertone, they are over-saturated with population and dispersed with industrial areas. The word 'periphery' itself is associated with the concept of margin, boundary, and the idea of being at the limit of something. The suburbs shown in this work reinforce that image: they are powerful portraits of degraded natural areas, grey zones, and other places, where the unacceptable
BREZ NASLOVA / UNTITLED, 2006 olje in lak na lesu / oil and varnish on wood, 140x160 cm courtesy Romberg
204 LUIGI MENICHELLI
Rojen leta 1940 v Latini (Italija). Živi in dela v Rimu (Italija). Born in 1940 in Latina (Italy). Lives and works in Rome, Italy.
Narava kot spomin Večplastni vegetacijski zidovi v svojem bistvu odsevajo in poudarjajo pečat, ki ga narava pušča leto za letom. Globoko zakopan spomin, prežet s pričakovanjem, ki se ne bo nikdar uresničilo; listi, preoblečeni v črnino, pa bodo večno živeli kot podoba umetne pokrajine.
Nature as Memory Densely stratied vegetation walls, reecting and highlighting in their essence the imprint that nature is capable of reproducing year after year, cycle after cycle. A "vacuum sealed" memory, suspended in expectation which will never see its realization, while the leaves, coated in black, will live on eternally as the image of an articial landscape.
LISTJE TRAVE / LEAVES OF GRASS, 2011 listje,lak in smola na platnu / leaves, varnish and resins on canvas , 151x120x13 cm courtesy Romberg
205 CINZIA N. ROJAS
Rojena leta 1977 v Rimu. Živi in dela po vsej Italiji. Born in 1977 in Rome (Italy). Lives and works in Italy.
Narava kot sled Življenje narave poganja nenehno samoobnavljanje; vsakič znova se rodi drugačna, za preporod pa uporablja svoje lastne sledi. Slednje v delu Memoria Naturae postanejo trajne podobe, ki pričajo o povezavi med okoljem in minulo resničnostjo, sočasno pa odpirajo pogled na nov, enkraten svet, na spomine preteklosti in pričakovanja prihodnosti.
Nature as Trace Natural processes are driven by its ability to regenerate continually, using its own traces to be reborn again and again, never the same as before. In Memoria Naturae these traces become permanent images of an environmental bond to things past, creating at the same time an insight into a new and singular world, into memories of the past and expectations of the future.
NARAVEN SPOMIN / NATURAL MEMORY, 2013/14 listi in srebrna foto želatina / lives with silver gelatine, 36x36x7 cm courtesy Romberg
206 SVETLANA OSTAPOVICI
Rojena leta 1967 v Ribniti (Moldavija). Živi in dela v Italiji. Born in 1967 in Ribnita (Republic of Moldova). Lives and works in Italy.
Narava kot odpadek Namen fotografske kompozicije Žgano železo (Burnt Iron) je osvetliti perečo okoljsko problematiko in jo postaviti v luč aktualne, skoraj osebne perspektive in nove dimenzije. Poudarek je na stvareh, ki nam neselektivno polnijo življenje, a prej ko slej postanejo odpadni material, ki konča v smeteh.
Nature as Waste The photographic composition of the piece Burnt Iron aims to shed light on pressing environmental issues which are given a current, yet almost intimate perspective, and a new dimension. The focus is on all the things that ll our lives constantly and unselectively, but sooner or later turn into waste and end up in landll sites.
OŽGANO ŽELEZO / BURNT IRON 6, 2011 iz cikla / from the series: Burnt Iron lambda print na aluminiju (poliptih) / Lambda print mounted on aluminium (polyptych), a’ 50x67 cm Edicija / Edition: 7 + 2 Avtorska izvoda / Artist's proof courtesy Romberg
207 LUCA PIOVACCARI
Rojen leta 1965 v Ceseni (Italija), kjer živi in dela. Born in 1965 in Cesena (Italy), where he lives and works.
Narava kot nezavedno Dimenzija ravnotežja, prenesena iz duha v pokrajino, bolj mentalno kot realno in bolj začasno kot otipljivo. Pokrajina (Landscape) je manjša vizualna upodobitev, lebdeča nad kipu podobno strukturo iz lesenih desk, ki zamejujejo zični, hkrati pa razširjajo neotipljiv prostor idej in jih tako osvobajajo njihovih lastnih omejitev.
Nature as the Unconscious The dimension of an equilibrium transferred from spirit to landscape, more mental than real, and more ephemeral than tangible. Landscape is a small-sized visual piece oating above an almost sculptural structure made from wooden boards, which delimit the physical space but at the same time expand the intangible space of ideas, freeing them of their own boundaries.
POKRAJINA / LANDSCAPE, 2010 pastel in olje na papirju, struktura iz lesa / pastel and oil on paper, structure of axes, 34x26 cm & 87x200 cm courtesy Romberg
208 GIUSEPPE RIPA
Rojen leta 1962 v Ragusi (Italija). Živi in dela v Milanu (Italija) Born in 1962 in Ragusa (Italy). Lives and works in Milan, Italy.
Narava kot pisava Drobci naravnih elementov kot majhne grake, ki živijo lastno življenje, prevzemajo skulpturni izraz in živahno ter okretno preletavajo list svilenega papirja. Fotografski ciklus Rarum v sebi združuje preplet poetike, muzikalnosti in pisav ter ponuja intenzivne, vizionarske slike, polne različnih odtenkov.
Nature as Writing Tiny bits of natural elements come together like little sculpting phrases, gliding delicately and vigorously over an immaterial sheet of tissue paper. The little graphics appear as having an own, autonomous existence. Poetry, musicality, and writing are combined in this photographic cycle titled Rarum, constituting a painting that is visionary, intense, and brimming with shades.
RARUM, 2012 postavitev / installation view © umetnik / artist, courtesy Romberg
209 DANIELE ROCCI
Rojen leta 1979 v Torinu (Italija). Živi in dela v Aviglianu (Italija). Born in 1979 in Turin (Italy). Lives and works in Avigliana, Italy.
Narava kot sporočilo RGB – Red Green Blue so realistični artefakti sprevrženega, z zunanjo podobo obremenjenega naravnega sveta. Majhna armada sintetičnih teles služi kot ogledalo komunikacije z zunanjim svetom, ki je že od rojstva okrnjena in odklopljena od resničnosti, ki nas obkroža, ne da bi se tega sploh zavedali.
Nature as Communication RGB – Red Green Blue is a realistic artice of a twisted world ruled by appearances. This small army of synthetic bodies mirrors our communication with the outside world, truncated at birth and disconnected from the reality that surrounds us, without us ever realizing it.
RGB, 2015 (detajl / detail) Poliuretanska pena, sintetična smola, sintetični lak in ethernet kabel / Expanded polyurethane foam, synthetic resin, synthetic varnish and ethernet cables, 80x30x40 cm vsaka / each foto: Marcello Scopelliti, courtesy Romberg
210 GABRIELE ROSSI
Rojen leta 1979 v Latini (Italija). Živi in dela v Rimu (Italija). Born in 1979 in Latina (Italy). Lives and works in Rome, Italy.
Narava kot moč Narava se neprestano premika, spreminja, vzpostavlja na novo. Serija Volume pripoveduje o tišini in praznini, o tem, kar ostane potem, ko Ona avtoritativno dvigne svoj glas. V L'Aquili, kjer je projekt nastal, se glasnost potovanja potresenega sunka meri z oglušujočo sireno, ki na svoji poti za sabo pušča nemočne ostanke.
Nature as Power Nature is constantly transforming, moving, restoring. The series Volume recounts the void and silence – everything that remains behind after She authoritatively raises her voice. In L'Aquila, the original setting of the project, the volume of the seismic shock's passing sound was a deafening siren, leaving behind nothing but powerless remains.
VOLUME, 2013 iz cikla / from the series: Volume srebroželatinasta fotograja na baritnem muzejskem papirju / Gelatin silver print on Baryta paper processed for museum conservation, 20x25 cm Edicija / Edition: 3 ©umetnik / artist, courtesy Romberg
211 Marko Tušek, E-70, 1991 TOVARNA UMETNOSTI / ART FACTORY, MAJŠPERK
ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY
MARKO TUŠEK
KUSTOS / CURATOR: DUŠAN FIŠER ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY, razstava / exhibition ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY kustos / curator: Dušan Fišer besedilo / text: Marko Tušek
Naj bo gola realna snov, …zgolj taktilno, brez vsakršne iluzije. (Moj vstop v moderno sliko prve polovice 20. stoletja.)
Tehnologija. Tehnologija se res morda zdi marginalnega pomena za samo bistvo slike, vendar ne moremo zanikati, da je na primer renesančna - iluzionistična tehnologija slikanja doživela pravi evolutivni razvoj, natančno za potrebe iluzionistične slike. Barvne pigmente so kar najdrobneje zmleli, tako da človeškemu očesu niso več izdajali informacije o svoji tretji dimenziji. Za vezivo so uporabili laneno olje, ki je za razliko od starejše tempera tehnike omogočalo izredno mehko izdelavo modelacije, tako pomembne za imitacijo globine. Slikovni nosilec se je iz še vedno nekoliko “skrivenčene” deske - table spremenil v povsem ravno na podokvir napeto platno. Platno je bilo nato prevlečeno s klejno-krednim temeljem in obrušeno do popolne gladkosti. Na sami površini slikovne ploskve tako ni bilo več podatka o tretji dimenziji. Trodimenzionalnost slikovnega nosilca je izdajal le še rob. Ko pa še tega “zamaskira pozlačeni baročni okvir”, nastane pravo okno. Tako je bila ustvarjena idealna slikarska tehnologija prav v namen iluzornega preboja sicer dvodimenzionalne slikovne osnove.
Mnogi avtorji sodobnega časa, ki so se pred menoj soočali z nalogo eliminacije iluzije s slike, so hkrati mirno uporabljali “renesančno” tehnologijo, ki je bila usmerjena ravno v nasprotno - izničenje konkretnosti slikarskih materialov.
Torej... za nove potrebe nova tehnologija. Grobo mlet star papir, zarjavele žice, stare cunje, papirji, kartoni, lepila, modelirne mase, kovinske mreže, lesene naplavine, vrvi, žeblji, deske, pesek..., vse je bilo pregneteno v novo homogeno telo slike. Barve slike so bile hkrati barve vgnetenih materialov, linije pa so namesto čopiča začrtale zvozljane vrvi, veje, žeblji..., ki so potovale skozi telo slike. Telo slike je vsebovalo cel razpon od že skoraj grobih objektov do fineje modeliranih materialov. Nekaj prostora je ostalo tudi za “stare barve iz tube”, vendar le nekaj.
Snovi. Še nekaj dodatnih starih žic sem vpletel v kovinsko mrežo - kot bi pripravljal armaturo za železobetonsko ploščo, ...na to osnovo sem nanesel grobo mlete stare časopise pomešane z lepilom in jih razpotegnil v nekakšno razbrazdano ploskev. Tu so še deske, vrvi in žeblji. Z velikim pleskarskim čopičem - skoraj omelom sem nanesel nekaj temnejših horizontalnih lazur, ki naj bi stabilizirale kompozicijo slike, zgoraj pa še pas modre, svetleče lakirane barve. To je hkrati edina klasična barva uporabljena na sliki.
Velebit. Najprej so bile snovi in prepričan, da operiram le z njimi, je tudi slika nosila to ime. A dlje ko se je oddaljevalo moje srečanje s to sliko, bolj sem si moral priznati, da je bilo ves čas v ozadju (vsaj v mislih) še nekaj. Spomini in vtisi, vsi shranjeni pogledi so bili tam. Pogledi na nekaj
215 prostranega na robu morja, pomirjujoče mogočnega, od vremena in tisočletij oblikovanega v grobo skalno gmoto. Priznati sem ji moral še drugo ime - Velebit.
Odločitev I. Navkljub svojim drugačnim načrtom s sliko sem si moral priznati hkratnost različnosti. Hočeš-nočeš je telo slike konkretni trodimenzionalni objekt in prostor iluzoričnega dogajanja obenem. Torej če hočem sprejeti sliko takšno kot je v svoji samosvoji pojavnosti in živeti z njo v harmoničnem, razvijajočem se odnosu, lahko le sprejmem pragmatično odločitev in se lotim reševanja sobivanja realnosti in iluzornosti v sliki.
Slika kot objekt rada navezuje komunikacijo s prostorom - z realnim prostorom okoli nje. Zato je nagnjena k zajemanju prostora in širjenju - razpršitvi svojega telesa vanj. Možno je, da se ta proces nikjer ne zaustavi. Slika sestopi raz steno, a tudi problematika “Slike?” se takrat razprši v ambient in na povsem nove nivoje. Telo slike postane tako kompleksno, da s tem postane vprašljiva senzibilnost obvladovanja celote s strani ustvarjalca. Pod vprašaj pa se postavi tudi sama definicija slike.
Odločitev II. V želji, da se moja energija, pozornost in občutljivost ne razpršijo preveč na zgoraj omenjeno kompleksnost, in da mi slika ne uide s stene v ambient in postane nekaj drugega, sem sprejel pragmatično odločitev, oziroma nekakšno ohlapno, zasebno definicijo slike. Konec koncev sem se na začetku namenil ukvarjati s sliko!? Slika je torej nekaj (gledano s stališča fizične realnosti), kar je pretežno pozicionirano na steni in je prostor zgoščene vizualnosti in vizualne senzibilnosti.
Stojim na robu ceste. Suho je in prašno. Mimo s precejšnjo hitrostjo pripelje kamion - prikoličar. Prihaja, ...nato je že tu in v delčku sekunde mimo. Prah. Nato spet tišina. Zavrtim si dogodek nazaj, ga upočasnim in opazujem, kaj se je pravzaprav zgodilo, kakšno je bilo to srečanje. Kamion, jaz in okolica. Celotno dogajanje, tako vizualno kot doživljajsko v mislih nekako ”kondenzira v enotno podobo”, ki zajema celoten dogodek od začetka do konca, tako zaustavljenega pa lahko vidim mnogo jasneje. Tako nekako gradim tudi sliko, le da so “dogodki”, ki jih zajema, kompleksnejši in se tičejo zame bistvenejših stvari.
216 Let there be naked real substance... merely tactile, stripped of all illusion. (My entry into the modern painting of the first half of the twentieth century)
Technology. Technology may indeed seem of marginal consequence to the very essence of a painting, but there is no denying that for example the illusionistic technique of the Renaissance underwent nothing less than an evolutionistic development, tailor-made according to the needs of illusionistic painting. The pigments were ground to such a fine extent that they could no longer reveal the information concerning their own third dimension to the naked eye. For cohesion, linseed oil was used which - unlike the older techniques - enables exceptionally soft modulation, so crucial when it comes to imitating depth. The very carrier of the picture evolved from the still somewhat "crooked" plank or board to a perfectly straight canvas, stretched over a specific frame. The canvas was then treated with glue-chalk primer and polished to perfect smoothness. The surface of the graphic plane thus retained no trace of information concerning the third dimension. The tri-dimensionality of the carrier was indicated solely by the margins. And when even these were being "masked by the gilded baroque frame", a true window came into existence. In this manner, there came into existence the perfect painting technology calibrated according to the needs of the illusionary breakthrough of an otherwise two-dimensional basis for an image.
Many artists of contemporary times who have faced the task of eliminating the illusion from the painting before me were quite untroubled while using the "renaissance" technology which was oriented towards the very opposite goal - the nullification of the concreteness of painting materials.
And so... according to new needs, let there be a new technology! Roughly ground old paper, rusty wires, ancient rags, paper, cardboard, glue, modelling mass, metal mesh, wooden flotsam, ropes, nails, planks, sand..., all of it kneaded into a new homogenous body of a painting. The painting's colours were the colours of the components that had been kneaded into it, while the lines hadn't been drawn by a brush but rather by the tangled rope, branches, nails..., criss-crossing their voyage through the body of the painting. This body comprised the entire span from the almost rough objects to the finer materials. There was some space left for "the old colours out of the tube", but only some.
Substances. I have enhanced the old metal mesh with some additional old wires - as if I were reinforcing a concrete slab. Then on this basis I added roughly ground old newspaper mixed with glue, then stretched the mixture into a sort of a wrinkled plane. Also there were planks, ropes and nails. With a paintbrush so large it could almost be a whiskbroom I put on several darker varnish in order to stabilize the composition of the painting ; on top I put a zone of blue, glossily lacquered paint. This is at the same time the sole classical colour used in the painting.
Velebit. First there were substances and while I have been convinced that I was operating solely with them, the painting bore their name and their name alone. But the more distant my first inception of this painting, the more I had to admit that all the time there had been, at the back of
217 my mind, something else in the background. Memories and impressions, all my stored viewpoints had been there. Several vistas of something vast by the edge of the sea, soothingly magnificent, shaped by the weather and the millennia into a rough rocky mass. There was no other option but concede it the second part of its name - Velebit.
Decision I. Despite my quite different plans for this painting I was forced to acknowledge the simultaneousness of diversity. Willy-nilly, the body of the painting is at the same time a concrete tri-dimensional object as well as a place for the illusionary happening. This means that if I wish to accept the painting as it is in its own uniqueness and live with it while forming a progressively harmonious relation towards it, my only recourse is to adopt the pragmatical decision to make sense of the cohabitation of both reality and illusion.
The painting as an object is fond of communicating with space - the real space surrounding it. This is why it tends to sweep up this space and expand - to dissipate its own body into this space. It is possible the process never ceases. The painting descends down the wall, but the issues of "Painting?" then also dissolve into the surroundings and towards levels entirely new. The body of the painting becomes so complex that, for its creator, the very manipulation of the whole becomes questionable. Also questionable: the very definition of the painting.
Decision II. Wishing my energy, attention and sensibility not to dwindle too significantly due to the aforementioned complexity, and also wishing my painting not to escape from the wall into the surroundings and transform into something altogether different, I have adopted a pragmatical decision, that is to say some sort of a loose, private definition of the painting. After all, I have initially set out to occupy myself with the painting?! The painting is therefore something (seen from the viewpoint of physical reality) which is mostly positioned up on a wall and is also a theatre for condensed visualness and visual sensibility.
I am standing by the edge of the road. The air is dry and dusty. A trailer truck drives by. It is coming,... then it is here and in a fraction of a second it is gone. Dust. Then, once again, silence. I rewind the occurrence, I slow it down and observe what really happened, what sort of an encounter this really was. The truck, me and the surroundings. The entire event - both in the sense of its visuals and the experience itself - is in my mind somehow "condensed into a unified image" that comprises the event from its beginning to its end, so I can see it much more clearly. This is also my method for the construction of paintings, but the "events" they consist of are more complex and pertain to concepts that, for me, are much more crucial.
218 ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY, razstava / exhibition MARKO TUŠEK
Marko Tušek je bil rojen 23. avgusta 1964 v Kranju. V otroštvu si je ob očetu slikarju pridobil veselje do barve in risbe in se tako že zgodaj seznanil z likovnimi zakonitostmi. Obiskoval je Srednjo šolo za oblikovanje in fotograjo v Ljubljani, kjer si je ob profesorjih Mulej, Peršin, Gruden, Kovačič, Šefran, Močnik, Dolenc... izoblikoval zavedanje o pomenu ustvarjalnega odnosa do dela. Po odsluženem vojaškem roku v Banja Luki je bil sprejet na Akademijo za likovno umetnost v Ljubljani, kjer je leta 1988 v četrtem letu študija diplomiral pri prof. Emeriku Bernardu. Njegovi profesorji so bili še: Metka Krašovec, Janez Bernik, Gustav Gnamuš, Bogoslav Kalaš, Jožef Muhovič...
Tušek Marko was born on 23. August 1964 in Kranj. In his childhood years, his father who was also a painter helped him develop a great fondness for colour and drawing. It was thus quite early in his life that he acquainted himself with the laws governing the graphic realm - especially as regards the composition, the colour and the conceptualisation of space. Despite his lively interest in several other elds he found himself increasingly attracted to the eld of the visual, dened in the broadest of senses. He enrolled at the High School for design and photography in Ljubljana. After his due service in the army in Banja Luka he started attending the Academy of Fine Arts in Ljubljana where it was in 1988 in the fourth year of his studies that he graduated under the tutelage of professor Emerik Bernard. Some of his other professors were Metka Krašovec, Janez Bernik, Gustav Gramuš, Bogoslav Kalaš, Jožef Muhovic...
VEČERNA MOLITEV K SPIKI / SENDING EVENING PRAYER TO SPIKA, 2009 les, platno, papir in barva / wood, canvas, paper and color, 277 X 177 X 17 cm
220 V VETER / UPWIND WALK, 2016 les, platno, papir in barva / wood, canvas, paper and color, 98 x 37 x 5 cm
35 VOZLOV - NA ROBU / 35 KNOTS - ON THE EDGE, 2011 les, platno, papir, pesek in barva / wood, canvas, paper, sand and color, 160 x 135 x 20 cm
221 Johann Feilacher, Tänzer, 2002 DOMINIKANSKI SAMOSTAN / DOMINICAN MONASTERY, PTUJ
LES / WOOD
JOHANN FEILACHER
KUSTOSA / CURATORS: JERNEJ FORBICI & MARIKA VICARI LES / WOOD, razstava / exhibition LES / WOOD - JOHANN FEILACHER kustosa / curators: Jernej Forbici & Marika Vicari besedilo / text: Silvie Aigner
Johann Feilacher svoje skulpture ustvarja v naelektrenem prostoru, razpetem med racionalnostjo in emocionalnostjo, med abstrakcijo in povezanostjo z realnimi oblikami. Pri tem najraje uporablja les in tudi takrat, ko dela s sintetičnimi materiali ali bronom, lesena skulptura predstavlja osnovno obliko. Dimenzije prostora, v katerem so postavljene njegove skulpture, vedno dojema kot dejstvo, ki ga je treba upoštevati; v njem morajo biti skulpture postavljene na način, ki vzpostavlja določeno sožitje. Umetnik je dejal, da so ga od nekdaj fascinirale oblike, ki so se razvile v prazgodovinskih časih, še preden je obstajal koncept umetnosti. Raziskovanje arhaičnosti nadaljuje z uporabo ognja, ki skulpturi pridaja dinamičnost. Vendar pa ta povezava s starimi orodji služi le kot referenčni okvir za ustvarjanje del, ki spadajo v okvir sodobnega koncepta kiparstva. V tem duhu Feilacher v večji ali manjši meri ohranja naravne oblike izvornih materialov, njegov glavni cilj pa je ta, da definira njihove značilne lastnosti, da bi jih posledično lahko preoblikoval v čisto umetniško obliko.
Njegove lesene skulpture izražajo samorefleksiven odnos med naravo in umetnostjo, med naravnim subjektom in objektom, ki ga je ustvaril človek; to se kaže v kontrastu med kompaktno maso, ukrivljeno obliko in ostrorobnimi ploskvami, med procesi naravne rasti in procesom umetniškega ustvarjanja, pri katerem se mora slednji prilagoditi naravni, z rastjo definirani zgradbi. Za poslikavanje posameznih lesenih površin ali celih skulptur Feilacher redko uporablja barve, temveč površine raje obdela s plamenom gorilnika, ki doseže temperaturo 1200 °C, dokler ne zoglenijo. Gorilnik mu omogoča natančnost in uravnavanje globine, do katere naj prodre v les, da slednji še vedno ohranja svojo organsko, živahno strukturo, in jo s tem še bolj poudari.
Feilacherjev umetniški pogled na material je torej otipljivo preizkušanje njegove formalne zgradbe. Stremi k temu, da so njegove skulpture v sozvočju z naravo, saj tudi tam, kjer se zdi, da les dominira s svojo barvno tonaliteto in čutnimi značilnostmi, niso zrcalni odsev narave v umetniško-estetizirani obliki, temveč zagotavljajo vpogled v principe, ki so imanentni njenim oblikam. V tem primeru material predstavlja stično polje, v katerem nastajajo oblike, abstraktne značilnosti debla pa so poudarjene s pomočjo umetniške intervencije, med katero umetnik izpostavi določene elemente in se hkrati ne zmeni za druge vidike. Rezultat je medsebojno prepletanje organsko razvite oblike in radikalne umetniške intervencije. Kar je nekoč bilo deblo, se preoblikuje v novo semiotično strukturo in postane umetniško delo, s tem pa sledi zakonom, ki se dokončno razlikujejo od tistih, ki jim sledi narava.
225 Johann Feilacher develops his sculptures within the charged space lying between the rational and emotional, as well as between abstraction and connections to real forms. In doing so, his preferred material is wood. Even when he works with synthetic materials or bronze, the sculpture created out of a piece of wood provides the initial form. Feilacher always sees the dimension of the space in which his sculptures are placed as a fact that needs to be incorporated: the sculptures are to be situated within it in a way that creates a defined coexistence. The artist said: "I have always been fascinated by forms developed during prehistoric times, when the concept of art did not exist yet." By making use of fire to dynamize sculptures, Feilacher continues to elaborate upon his exploration of the archaic.
However, this connection with old tools only forms a frame of reference for creating objects that exist within the framework of a modern, contemporary concept of sculpture. In this context, Feilacher preserves the natural forms of the source material to a greater or lesser extent. Nonetheless, his aim is to define characteristic qualities of their natural shape in order to subsequently transform them into purely artistic form. His wooden sculptures convey the selfreflexive relationship of nature and art, between the subject of nature and the object of human creation: in the contrast between compact mass, curved form and hard-edged planes, and between processes of natural generation and the process of artistic creation, in which the latter has to obey the material's natural constitution, as defined by its growth. Feilacher rarely uses paint when applying color to specific surfaces of the wood or, at times, to the entire surface of a sculpture; instead, he prefers to use the 1200°C flame of a blowtorch to handle selected surfaces of the wood until they have become charred. Working with a blowtorch provides the artist with the opportunity to be precise, to not let the coloration penetrate too far into the wood, thus maintaining the organic, vibrant structure of the material and bringing it out even more emphatically.
Feilacher's artistic view of the material is thus simultaneously a tactile probing of its formal constitution. Ideally, his sculptures function along the lines of nature, because even in places where wood seems to dominate in terms of its tonality and sensual quality, they are not a mirror image of nature in an artistic-aestheticized form, but rather provide an insight into the principles that are immanent within its form. Here, the material represents the conjunctive field in which the forms become constituted. The abstract quality of a tree trunk is brought to the fore by means of artistic intervention, during which the artist emphasizes certain elements, while completely disregarding other aspects. The result is an interplay between organically developed form and radical artistic intervention. The former tree trunk is transformed into a new semiotic structure, and becomes an artwork following rules which are definitively different from those followed by nature.
226 LES / WOOD, razstava / exhibition JOHANN FEILACHER
Rodil se je leta 1954 na avstrijskem Koroškem. Sprva se je ukvarjal s slikarstvom, nato se v 80-ih prejšnjega stoletja posvetil kiparstvu. Les je njegov primarni material, uporablja ga za notranje in zunanje skulpture, ki včasih dosegajo monumentalne velikosti. Leta 2002 Feilacher razširi nabor materialov in začne kombinirati les z jeklom, delati poliuretanske odlitke in graditi instalacije iz poslikanih kosov lesa. Prve velike skulpture je ustvaril v Angliji (Hildon House Park, 1988) in v Združenih državah, v newyorškem Socrates Sculpture Parku in v Kouros Sculpture centru v Ridgeeldu. Leta 1997 je za Laumeier Sculpture Park v Saint Louisu (Missouri, ZDA) izdelal monumentalno delo Redwood 1.
He was born in 1954 in Villach, Carinthia, Austria. After his initial interest in painting, Feilacher developed as a sculptor during the period of the nineteen-eighties. His main material became wood, which he uses for indoor and outdoor works that reach monumental sizes. Since 2002, Feilacher expanded his materials, working also with combinations of wood and steel and he also casted polyurethane beside building installations of painted wood pieces. His rst large sculptures were made in England (Hildon House Park, 1988), followed by Socrates Sculpture Park in New York City, NY, and Kouros Sculpture Center in Ridgeeld, CT, USA. In 1997, the artist created Redwood 1, a monumental work for Laumeier Sculpture Park in Saint Louis, Missouri, USA.
DVOJNI HRAST / DOPPELEICHE, 1998 hrast / oak, 80x120x 45 cm
228 MESTO / CITTA 2004 brest / elm, 42x 60x60 cm
PUŠČICA 1 / PFEIL 1, 2016 topol / poplar, 150x66x66 cm
229 Walter Trecchi, Archi-nature VIII, 2016 GALERIJA MAGISTRAT / MAGISTRAT GALLERY, PTUJ
ARCHI-NATURE
WALTER TRECCHI
KUSTOSINJA / CURATOR: MARIKA VICARI ARCHI-NATURE, razstava / exhibition ARCHI-NATURE WALTER TRECCHI kustos / curator: Marika Vicari besedilo / text: Emanuele Beluf
V domišljijskih podobah Walterja Trecchija se metropolitanska mesta prepletajo z naravnimi »sistemi« in tako nastanejo križanci med arhitekturo in naravo. Gre za kraje, ki ne obstajajo, lahko pa bi, saj je tudi zanj, kot za vse velike ustvarjalce, značilno, da so pred časom, o katerem razmišljajo; sedaj ne obstajajo več horizontalni prostori, vse se razvija vertikalno, tudi zelenje.
Nahajamo se v ogromnem prostoru avantgardnih metropolitanskih mest, se oziramo naokoli in prisostvujemo tekočim procesom preoblikovanja industrijskih prestolnic v smer, ki vzpostavlja nov dialog z naravnimi elementi, in nastajanju mest-organizmov.
Narava se rada skriva, je nekoč dejal Heraklit. Toda tukaj se prikazuje v ravno obratni luči od skrivanja, v tem, kar so Grki imenovali oziroma resnica, razkritje in odkritje. V Trecchijevih delih se narava torej rada odkriva in ne skriva, kaže se v stvareh, ki so drugačne od nje same: v tehniki, v arhitekturi, v kulturi.
Dvojica narava/kultura, ki jo od nekdaj dojemamo kot nasprotno, v delih, ki jih je podpisal Trecchi, nastopa v popolnem sožitju, tako oblike kot vsebine; rastoča narava v podobi masivnih drevesnih struktur in arhitektura, ki jo je zgradila človeška iznajdljivost, sobivata v popolni dovršenosti.
(Emanuele Beluffi, 2016: izvleček besedila iz razstavnega kataloga Walterja Trecchija)
233 In Walter Trecchi's imagination, metropolitan places and natural "systems" are intertwined to form a crossover of architecture and nature. These are places that do not exist but could have, since he, as all the great men, is ahead of the times taken into account; in this moment, there are no more horizontal spaces, everything grows vertically, including greenery.
We now find ourselves in the great metropolitan spaces of avant-garde cities; we look around and assist to the ongoing processes of transfiguration of metropolitan industries in the direction which establishes a new dialogue with natural elements, and to the creation of cities-organisms.
Nature loves to hide, said Heraclitus. But in this case, it demonstrates itself in just the opposite direction, in that which Greeks call λήθεια: the truth, revelation and discovery. Trecchi's nature likes to reveal instead of hiding, showing itself through elements different than itself: in technics, in architecture, in culture.
In the crossover represented by Walter Trecchi, the nature/culture dyad, always considered in antithesis, is thus coordinated in complete harmony of both form and content; sprouting nature in the shape of huge arboreous structures, along with architecture, constructed by human ingenuity, together form a synthesis of supreme perfection.
(Emanuele Beluffi, 2016: extracted from Walter Trecchi's exhibition)
234 ARCHI-NATURE, razstava / exhibition WALTER TRECCHI
Trecchi se je rodil v Comu leta 1964, s slikarstvom se je začel ukvarjati v drugi polovici 90-ih. Na državni in mednarodni umetniški sceni je prisoten z osebnimi in skupinskimi razstavami ter prireditvami. Njegova dela se osredotočajo na mesta, na njihov izgled v nenehnem razvoju in na spreminjajoče se pokrajine; vse to je odraz arhitekture, ki ne samo odseva našo družbo, temveč tudi spreminja naša obzorja.
Born in Como in 1964, Trecchi began his painting career in the second half of the Nineties. Since then, he has been present on both national and international art scene with personal and collective exhibitions and presentations. His work focuses on cities with their ever-evolving proles and on mutant landscapes, a mirror of an architecture which moulds our society, even before changing our horizons.
ANTROPICO-NATURALE XXV, 2012 olje na papirju / oil on paper, 50X35 cm
236 ANTROPICO-NATURALE XV, 2012 olje na papirju / oil on paper, 50X70 cm
ANTROPICO-NATURALE XXI, 2012 olje na papirju / oil on paper, 50X70 cm
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SITE - SPECIFIC PROJEKTI SITE - SPECIFIC PROJECTS PREBUJANJE / AWAKENING, Slovenski trg, Ptuj SLOVENSKI TRG / SLOVENSKI SQUARE, PTUJ
PREBUJANJE / AWAKENING MOVIMENTO CREATIVE LABEL
SIMONE PUCCI & FEDERICO DE BENEDICTIS
KUSTOS / CURATOR: JERNEJ FORBICI PREBUJANJE / AWAKENING, Slovenski trg, Ptuj PREBUJANJE / AWAKENING (N-TITLED) MOVIMENTO CREATIVE LABEL (SIMONE PUCCI & FEDERICO DE BENEDICTIS) kustos / curator: Jernej Forbici
Simone Pucci (video) & Federico De Benedictis (zvok / sound) Perugia, Italija / Italy
PREBUJANJE / AWAKENING (N-TITLED), 2017 videomapiranje in ustvarjanje zvoka v živo / live videomapping and sound making, Slovenski trg, Ptuj
243 244 245 KNJIŽNI MOLJ / BOOK WORM, razstava / exhibition KNJIŽNICA IVANA POTRČA / IVAN POTRČ LIBRARY, PTUJ
KNJIŽNI MOLJ / BOOK WORM
NORIKO OBARA
DOBITNICA NAGRADE UMETNIŠKE REZIDENCE NA FESTIVALU ART STAYS NA MEDNARODNEM NATEČAJU ARTE LAGUNA PRIZE V BENETKAH.
WINNER OF ART STAYS ARTIST IN RESIDENCE PRIZE AT THE INTERNATIONAL ARTE LAGUNA PRIZE IN VENICE
KUSTOSA / CURATORS: MARIKA VICARI & JERNEJ FORBICI KNJIŽNI MOLJ / BOOK WORM, razstava / exhibition KNJIŽNI MOLJ / BOOK WORM NORIKO OBARA kustosa / curators: Jernej Forbici & Marika Vicari besedilo / text: Noriko Obara
Insekti so izredno občutljivi na okolje, v katerem živijo. Vse od začetka evolucije so ti organizmi prevzemali različne oblike, da bi se prilagodili danemu okolju. Pogosto jih lahko opazimo na območjih, ki obdajajo obdelana polja. Številčna populacija kačjih pastirjev nakazuje, da se v okolici Ptuja nahajajo reke in ribniki. To pomeni, da lahko na določenih območjih spoznamo naravo okolja na podlagi insektov, ki v njem bivajo. Slovenski gozdovi, ki pokrivajo 60 odstotkov površine države, so bogato poseljeni z insekti in slovijo kot čebelarsko območje.
Vse to mi je služilo kot navdih za pričujoče delo. Raziskala sem lokalne insekte in skozi njih v prostorih knjižnice predstavila lokalno okolje.
Insects are extremely sensitive to their living environment. From the beginnings of their evolution, these organisms transformed themselves into various forms as they adapted to their given environments. Insects are often observed in areas surrounding cultivated fields. Large populations of dragonflies indicate the existence of rivers and ponds in the area around Ptuj. Subsequently, we know the nature of the environment in certain areas by its inhabiting insects. Slovenia's forests, which cover 60 percent of its land mass, are rich in diverse insect life and are renowned as a bee keeping area.
It is from these things that I drew inspiration for this piece of art. I have investigated local insects and via them represented the local environment in the library space.
249 NORIKO OBARA
Rodila se je leta 1968 v Saitamiju (Japonska). Diplomirala je iz oljnega slikarstva na Tama Art University. Ob rednem razstavljanju svojih del deluje tudi kot direktorica in umetniška direktorica plesnih predstav. Med pomembnejšimi razstavami je potrebno izpostaviti Kobe Biennale (2011 in 2013), Echigo-Tsumaari Triennale (2009) in Water and Land Niigata Art Festival (2012 in 2014)).
Born in 1968 in Saitama Pref. She completed the Oil Painting Program of the Art Science Course, the Graduate School of Tama Art University. In addition to holding many solo and group exhibitions, she has been working as director and art director of dance performances. Among most imporatnt exhibitions are Kobe Biennale (2011 and 2013), Echigo-Tsumaari Triennale (2009) and Water and Land Niigata Art Festival (2012 and 2014).
KNJIŽNI MOLJ / BOOK WORM, 2017 prostorska instalacija / site-specic installation, Ptuj
250 251 NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN v delu / work in progress HALDA (46°23´45˝N 15°45´24˝E), STRNIŠČE
NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN
JAŠA 2011-2017
KUSTOS / CURATOR: JERNEJ FORBICI NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN performans med otvoritvijo / performance during the opening NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN JAŠA 2011-2017 kustos / curator: Jernej Forbici besedilo / text: Jaša, 01. 05. 2017, New York
Po ekonomski krizi leta 2008, v času, ko se je v ZDA razpočil milni mehurček, je Evropsko unijo zajel val sprememb in pri tem prizadel zlasti mlade države, ki so kapitalizem sprejele s široko odprtimi rokami. Slovenija je bila ena izmed njih. Ambicije in blaginjo sta nadomestila strah in negotovost. Predvsem kar zadeva stanje duha. Največjo škodo sta utrpela občutek enotnosti in ideja skupnih sanj. Včasih lahko strah pred popolno katastrofo sicer izolirane posameznike poveže v skupni predstavi o tem, kakšne možnosti imajo.
Leta 2011 sem se na povabilo organizatorjev festivala Art Stays odločil, da interveniram kot posameznik, ki »vzklika« v imenu mnogih. Delo je bilo možno opazovati samo z višine, torej z neba, z razdalje, ki že po definiciji združuje (po)krajino in njene prebivalce, torej vse nas kot nerazdružljivo dejstvo.
V letu 2017 se nameravam vrniti na isto prizorišče in tam uprizoriti land art intervencijo. Ne zaradi občutka zasmehovanja, niti zaradi navideznega poenostavljenja; moj namen ni »vpiti do neba«, temveč fizično oddaljenost oblakov izkoristiti za pogled nazaj na nas vse, kot enost v prostoru in času.
After the 2008 economic crisis, a wave that started after the bubble burst in the USA came rushing into the European Union and hit mostly the young countries that embraced capitalism. Slovenia was one of them. Fear and uncertainty replaced ambition and prosperity, mainly in our state of mind. The biggest damage was done to the sense of unity and shared dreams. A fear of a total disaster can sometimes bind isolated individuals into one notion of options.
In 2011, upon the invitation of Art Stays Festival, I decided to intervene as an individual »crying out« in the name of many. The work could only be seen from the sky, a distance that by default unites a landscape and its inhabitants, us as an inseparable fact.
In 2017, I intend to return to the same spot with a subsequent land-art intervention. Be it for emotion of ridicule or seeming simplification; my intent is not to call out to the sky but use the distance of the clouds to look back on us as a unity in time and space.
255 JAŠA
JAŠA (Mrevlje-Pollak) se je rodil leta 1978 v Ljubljani. Študiral je na beneški Accademia di Belle Arti in odtlej zaseda posebno mesto med evropskimi umetniki. Sodi med najplodnejše in najvplivnejše sodobne slovenske umetnike. Njegove značilne interpretacije situacij, pripovedi, skulptur in performansov mu dajejo pečat umetnika, ki prostore spreminja v izkustva in razvija njihov poetični potencial. Z brezkompromisnim premikanjem umetniških meja je JAŠA v skoraj dveh desetletjih ustvaril bogat in izjemen opus umetniških del, ki vključuje številne kritiško priznane samostojne razstave in projekte v Evropi in ZDA. V svojih ateljejih v New Yorku in Ljubljani je JAŠA ustvaril edinstveno okolje za razvijanje kontekstualnih in vizualnih možnosti, ki so ključnega pomena za njegovo delo.
JAŠA (Mrevlje-Pollak) was born in Ljubljana in 1978. He studied at the Accademia di Belle Arti in Venice and has since been a unique presence in Europe's artistic landscape. One of Slovenia's most prolic and critically recognized contemporary artists, JAŠA is driven by his rhapsodic interpretations of situation, narrative, sculpture and performance. Through his alchemistic connection with material and content, JAŠA transforms spaces into experiences, driving them toward their poetic and ecstatic potentials. Pushing artistic boundaries through uncompromising vision for almost two decades, JAŠA has created a rich and remarkable body of work that includes multiple critically acclaimed solo shows and projects in Europe and the US. In his two active studios in New York and Ljubljana, Slovenia, JAŠA has created a unique environment which allows him to cultivate contextual and visual eventuality integral to his work.
NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN, 2017 intervencija v naravi / land-art project, Halda, Strnišče
256 257 NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN v delu / work in progress NEZAKONIT NAMEN NEMEGA OPAZOVANJA NARAŠČAJOČE KATASTROFE, KI JO JE POVZROČIL IN ZA SABO PUSTIL ČLOVEK / UNLAWFUL PURPOSE OF BY-STANDING THE EXCEEDING CATASTROPHE CAUSED AND ABANDONED BY MAN otvoritev / opening
ART STAYS KINO ART STAYS CINEMA
v sodelovanju z / in collaboration with: Electronic Arts Intermix (EAI), New York Zoran Poposki & Laurence Wood, Hong Kong ART STAYS KINO / ART STAYS CINEMA (OPEN AIR) - Nancy Holt, Sun Tunnels Vrt Galerije FO.VI / Gallery FO.VI Garden, Strnišče
Nanc Holt, Sun Tunnels Courtesy Electronic Arts Intermix (EAI), New York. ART STAYS KINO / ART STAYS CINEMA ROBERT SMITHSON, NANCY HOLT, MARTHA ROSLER, GORDON MATTA-CLARK, DAN GRAHAM, PAUL RYAN kustosa / curators: Jernej Forbici & Marika Vicari
Robert Smithson SPIRAL JETTY, 1970, 35 min, 16 mm Dokumentarec o ustvarjanju verjetno najpomembnejšega land art dela v zgodovini umetnosti.
Nancy Holt SUN TUNNELS, 1978, 26:31 min,16 mm Dokumentarec o nastajanju najznamenitejšega dela Nancy Holt.
Martha Rosler CHILE ON THE ROAD TO NAFTA, 1997, 10:46 min & THE GARDEN SPOT OF THE WORLD: GREENPOINT, BROOKLYN, IN TRAFFIC, TRANSIT AND FLOW, 1993, 19:27 min V dveh filmih nas bo Martha Rosler popeljala najprej v Čile, kjer bomo seznanjeni z uničujočimi posledicami kontroverznega sporazuma NAFTA, in nato še v Brooklyn v New Yorku, kjer nam umetnica razkrije zgodovino onesnaževanja in nevarnosti zastrupitve v svojem domačem okolišu.
Gordon Matta-Clark FIRE CHILD & FRESH KILL & DAY’S END – 1971-75, 45:45 min Trije dokumentarci, ki spremljajo najbolj plodno obdobje Gordona Matta-Clarka med letoma 1971 in 1975. Velik doprinos k razumevanju dela tega izjemnega umetnika.
Dan Graham CLASSIC AND RECENT INSTALLATIONS/PAVILIONS 1974-2008, 2009, 15:37min, color, sound Od poznih sedemdesetih let je Dan Graham gradil serijo objektov na prostem, ki jih imenuje Paviljoni. Strukture vabijo k dialogu med gledalcem in krajino, med umetniškim delom in umetniškim kontekstom, ter pri tem odpirajo vprašanja v zvezi z uporabo in učinki prostorov, ki veljajo za javne. Dokumentarec spremlja njegovo delo in projekte v Franciji, ZDA in na drugih mednarodnih lokacijah.
Paul Ryan COAST OF CAPE ANN/ ECOCHANNEL DESIGN, 1985-86, 50:49 min, color, sound Paul Ryan je ustanovni član pionirske skupine Raindance, ki je deloval kot teoretik in ustvarjalec v zgodnjih video gibanjih sedemdesetih let. V dotičnem filmu Ryan predstavlja osnutek za televizijski kanal, ki nadzira ekološko stanje določenega okolja, v tem primeru reke Hudson.
263 Robert Smithson SPIRAL JETTY, 1970, 35 min, 16 mm A documentary about the creation of what is probably the most important land-art work in the history of art.
Nancy Holt SUN TUNNELS, 1978, 26:31 min,16 mm A documentary about the creation of the most famous work by Nancy Holt.
Martha Rosler CHILE ON THE ROAD TO NAFTA, 1997, 10:46 min & THE GARDEN SPOT OF THE WORLD: GREENPOINT, BROOKLYN, IN TRAFFIC, TRANSIT AND FLOW, 1993, 19:27 min In two videos, Martha Rosler takes us first to Chile in 1997, which was then on a fast track to join the economic alliance known as the North American Free Trade Agreement, and then to the neighborhood of Greenpoint, Brooklyn, New York, where the din of industry and traffic accompanies an urgent environmental alert about the artist’s home community.
Gordon Matta-Clark PROGRAM THREE: FIRE CHILD & FRESH KILL & DAY’S END – 1971-75, 45:45 min Three documentaries following the most fruitful period of Gordon Matta-Clark, from 1971 to 1975. A significant contribution to our understanding of the work of this exceptional artist.
Dan Graham CLASSIC AND RECENT INSTALLATIONS/PAVILIONS 1974-2008, 2009, 15:37min, color, sound Since the late 1970s, Graham has been constructing a series of outdoor sculptures that he terms »pavilions«. The structures call for a dialogue between spectator and landscape, art work and art context, and raise questions about the uses and effects of sites designated as public. The film surveys this body of work, with documentary footage of projects in France, United States, and other international locations.
Paul Ryan COAST OF CAPE ANN / ECOCHANNEL DESIGN, 1985-86, 50:49 min, color, sound Paul Ryan is a founding member of the pioneer media collective Raindance and was both a practitioner and theoretician of the early video movement in the 1970s. The featured film is a blueprint for a television channel, designed to monitor the ecology of a particular site, in this case the Hudson River.
264 Robert Smithson Gordon Matta - Clark Martha Rosler Paul Ryan Dan Graham Courtesy Electronic Arts Intermix (EAI), New York. .
265 ART STAYS KINO / ART STAYS CINEMA, Slovenski trg, Ptuj Gostujoči projekt / Hosted project: TRANSLATION(S) III: TELESA V TRANZITU / BODIES IN TRANSIT kustosa / curators: Zoran Poposki & Laurence Wood
Umetniki / Artists: A4C (IT), Justin Ascott (UK), Damon Ayers & Tessie Word (US), Lynn Book (US), Jessica Ledwich (AU), Chooc Ly Tan (FR/UK), Zoran Poposki (HK/MK) and Laurence Wood (HK/UK).
Telesa v tranzitu je mednarodni video projekt ki raziskuje eno najbolj vročih tem sodobnosti: prečkanje mej. Migracija, imigracija in begunci, ljudje in kulture, ki se srečujejo, mešajo, topijo ena z drugo ali spopadajo...
Bodies in Transit explores one of the most topical issues of contemporaneity: the traversing of borders. Migration, immigration, and refugees, people and cultures meeting, mixing, melding or clashing...
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ART STAYS
ART STAYS Produkcija sodobne umetnosti / Contemporary Art Production
KUD ART STAYS Prešernova ulica 1 2250 Ptuj
Pisarna / Ofce: Jadranska ulica 4, 2250 Ptuj
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ART STAYS