THE COMMON IN COMMUNITY. Seventy Years of Cooperative Centres as a Social Infrastructure, 2021
The project focuses on the Cooperative Centre – a multipurpose public building most often set in ... more The project focuses on the Cooperative Centre – a multipurpose public building most often set in a rural context. In villages, small towns and suburban areas they serve as venues for various administrative, economic, social and cultural activities. The cooperative centre has a specific architectural typology, whose purpose is to create an indoor public space that usually serves as a central space in the community, a place of social interaction and a hub that serves a range of local community needs.
Commissioner Matevž Čelik Vidmar
Assistant to the Commissioner Nikola Pongrac
Curators Blaž Babnik Romaniuk Martina Malešič Rastko Pečar Asta Vrečko
Pavilion Design Obrat d. o. o.
Exhibition Design Blaž Babnik Romaniuk Anja Delbello Nuša Jurkovič Samo Kralj Martina Malešič Rastko Pečar Aljaž Vesel Asta Vrečko
Graphic Design Anja Delbello Aljaž Vesel
Architectural Models Nuša Jurkovič Samo Kralj
Video Vid Hajnšek
Photography Jana Jocif
Collaborator Urška Cvikl
Coordinator in Venice eiletz | ortigas architects
Spone – Zagrebačka likovna akademija i slovenski umjetnici između dvaju ratova / Ties That Bind – Academy of Fine Arts in Zagreb and Slovenian Artists Between the Two Wars, 2021
Izložba i katalog izložbe Spone – Zagrebačka likovna akademija i slovenski umjetnici između dvaju... more Izložba i katalog izložbe Spone – Zagrebačka likovna akademija i slovenski umjetnici između dvaju ratova plod je suradnje Nacionalnog muzeja moderne umjetnosti iz Zagreba, Galerije Božidar Jakac iz Kostanjevice na Krki i zagrebačke Akademije likovnih umjetnosti.
Višestoljetni doticaji umjetnika s područja hrvatskih i slovenskih zemalja unutar iste države, intenzivirali su se osnutkom Kraljevine Jugoslavije. Zagreb kao kulturno i obrazovno središte epohe i prostora ujedno je jedini grad novonastale države koji je imao likovnu akademiju. Na čelu Akademije tada se nalazio jedan od najpoznatijih umjetnika tog razdoblja Ivan Meštrović, a sama Akademija svojim kakovosnim obrazovnim programima mogla se mjeriti s istovrsnim europskim institucijama. U razdoblju između dva rata na njoj je studiralo gotovo sto slovenskih umjetnika od kojih su mnogi kasnije obilježili slovensku umjetnost i kulturu kao slikari, kipari, scenografi, likovni pedagozi, kulturni djelatnici, teoretičari i, naposljetku kao profesori Akademije likovnih umjetnosti u Ljubljani osnovane 1945. Između umjetnika stvorena su trajna prijateljstva, bivši profesori i studenti postali su kolege, bivši kolege suradnici, sudjelovali su u društvima, izlagali, sjedili u odborima i tako surađivali u oblikovanju prijeratnog i poslijeratnog kulturnog i umjetničkog života.
U kustoskoj koncepciji dr. sc. Aste Vrečko (Galerija Božidar Jakac) i Dajane Vlaisavljević (Nacionalni muzej moderne umjetnosti) izložba predstavlja stotinjak slikarskih, kiparskih i grafičkih ostvarenja najpoznatijih slovenskih umjetnika, nekadašnjih studenata zagrebačke likovne akademije, između ostalih: Gabrijela Stupice, Zorana Mušiča, Zorana Dideka, Franca Pavlovca, Marija Pregelja, Maksima Sedeja, Mihe Maleša, Nikolaja Pirnata, Franca Goršeta, Franca Miheliča, Zdenka Kalina. Pojedina djela već su bila izlagana u Zagrebu u međuratnom razdoblju i sada su nakon osamdeset godina ponovno predstavljena zagrebačkoj publici. Radove slovenskih umjetnika tako je moguće usporedno pogledati s radovima njihovih hrvatskih kolega, Antuna Motike, Otona Postružnika, Marijana Detonija, Frana Šimunovića, Slavka Kopača i tadašnjih profesora Ljube Babića, Vladimira Becića, Ivana Meštrovića, Krste Hegedušića, Marina Tartaglie i drugih. Izložba definira međusobne utjecaje, povezanost i suradnju slovenskih i hrvatskih umjetnika te ukazuje na neka poznata ključna pitanja koja su interesirala umjetnike obje sredine tog razdoblje, kao što su pitanje nacionalnog likovnog izraza ili angažirane umjetnosti.
Pored radova iz zbirke Nacionalnog muzeja moderne umjetnosti iz Zagreba i Galerije Božidar Jakac na izložbi su predstavljena i djela iz još petnaest javnih zbirki iz Slovenije i Hrvatske, te iz više privatnih zbirki i arhiva Akademije likovnih umjetnosti u Zagrebu.
*** Ties That Bind – Academy of Fine Arts in Zagreb and Slovenian Artists Between the Two Wars exhibition and exhibition catalogue is the result of collaboration between the National Museum of Modern Art in Zagreb, the Božidar Jakac Art Museum in Kostanjevica on Krka and the Academy of Fine Arts in Zagreb.
The centuries-old contacts between artists from Croatian and Slovenian territories within the same country intensified with the founding of the Kingdom of Yugoslavia. Zagreb – the region’s cultural and studying hotspot at the time – was also the only city in the newly formed state that had a fine arts academy. Ivan Meštrović, one of the most famous artists of the period, was at the helm of the Academy of Fine Arts in Zagreb, which could easily compete with similar European education institutions thanks to its quality study programmes. In the interwar period, almost one hundred Slovenian artists studied there, many of whom later left their mark on Slovenian art and culture as painters, sculptors, set designers, art teachers, cultural workers, theorists and, ultimately, as professors at the Academy of Fine Arts and Design in Ljubljana which was founded in 1945. Lasting friendships were formed, former professors and students became colleagues, former colleagues became collaborators, they became active in different societies and associations, exhibited, were members of committees, and so collaborated in the shaping of pre-war and post-war cultural and artistic life.
Curated by Asta Vrečko, PhD (Božidar Jakac Art Museum) and Dajana Vlaisavljević (National Museum of Modern Art in Zagreb), the exhibition is presenting approximately one hundred paintings, sculptures and graphic art pieces by the most famous Slovenian artists who studied at the Academy of Fine Arts in Zagreb, such as: Gabrijel Stupica, Zoran Mušič, Zoran Didek, France Pavlovec, Marij Pregelj, Maksim Sedej, Miha Maleš, Nikolaj Pirnat, France Gorše, France Mihelič, Zdenko Kalin. Some works were already exhibited in Zagreb in the interwar period and will now be presented to Zagreb’s public again after eighty years. The works of Slovenian artists will be exhibited in parallel with the works of their Croatian colleagues, namely Antun Motika, Oton Postružnik, Marijan Detoni, Frano Šimunović, Slavko Kopač and then professors Ljubo Babić, Vladimir Becić, Ivan Meštrović, Krsto Hegedušić, Marino Tartaglia and others. The exhibition attempts to detect the mutual influences, ties and collaborations between Slovenian and Croatian artists, and to point out some of the widely known key issues that were of particular interest to the artists of both milieus at the time, such as the issue of national artistic expression or socially engaged art.
Besides works of art from the collection of the National Museum of Modern Art in Zagreb and the Božidar Jakac Art Museum, the exhibition is also presenting works from fifteen other public collections from Slovenia and Croatia, from several private collections and the archives of the Academy of Fine Arts in Zagreb.
The texts in the accompanying exhibition catalogue are authored by art historians Asta Vrečko, PhD, museum consultant Dajana Vlaisavljević, Head of the Archives of the Academy of Fine Arts in Zagreb Ariana Novina, and retired senior museum consultant at the National Museum of Modern Art in Ljubljana Breda Ilich Klančnik. The exhibition catalogue was designed by Ana Zubić.
V slovenski in jugoslovanski umetnosti so se v tridesetih letih zasidrali pojmi, kot so bili prol... more V slovenski in jugoslovanski umetnosti so se v tridesetih letih zasidrali pojmi, kot so bili proletarska, socialna in nacionalna umetnost, ponovni zagon pa je dobila tudi monumentalna umetnost. Zlasti monumentalno slikarstvo je odražalo zmes raznorodnih političnih, nacionalnih in kulturnih teženj. Cerkev je bila še vedno največja naročnica in v pomanjkanju dela je to predstavljajo pomemben vir preživetja. Veliko manj je bilo profanega monumentalnega slikarstva, zato poslikava v nekdanji gostilni Slamič na Gosposvetski ulici resnično unikaten v zgodovini ne le slovenske, ampak tudi umetnosti nekdanje Kraljevine Jugoslavije. Avtor poslikave je umetnik Stanet Cuderman (1895–1947), ki je študiral v Zagrebu in Pragi. Z razstavljem je aktivno začel v drugi polovici dvajsetih letih 20. stoletja, v tridestih pa izvedel več cerkevenih naročil, tudi za poslikavo fresk. Med drugim je dobil tudi zasebno naročilo družine Slamič za monumentalno poslikavo z narodno motiviko, ki je nastala verjetno leta 1933.
Stenska poslikava je bila odkrita pod opažem med obnovo dela nekdanje restavracije Slamič. Zaradi številnih predelav prostora je veljala za uničeno, a se je izkazalo, da je v celoti ohranjena (18 m²) in v dobrem stanju, le močno zamazana in porumenela.
V konservatorsko-restavratorskem posegu je največji problem predstavljalo odstranjevanje temnih madežev in porumenelih plasti. Izvedeni so bili razni testi čiščenja s topili, njihovimi mešanicami, vodnimi sistemi in pufrskimi raztopinami po recepturah R. Wolbersa, v različnih aplikacijah (raztopina, gel in pulpa), pri čemer je bila najučinkovitejša vodna raztopina amonijaka (1%). Ker je poslikava izvedena v seko tehniki v eni od temper z organskim vezivom, je barvna plast zelo občutljiva na mehanske posege, zato smo izbrali za površino najmanj agresivno metodologijo čiščenja s celuloznimi oblogami, ki smo jih na steni pustili do osušitve. Poslikava je bila nato utrjena z nanoapnom, poškodbe pa zakitane in retuširane.
Problematiko retuše lahko obravnavamo glede na tehnični, zgodovinski, etični in estetski vidik. S slednjega lahko preučujemo retušo kot pripomoček, ki naj likovni umetnini pripomore v njenem sporočilu, kar pomeni, da naj bi se retuša bodisi integrirala z umetnino ali se podredila izvirniku, ne glede na njegovo kakovost in prikupnost. Tu je obravnava retuše tudi najbolj kontradiktorna. Retuše na poslikavi so izvedene izključno na zakitanih mestih, tako da nismo posegali v avtorjevo delo. Po več poskusih je bilo izbrano vezivo akrilna emulzija v nizkem razmerju (2% -3%). V procesu retuširanja smo imitirali tako barvo in obliko kot tudi strukturo, način pa se je razvijal od enobarvnega podlaganja do črtkanja in punktiranja. Retuša je od blizu definirana in se razlikuje od originalnega barvnega nanosa.
The article examines the reasons behind the establishment of the Ljubljana Fine Artists Society, ... more The article examines the reasons behind the establishment of the Ljubljana Fine Artists Society, its exhibition and art education practices and their activities in the social and political sphere. Ljubljana Fine Artists Society (Društvo likovnih umentnikov Ljubljana – DLUL) was established on March 4 1982, after the Association of Slovenian Artist (Društvo slovenskih likovnih umetnikov – DSLU) was reorganised into the Federation of Associations of Slovenian Artist (Zvezo društev slovenskih likovnih umetnikov – ZDSLU). The reorganisation was due to the tendency of the government for the decentralisation. From its beginnings, the Ljubljana Fine Artists Society was committed to advocacy for social rights and improvement of working conditions for artists and popularization of their work. Ljubljana Fine Artists Society organised more than two hundred exhibitions, countless lectures and artist talks and cooperated with other artists associations in Slovenia and abroad. They have strived to reach a diverse audience. The association focused strongly on art education for children and the organisation of didactical exhibitions. Ljubljana Fine Artists Society aim was to participate in the cultural politics of the municipality, one of their main agendas was to secure more working spaces, ateliers for artist living and working in Ljubljana.
Key words: Ljubljana Fine Artists Society, artist organisation, cultural politics, exhibitions, slovenian art, exhibiton history. * DLUL je bil ustanovljen l. 1982, ko se je stanovsko društvo likovnih umetnikov preoblikovalo v zvezo društev. V svoji 35-letni zgodovini so si prizadevali za izboljšanje materialnih pogojev umetnikov, organizirali so mnogo razstav, strokovnih predavanj, sodelovali z društvi doma in v tujini ter prirejali različne založniške akcije.
Ključne besede: Društvo likovnih umentikov Ljubljana, DLUL, umetniško društvo, ateljeji, kulturna politika, zgodovina rastavljanja.
The Independent Group of Slovenian Artists
At the start of the 1930s, a new generation of arti... more The Independent Group of Slovenian Artists
At the start of the 1930s, a new generation of artists, educated at the Academy of Fine
Arts in Zagreb, stepped on the Slovenian art scene. The most prominent among them
were assembled in the Independent Group of Slovenian Artists, the Independents for
short, and their art left an indelible mark on that period in history.
In the broadest sense, the Independent Group was comprised of fourteen Slovenian
painters and sculptors, though all fourteen never appeared at the same exhibition
together. The members of the Group were: Zoran Didek, Boris Kalin, Zdenko Kalin,
Stane Kregar, France Mihelič, Zoran Mušič, Nikolaj Omersa, France Pavlovec, Nikolaj
Pirnat, Marij Pregelj, Karel Putrih, Maksim Sedej, Frančišek Smerdu, and Evgen Sajovic.
It must also be said that the activities of each individual artist were distinct and
that each one also exhibited their work outside of the Group, making their own impression on the Slovenian art scene.
In their aspiration for the broadest social recognition, the Independents utilised
various strategies. They were aware of the strength of the media and made good use
of them for the purposes of popularising their art. The name they selected for themselves
is also interesting and raises the question from what or whom the Independents
were or were striving to be independent. They wished to position themselves into
the continuity of Slovenian art and present their work as its organic development. At
the same time, their chosen name walled them off from innumerable matters and asserted their independence. We can learn something about the naming process from
the statements the members themselves made on various occasions about taking the
French as their model. Furthermore, they were not the first in the former Kingdom of
Yugoslavia to adopt such a name.
Sometimes, the Independents were criticised for being too closely connected with
Zagreb professors, namely, for their foreign influences (in addition to the influence
of the Zagreb professors, especially the influence of French art). In response, the artists
themselves consistently emphasised their search for a unique artistic expression,
which was, of course, a Slovenian artistic expression, in their opinion.
In the course of their work and promotion, the Independents used many strategies
to increase their visibility and presence in the media, ensuring a greater connection
with their audience and, in the final analysis, their survival. The Group’s successful
emergence on the art scene was due to their considerable individual artistic talents,
the quality art education they received at the Academy of Fine Arts in Zagreb, the
eagerness with which they worked, and their excellent organization. They succeeded
in their endeavour because they had managed, in a short amount of time, to position
themselves within Slovenian art as a group which, while somewhat lacking in homogeneity of artistic expression, nevertheless represented artistic quality. And all of this, placed in the context of the social circumstances at the end of the 1930s, also contributed to their popularity.
During and after the Second World War, different fates befell the Group members.
Today, each and every one of them is counted as a major figure in Slovenian art history,
not only when it comes to Slovenian but also Yugoslavian 20th century painting.
Despite the fact that former members helped shape Slovenian art in significant ways
even after the war, the activities of the Group itself have never been closely examined
in art history before. Hence, along with a number of their exhibitions, my paper attempts
to present the fundamental characteristics of the Group’s activities and the reception they received.
...
Klub neodvisnih likovnih umetnikov, kratko imenovan Neodvisni, je bila verjetno najbolje organizirana skupina umetnikov v tridesetih letih 20. stoletja na Slovenskem. V najširši sestavi jo je sestavljalo štirinajst kiparjev in slikarjev. Kot bolj ali manj enotna skupina so sodelovali na šestnajstih razstavah na Slovenskem in eni v Zagrebu. Uspešnost Neodvisnih je bila povezana z izrazito izstopajočim talentom nekaterih članov, kakovostno likovno izobrazbo, ki so jo člani večinoma dobili na akademiji v Zagrebu, željo po uveljavitvi in dobro organiziranostjo.
Pavilion of Slovenia at the 17th International Architecture Exhibition
As we go through our dail... more Pavilion of Slovenia at the 17th International Architecture Exhibition
As we go through our daily routines we frequently overlook how important community is in our lives; we lose sight of our place within it, our relationships with other people, and how strongly this shapes our daily lives. But once this interaction is broken due to personal or social circumstances, it soon becomes obvious how much it is missed. It's in times of economic, health or natural crises that indoor public community spaces suddenly become extremely important connective elements whose existence is crucial for the widest community.
V vsakdanjem življenju pogosto ne opazimo, kako pomembne so skupnost, naša vpetost vanjo in pove-zanost z drugimi ljudmi ter kako močno določajo naš vsakdan. Hitro in korenito pa se zavemo njihovega pomanjkanja, ko je interakcija zaradi osebnih ali druž-benih okoliščin pretrgana. Notranji javni prostori skup-nosti se izkažejo za izjemno pomembne povezovalne elemente ravno v času gospodarskih, zdravstvenih ali naravnih kriz, zato je njihov obstoj ključnega pomena za najširšo skupnost.
Izhodišče so izbrane manifestacije, ki so oblikovale slovensko umetnostno dogajanje v zadnjem desetletju Jugoslavije. Družbene spremembe, politična kriza po smrti predsednika Josipa Broza - Tita in gospodarska kriza so neizbežno zaznamovale umetnost in kulturo. Skupaj s preostalo Evropo je v začetku desetletja tudi Jugoslavijo prevzel val nove umetnosti. Z novimi idejami v filozofiji in umetnostni teoriji so se odprla ontološka vprašanja o umetnosti. Soočeni z novimi izzivi so umetnice in umetniki iskali drugačne načine delovanja. Zbirali so se okoli različnih prostorov, ki so postali katalizatorji novih umetnostnih in družbenih fenomenov ter stičišča kulturnega in političnega delovanja. Sodelovanja umetnikov in kustosov so potekala tako na lokalni, republiški kot zvezni ravni. Mednarodne povezave in študijska izpopolnjevanja v tujini so postali še izrazitejši. Vzporedno so se rahljali odnosi med centrom in periferijo. Umetnostni diskurz so poleg etabliranih ustanov usmerjali novi prostori in institucije. V ospredje so prišle nove tematike in načini ustvarjanja, ki so pred tem veljali za obrobne. V osemdesetih letih sta kultura in umetnost osvojili vse ravni družbe: oddaje na radiu in televiziji, časopise in popularna glasila, notranjost lokalov, bank in hotelov ter gospodarstvo. Podjetja so igrala pomembno vlogo na umetnostnem prizorišču s finančno podporo različnim akcijam in s širjenjem svojih umetniških zbirk. K razgibanemu dogajanju so pripomogle tudi razprave v številnih strokovnih publikacijah. S presekom skozi pomembnejše razstave, dogodke in prostore tistega časa omogoča vpogled v živahno slovensko umetnostno sceno osemdesetih let. Izpostavlja razstave in razstavišča, kot so Forma viva, Murin park skulptur, Jugoslovanski bienale male plastike, Koroški likovni bienale, Obalne galerije Piran, Galerija Študentskega kulturno-umetniškega centra - ŠKUC, Trajni delovni skupnosti samostojnih kulturnih delavcev Equrna in DESSA, EKO - Jugoslovanski trienale Ekologija in umetnost, BIO - Bienale industrijskega oblikovanja ter Mednarodni bienale tapiserije.
Asta Vrečko’s Interview with Aleksander Bassin [Slovenian], 2019
“The Non-Aligned Movement and All the Related Exhibitions Helped Foreground Art”
Asta Vrečko’s In... more “The Non-Aligned Movement and All the Related Exhibitions Helped Foreground Art” Asta Vrečko’s Interview with Aleksander Bassin http://www.newmappingsofeurope.si/en/books/asta-vrecko_70
The interview was conducted at the occasion of the Southern Constellations: The Poetics of the Non-Aligned exhibition, since Bassin had been actively involved in various fields of Yugoslavia’s international collaborations in culture. His first-hand accounts cast additional light on and help us better understand the events and situation at the time, as does his retrospective explanation of Yugoslavia’s cultural policies, which he experienced not only when staging exhibitions and attending international symposia but also as a member of Yugoslavia’s Commission for Cultural Relations with Foreign Countries. In 1968, Bassin was appointed as the Yugoslav selector for the international 1st Triennale India; India was one of the leading countries of the Non-Aligned Movement. He was one of the key organizers of the 25th general assembly of AICA (International Association of Art Critics) in Yugoslavia in 1973, and the Yugoslav delegate at AICA’s extraordinary 3rd congress in Kinshasa, which was the first of its kind in Africa. Also related to the politics of non-alignment were the international exhibitions organized in the Art Pavilion Slovenj Gradec under the auspices of the United Nations, staged also with the collaboration of Aleksander Bassin. In the interview, Bassin presents his many diverse roles and experiences as well as Slovenia’s and Yugoslavia’s position vis-à-vis art and its importance in the period of the Non-Aligned Movement.
THE JOURNAL OF MODERN ART HISTORY DEPARTMENT FACULTY OF PHILOSOPHY UNIVERSITY OF BELGRADE, 2019
In the final decade of Yugoslavia, characterized by social change, economic and political crisis,... more In the final decade of Yugoslavia, characterized by social change, economic and political crisis, new spaces of art helped shape the art discourse of the period. Due to the economic situation and social changes, artists sought alternative ways of working under new conditions and making contact with their audience as well as with potential buyers. They gathered around various spaces that became catalysts of new artistic and social phenomena and nodes of cultural and political activities.
Artists and curators collaborated on the local, republican level as well as on the federal level. International connections intensified and study trips abroad became more frequent. At the same time, relations between the center and the periphery grew looser. In addition to established institutions, new art spaces and institutions influenced the art discourse. New themes and approaches in artistic production,
previously considered marginal, took center stage. The article "New Spaces, New Images. The Eighties through the Prism of Events, Exhibitions and Discourses" gives an insight into the vivacious 1980s art scene in Slovenia, through the crosssection of the major exhibitions, events, and art spaces of the time.
32. izdaja grafičnega bienala v sodelovanju in koprodukciji s številnimi partnerji ponovno prinaša obsežen sklop razstav in dogodkov. Izbor umetnikov za osrednjo bienalsko razstavo z naslovom Kriterij rojstva, ki bo na ogled v MGLC (Grad Tivoli) in v ravnokar prenovljeni stavbi Švicarije, je tokrat sledil zanimivemu eksperimentu. Šlo je za preprost mehanizem: prejemniki velike nagrade z zadnjih petih bienalov – Jeon Joonho (2007), Justseeds (2009), Regina José Galindo (2011), María Elena González (2013) in Ištvan Išt Huzjan (2015) – so bili povabljeni, naj predlagajo po enega umetnika, ki bo sodeloval na tokratnem dogodku; ti so bili nato povabljeni, naj imenujejo naslednjih pet sodelujočih umetnikov. Proces je obsegal še pet krogov in na koncu 32. bienale oskrbel z imeni najmanj tridesetih sodelujočih umetnikov. S tem je postavila 32. izdaja bienala za svojo izhodiščno točko transgresivni moment, ki meri na radikalno preoblikovanje – ne le vsebine dogodka, temveč tudi njegove strukture. To nakazuje že njegov naslov, Kriterij rojstva, ki namiguje na pesem modernističnega pesnika iz 20. stoletja Jureta Detele – pesem, ki je ponudila impulz za samorefleksijo, kakršne se je lotil bienale. Ali z drugimi besedami, celo kadar 32. grafični bienale zavrača okvir tematske razstave, izhaja iz pesmi, vendar take, ki razstavi ne ponuja vodilne teme, ampak s svojim radikalnim preizpraševanjem vseh polarnosti kliče po prelomu. Prelom, ki ga vpelje pesem Jureta Detele, odzvanja v rizomski strukturi letošnjega bienala, ki – brez osrednje figure kuratorja – namesto tega deluje kot entiteta, ki proizvaja samo sebe. Z izstopom iz območja ugodja, naj gre za tradicijo bienala ali pa uveljavljene protokole snovanja razstav sodobne umetnosti, Kriterij rojstva postavlja v ospredje raznovrstna razmerja – mnogoterost, ki nima enega samega, združevalnega koncepta, namesto tega pa obstaja kot nepretrgan tok pomenov in ponudi množico potencialnih povezav in interakcij med umetniškimi deli.
32. grafični bienale poleg osrednje razstave Kriterij rojstva (MGLC, Švicarija in Galerija ŠKUC) predstavlja tudi tradicionalno razstavo dobitnika prejšnje velike nagrade bienala, tokrat Ištvana Išta Huzjana, v Mestni galeriji Ljubljana, dela Petra Gidala, dobitnika nagrade za življenjsko delo na 31. bienalu, projekt nagrajenke občinstva 31. grafičnega bienala Mete Grgurevič, pregledno razstavo Marie Bonomi v Galeriji Jakopič ter pester diskurzivni program z mednarodnim simpozijem. Od drugih projektov so tu mednarodni plakatni projekt dobri sosed v sodelovanju z bienalom iz Istanbula, knjiga, ki predstavlja delo argentinske pesnice Alejandre Pizarnik, in grafična mapa umetnikov 32. grafičnega bienala, ki je na ogled v Galeriji Kresija.
Galerija DLUL
razstava, 4. oktober – 12. november 2017
Društvo likovnih umetnikov Ljubljana (DLU... more Galerija DLUL razstava, 4. oktober – 12. november 2017
Društvo likovnih umetnikov Ljubljana (DLUL) je bilo ustanovljeno 4. marca 1982, ko se je slovensko najstarejše stanovsko društvo likovnih umetnikov preoblikovalo v zvezo društev ZDSLU. DLUL se je ob ustanovitvi zavezal k delovanju za izboljšanje materialnih pogojev umetnikov na področju osrednje Slovenije in popularizaciji njihovega dela. V svoji 35-letni zgodovini so organizirali mnogo razstav, strokovnih predavanj, posvetov in pogovorov o likovni umetnosti, sodelovali so s šolami in likovnimi pedagogi, udeležujejo se likovnih kolonij, sodelujejo z drugimi stanovskimi društvi doma in v tujini ter prirejajo različne založniške akcije. Med osnovne dejavnosti društva spada tudi informiranje članov o specifičnih problemih umetnikov, ki se tičejo ljubljanske regije. Člani DLUL-a so člani različnih odborov in komisij na mestnem nivoju, v okviru katerih lahko pomagajo pri oblikovanju mestne kulturne politike. Že od samega začetka je eden izmed najpomembnejših segmentov njihovega dela borba za ustvarjalne in razstavne prostore, ki je prinesla nekatere uspešno zaključene akcije.
Na razstavi bo predstavljeno delovanje ljubljanskega društva likovnih umetnikov, ki je trenutno tudi največje v zvezi društev in združuje 315 umetnic in umetnikov vseh generacij.
Vodja projekta: Mojca Smerdu Kustosinji: Asta Vrečko in Maruša Kocjančič Grafično oblikovanje: Zoran Pungerčar
Litterae pictae: scripta varia in honorem Nataša Golob septuagesimum annum feliciter complentis, 2017
Group of artists Fourth Generation (Četrta generacija) in the Context of Artistic Self-organisati... more Group of artists Fourth Generation (Četrta generacija) in the Context of Artistic Self-organisation in the Interwar Period Many societies and informal groups of artists that exhibited collectively were formed in the interwar period. Artists would often transition between groups and were searching for new ways to achieve visibility and to survive with their artistic work. One such group was the Fourth Generation. Even though it was not long lasting it was influential in the interwar period. Their emergence in 1928 marked the entry of artists schooled in Zagreb on the artistic scene, and with that the decline of expressionism, which was dominant in the first decade after the end of World War I. Miha Maleš was the central personality of the group. He was active in many initiatives and was one of the central organisers of the art scene until the outbreak of World War II. In my contribution I will illuminate the impact of the Fourth Generation group in the context of artistic organising in the interwar period.
Konec dvajsetih let 20. stoletja se je na slovenskem umetnostnem prizorišču pojavila prva številčnejša generacija izoblikovana na akademiji v Zagrebu. Po končanem šolanju je večji del diplomantov začel razstavljati in imel relativno uspešne samostojne kariere. A ti mladi umetniki so se doma znašli v drugačnem okolju, kot so ga bili vajeni v večjem in kulturno bolj raznovrstnem mestu študija. Tako v pisanju kronistov kulturnega dogajanja kot umetnikov pogosto naletimo na opo zorila na pomanjkanje infrastrukture in finančne težave umetnikov, ki so jih umet niki reševali tudi s poskusi samoorganiziranja. Nastalo je več stanovskih društev in različnih umetniških skupin v želji, da bi s skupnim nastopom lažje nastopili na umetnostnem prizorišču. Posamezniki so med skupinami tudi veliko prehajali in si izmišljali nove in nove načine, da bi zagotovili prepoznavnost ter preživetje s svojim umetniškim delom. V obdobju med vojnama so nastale predvsem tri ključne skupine večinsko sestavljene iz umetnikov formiranih v Zagrebu: Četrta generacija, Klub neodvisnih slovenskih likovnih umetnikov in Gruda.
Art and its Responses to Changes in Society , 2016
The strategies for affirming national identity in the field of fine arts were diverse in the Euro... more The strategies for affirming national identity in the field of fine arts were diverse in the European cultural space and more or less intensive in different periods, for they were usually connected to social events like the constitution of new countries. On the other hand, in most cases the fight for their creation and the forming of states has demanded legitimization of a nation’s existence, which opens the question of national and cultural identity. In the creation and development of the concept of national consciousness, the field of art most often cooperated by forming and promoting a national cultural identity and by searching for the most important characteristics of individual nations. This could also lead to formulations of national artistic styles or, when necessary, open a debate on the possibility and impossibility of its existence. In this context, art was often given an educational role, which first manifested itself in historical painting. But it could also serve as a promoter of national art abroad, since, parallel to the acknowledgment of the existence of national arts, the need arose for their inclusion into a broader European space. Ideas about the shaping of national artistic expression thus first found expression in artistic production, which dealt in various ways with national particularities regardless of the style. National artistic expressions – and those that were understood as such – were most often articulated through iconography, which referred to national cultural heritage, through themes that interpreted myths in key moments in national history, and through heroization and monumentalization of the landscape, characteristic of a certain national space. But they also include those tendencies that sought to create the national artistic expression by searching for and creating authentic forms and with specific formal elements, which differed from other national arts. The re-actualization of the national in art must be understood also as a reaction to the social conditions of that time. After the end of World War I the geopolitical map of Europe was transformed. From the ruins of the multinational Austro-Hungary, several countries were formed and for a time, it seemed as if national aspirations, which had plagued the monarchy, were at least partially realized. Slovenian territory mostly became part of the newly established Kingdom of Serbs, Croats, and Slovenes (Kingdom of SHS), since the beginning often called simply Yugoslavia. The kingdom was a linguistically, religiously and ethnically diverse country. Formally, it was constituted as a modern bourgeois state, but its institutions and mechanisms of political action were always more in favor of the interests of the (Serbian) bourgeoisie, which legalized centralism and unitarism with the Vidovdan Constitution in 1921. The constitution suppressed ethnic particularities, nations were understood as tribes (three tribes of one people) and not as national entities, which caused a reaction and the struggle for national recognition, as well as for the democratization of society. The artistic production of the Independent Group of Slovenian Artists can be placed into the current of those tendencies in the search of a national art, which tried to found its position with the authenticity of the form as well. Their activities and the search for a national expression can be linked to four intertwined factors. The first is their formation at the Academy of Fine Arts in Zagreb, where they met as students with the tradition of European modernism and developed under the influence of their professors an affinity especially towards French art. The second factor is the Zagreb cultural milieu, where they followed polemics on the understanding and shaping of a national artistic expression, especially in artistic works and writings of Ljubo Babić and Krsto Hegedušić, which also shaped their understanding of the national expression. The third factor is a more declarative identification with national identity at the end of the thirties – and especially at the time of the exhibitions in 1940 – with the general social climate, when the national question once again came to the forefront. The fourth and final factor was the general understanding of art in Slovenia, where the beginning of Slovenian art was connected to the art of the Impressionists at the break of the twentieth century.
Entitled New Spaces, New Images, the first exhibition in the THE EIGHTIES series focuses above al... more Entitled New Spaces, New Images, the first exhibition in the THE EIGHTIES series focuses above all on traditional artistic media, architecture, and design through new biennial events and new exhibition strategies.
The THE EIGHTIES project constitutes part of the five-year program Uses of Art – the Legacy of 1848 and 1989 organized by the museum confederation L’Internationale. It is supported by the Ministry of Culture of the Republic of Slovenia and by the Culture Programme of the European Union. Published by the Moderna galerija, Ljubljana http://www.mg-lj.si/en/exhibitions/1835/the-eighties/
-- Prva razstava od treh v ciklusu OSEMDESETA nosi naslov Novi prostori, nove podobe in se posveča predvsem klasičnim likovnim medijem, arhitekturi in oblikovanju z vidika novih bienalnih prireditev in novih razstavnih strategij.
Projekt OSEMDESETA sodi v petletni program Rabe umetnosti – dediščina let 1848 in 1989, ki ga vodi konfederacija muzejev Internacionala. Podpirata ga Ministrstvo za kulturo Republike Slovenije in Program Kultura Evropske unije. Izdala Moderna galerija, Ljubljana http://www.mg-lj.si/si/razstave/1835/osemdeseta/
The exhibition is based on a selection of events that shaped developments in Slovene art in the f... more The exhibition is based on a selection of events that shaped developments in Slovene art in the final decade of Yugoslavia. Social changes, the political crisis following the death of the Yugoslav President Josip Broz - Tito, and the economic crisis inevitably impacted art and culture. And early in the decade, a wave of new art swept over Yugoslavia just as it did over the rest of Europe. The new ideas in philosophy and art theory broached also ontological questions about art. Faced with a host of new challenges, artists sought alternative ways of working. They gathered around various spaces that became catalysts of new artistic and social phenomena and nodes of cultural and political activities. Artists and curators collaborated on the local, republican level as well as on the federal level. International connections intensified and study trips abroad became more frequent. At the same time, relations between the center and the periphery grew looser. In addition to established institutions, new art spaces and institutions influenced the art discourse. New themes and approaches in artistic production, previously considered marginal, took center stage. In the 1980s, culture and art permeated all levels of society, from radio and television, through newspapers and popular magazines, to bar and restaurant interiors, banks, hotels, industry and business. Companies played an important part on the art scene by financing a range of actions and developing their own art collections. Similarly, discussions and polemics in the numerous art journals contributed to the variety and vigor of the art scene. Presenting a cross-section of the major exhibitions, events, and art spaces of the time, the New Spaces, New Images exhibition offers us insight into the vivacious 1980s art scene in Slovenia, placing special focus on exhibitions and art spaces like Forma Viva; the Mura sculpture park; the Yugoslav Biennial of Small-Scale Sculpture; the Carinthian Art Biennial; the Coastal Galleries Piran; ŠKUC; the Permanent Labor Communities of Freelance Cultural Workers Equrna and DESSA; EKO – the Yugoslav Triennial Ecology and Art; BIO – the Biennial of Industrial Design; and the International Biennial of Tapestry. This exhibition forms part of an extensive project entitled THE EIGHTIES, which constitutes part of the five-year programThe Uses of Art – the Legacy of 1848 and 1989, organized by the museum confederation L’Internationale. It is supported by the Ministry of Culture of the Republic of Slovenia and the Culture Programme of the European Union. http://www.mg-lj.si/en/exhibitions/1816/exhibition-new-spaces-new-images/ --- Razstava predstavlja slovensko umetnost osemdesetih let s prerezom izbranih razstavišč in razstav. Izhodišče razstave so izbrane manifestacije, ki so oblikovale slovensko umetnostno dogajanje v zadnjem desetletju Jugoslavije. Družbene spremembe, politična kriza po smrti predsednika Josipa Broza - Tita in gospodarska kriza so neizbežno zaznamovale umetnost in kulturo. Skupaj s preostalo Evropo je v začetku desetletja tudi Jugoslavijo prevzel val nove umetnosti. Z novimi idejami v filozofiji in umetnostni teoriji so se odprla ontološka vprašanja o umetnosti. Soočeni z novimi izzivi so umetnice in umetniki iskali drugačne načine delovanja. Zbirali so se okoli različnih prostorov, ki so postali katalizatorji novih umetnostnih in družbenih fenomenov ter stičišča kulturnega in političnega delovanja. Sodelovanja umetnikov in kustosov so potekala tako na lokalni, republiški kot zvezni ravni. Mednarodne povezave in študijska izpopolnjevanja v tujini so postali še izrazitejši. Vzporedno so se rahljali odnosi med centrom in periferijo. Umetnostni diskurz so poleg etabliranih ustanov usmerjali novi prostori in institucije. V ospredje so prišle nove tematike in načini ustvarjanja, ki so pred tem veljali za obrobne.
V osemdesetih letih sta kultura in umetnost osvojili vse ravni družbe: oddaje na radiu in televiziji, časopise in popularna glasila, notranjost lokalov, bank in hotelov ter gospodarstvo. Podjetja so igrala pomembno vlogo na umetnostnem prizorišču s finančno podporo različnim akcijam in s širjenjem svojih umetniških zbirk. K razgibanemu dogajanju so pripomogle tudi razprave v številnih strokovnih publikacijah. Razstava Novi prostori, nove podobe s presekom skozi pomembnejše razstave, dogodke in prostore tistega časa omogoča vpogled v živahno slovensko umetnostno sceno osemdesetih let. Izpostavlja razstave in razstavišča, kot so Forma viva, Murin park skulptur, Jugoslovanski bienale male plastike, Koroški likovni bienale, Obalne galerije Piran, Galerija Študentskega kulturno-umetniškega centra - ŠKUC, Trajni delovni skupnosti samostojnih kulturnih delavcev Equrna in DESSA, EKO - Jugoslovanski trienale Ekologija in umetnost, BIO - Bienale industrijskega oblikovanja ter Mednarodni bienale tapiserije. Razstava je del širšega projekta OSEMDESETA, ki sodi v petletni program Rabe umetnosti – dediščina let 1848 in 1989; tega vodi konfederacija muzejev Internacionala. Podpirata ga Ministrstvo za kulturo Republike Slovenije in Program Kultura Evropske unije.
The graphic novel Italian Winter (L’inverno d’Italia) by Davide Toffolo relays the story of two c... more The graphic novel Italian Winter (L’inverno d’Italia) by Davide Toffolo relays the story of two children, Drago and Giudita, who are interned in the Italian Fascist concentration camp Gonars. The paper will analyse the work and examine its visual language regarding to the content. For the interpretation of the work as a representation of trauma a comparison between Italian Winter and the acclaimed graphic novel Maus by Art Spiegelman. Since Maus has inspired new concepts in the interdisciplinary fi eld of memories studies, this paper builds on some of them for an interpretation of Italian Winter.
RAPPRESENTAZIONE DEL TRAUMA NEL L’INVERNO D’ITALIA DA DAVIDE TOFFOLO
La novella grafi ca L’inverno d’Italia di Davide Toffolo racconta la storia di due bambini, Drago e Giudita, internati nel campo di concentramento fascista di Gonars. Il saggio analizza la novella ed esamina il suo linguaggio visivo
rispetto al contenuto. Per interpretare il lavoro come una rappresentazione del trauma si fa un confronto a Maus, la celebre novella grafi ca di Art Spiegelman. Maus ha ispirato nuovi concetti nel campo interdisciplinare di studio sulla
memoria ed alcuni di loro vengono usati per dare un’interpretazione a L’inverno d’Italia.
Z vprašanji razmerij med slovenstvom in jugoslovanstvom, med slovenskim in tujim, med samobitnost... more Z vprašanji razmerij med slovenstvom in jugoslovanstvom, med slovenskim in tujim, med samobitnostjo in zunanjimi vplivi ter nacionalnim in internacionalnim se v obdobju med svetovnima vojnama srečamo tako rekoč v vsakem segmentu družbe. Razmišljanja o nacionalnem izrazu v umetnosti moramo tako razumeti tudi kot reakcijo na družbene razmere v obdobju med vojnama. Kraljevina SHS je bila formalno utemeljena kot moderna meščanska država, a njene institucije in mehanizmi političnega delovanja so vedno bolj podpirali interese (srbske) buržoazije, ki je leta 1921 z vidovdansko ustavo uzakonila centralizem in unitarizem (Perovšek, 1993, 18–26). Ustava je dušila narodne posebnosti, narodi so bili razumljeni kot plemena in ne nacionalne entitete, kar je povzročilo reakcijo ter boj za narodno priznanje in demokratizacijo družbe. Eno izmed pomembnih vprašanj v slovenski kulturi v tem času je bilo, ali ohranjati slovensko narodno in jezikovno samobitnost ali pristati na kulturno asimilacijo. Slovenci se svoji kulturi in jeziku večinoma niso bili pripravljeni odreči, saj so v novo državo, ki naj bi bila osnovana na podlagi naravnega prava o samoodločbi narodov, vstopili prostovoljno in pripomogli k njeni ustanovitvi (Dolenc, 1996, 107). 6. januarja 1929 je po vrhuncu politične krize, ki se je manifestirala v atentatu v parlamentu, vladanje prevzel kralj Aleksander in nastopilo je obdobje tako imenovane šestojanuarske diktature, ki je prinesla še dodatno zaostritev centralizma in političnih razmer. Država je bila razdeljena na banovine in preimenovana v Kraljevino Jugoslavijo (Perovšek, 2005). Diktatura je pomenila spremembo kulturne politike v državi in je hotela narediti rez z dotedanjo prakso. Na začetku ta pritisk ni bil toliko občuten, vendar se je po letu 1930 že pokazal. 1 Tako je bilo tudi v času diktature veliko zanimanja slovenskih izobražencev namenjenega vprašanjem nacionalnega oziroma, kot je z naslovom svoje knjige opisal Josip Vidmar, »kulturnemu problemu slovenstva« (Vidmar, 1932).
-- The interwar period was ripe with political crises connected to the national question in the Kingdom of SHS and the Kingdom of Yugoslavia. The relationship between Yugoslav and Slovene identity again became central for the question of national emancipation within an increasing supranational conflict and became the focus of visual arts in the 1930s. After a decade marked by Expressionism and New Objectivity in the thirties, values of moderate modernism and the quest for national expression re-emerged. At the time a new group of artists emerged on the Slovene artistic scene. They were schooled in Zagreb, the cultural centre of the Kingdom of Yugoslavia, where intense polemics regarding national expression in art were taking place. This contribution outlines the search for “our expression” in art as understood by the central protagonists of the art scene in Croatia, Krsto Hegedušić and Ljubo Babić. The latter especially was of central importance to the formation of the young Slovene art, because he was a prolific writer and one of the most important professors at the Academy of Fine Arts in Zagreb. The former Slovenian students, who formed the Independent group of Slovenian artists (Klub neodvisnih slovenskih likovnih umetnikov) emerged in the turbulent years before the outbreak of World War II. In art, so they claimed, they were seeking their own, Slovenian national visual expression. In this search they took inspiration from Croatian artists, whose ideas they adapted to the Slovenian situation. At the same time, they legitimised their efforts with references to Slovene impressionists, who were regarded as the founding fathers of Slovene national art. In this way the Independents (Neodvisni) sought to highlight the continuity in their search for Slovene national expression in art despite the transformed historical context. They based their national expression in art on a modernist version of Slovene impressionism. They combined this with their Zagreb professors' understanding of modernism and presented this transformation as a new Slovenian expression based on tradition but in synch with contemporary art movements.
Art that concerns itself with themes of concentration camps, the Holocaust and genocide is extrem... more Art that concerns itself with themes of concentration camps, the Holocaust and genocide is extremely varied. Many authors of different generations have been engaged in it in different media. And yet, similar problems and dilemmas appear in the analysis of this art. Often questions about the artistic merit of the works are secondary, being overshadows by questions about the moral justification of the existence of the work of art and its historical accuracy. Reflections on the aesthetics of these works of art turn out to be very delicate. The cycle We Are not the Last by Zoran Musič (1909– 2005), one of the most recognisable Slovene painters, is distinguished at once by aesthetic perfection and the immediate cruel reality of the imagery. Reflecting upon his works within the framework of concentration camp art and survivor‘s testimony can contribute to a better understanding of his works.
Uploads
Papers by Asta Vrečko
Commissioner
Matevž Čelik Vidmar
Assistant to the Commissioner
Nikola Pongrac
Curators
Blaž Babnik Romaniuk
Martina Malešič
Rastko Pečar
Asta Vrečko
Pavilion Design
Obrat d. o. o.
Exhibition Design
Blaž Babnik Romaniuk
Anja Delbello
Nuša Jurkovič
Samo Kralj
Martina Malešič
Rastko Pečar
Aljaž Vesel
Asta Vrečko
Graphic Design
Anja Delbello
Aljaž Vesel
Architectural Models
Nuša Jurkovič
Samo Kralj
Video
Vid Hajnšek
Photography
Jana Jocif
Collaborator
Urška Cvikl
Coordinator in Venice
eiletz | ortigas architects
Producer
Museum of Architecture
and Design (MAO)
Višestoljetni doticaji umjetnika s područja hrvatskih i slovenskih zemalja unutar iste države, intenzivirali su se osnutkom Kraljevine Jugoslavije. Zagreb kao kulturno i obrazovno središte epohe i prostora ujedno je jedini grad novonastale države koji je imao likovnu akademiju. Na čelu Akademije tada se nalazio jedan od najpoznatijih umjetnika tog razdoblja Ivan Meštrović, a sama Akademija svojim kakovosnim obrazovnim programima mogla se mjeriti s istovrsnim europskim institucijama. U razdoblju između dva rata na njoj je studiralo gotovo sto slovenskih umjetnika od kojih su mnogi kasnije obilježili slovensku umjetnost i kulturu kao slikari, kipari, scenografi, likovni pedagozi, kulturni djelatnici, teoretičari i, naposljetku kao profesori Akademije likovnih umjetnosti u Ljubljani osnovane 1945. Između umjetnika stvorena su trajna prijateljstva, bivši profesori i studenti postali su kolege, bivši kolege suradnici, sudjelovali su u društvima, izlagali, sjedili u odborima i tako surađivali u oblikovanju prijeratnog i poslijeratnog kulturnog i umjetničkog života.
U kustoskoj koncepciji dr. sc. Aste Vrečko (Galerija Božidar Jakac) i Dajane Vlaisavljević (Nacionalni muzej moderne umjetnosti) izložba predstavlja stotinjak slikarskih, kiparskih i grafičkih ostvarenja najpoznatijih slovenskih umjetnika, nekadašnjih studenata zagrebačke likovne akademije, između ostalih: Gabrijela Stupice, Zorana Mušiča, Zorana Dideka, Franca Pavlovca, Marija Pregelja, Maksima Sedeja, Mihe Maleša, Nikolaja Pirnata, Franca Goršeta, Franca Miheliča, Zdenka Kalina. Pojedina djela već su bila izlagana u Zagrebu u međuratnom razdoblju i sada su nakon osamdeset godina ponovno predstavljena zagrebačkoj publici. Radove slovenskih umjetnika tako je moguće usporedno pogledati s radovima njihovih hrvatskih kolega, Antuna Motike, Otona Postružnika, Marijana Detonija, Frana Šimunovića, Slavka Kopača i tadašnjih profesora Ljube Babića, Vladimira Becića, Ivana Meštrovića, Krste Hegedušića, Marina Tartaglie i drugih. Izložba definira međusobne utjecaje, povezanost i suradnju slovenskih i hrvatskih umjetnika te ukazuje na neka poznata ključna pitanja koja su interesirala umjetnike obje sredine tog razdoblje, kao što su pitanje nacionalnog likovnog izraza ili angažirane umjetnosti.
Pored radova iz zbirke Nacionalnog muzeja moderne umjetnosti iz Zagreba i Galerije Božidar Jakac na izložbi su predstavljena i djela iz još petnaest javnih zbirki iz Slovenije i Hrvatske, te iz više privatnih zbirki i arhiva Akademije likovnih umjetnosti u Zagrebu.
UREDNICE KATALOGA / CATALOGUE EDITORS
Asta Vrečko
Dajana Vlaisavljević
UVODNICI / INTRODUCTIONS
Branko Franceschi
Goran Milovanović
TEKSTOVI / ESSAYS
Dajana Vlaisavljević
Ariana Novina
Asta Vrečko
Breda Ilich Klančnik
***
Ties That Bind – Academy of Fine Arts in Zagreb and Slovenian Artists Between the Two Wars exhibition and exhibition catalogue is the result of collaboration between the National Museum of Modern Art in Zagreb, the Božidar Jakac Art Museum in Kostanjevica on Krka and the Academy of Fine Arts in Zagreb.
The centuries-old contacts between artists from Croatian and Slovenian territories within the same country intensified with the founding of the Kingdom of Yugoslavia. Zagreb – the region’s cultural and studying hotspot at the time – was also the only city in the newly formed state that had a fine arts academy. Ivan Meštrović, one of the most famous artists of the period, was at the helm of the Academy of Fine Arts in Zagreb, which could easily compete with similar European education institutions thanks to its quality study programmes. In the interwar period, almost one hundred Slovenian artists studied there, many of whom later left their mark on Slovenian art and culture as painters, sculptors, set designers, art teachers, cultural workers, theorists and, ultimately, as professors at the Academy of Fine Arts and Design in Ljubljana which was founded in 1945. Lasting friendships were formed, former professors and students became colleagues, former colleagues became collaborators, they became active in different societies and associations, exhibited, were members of committees, and so collaborated in the shaping of pre-war and post-war cultural and artistic life.
Curated by Asta Vrečko, PhD (Božidar Jakac Art Museum) and Dajana Vlaisavljević (National Museum of Modern Art in Zagreb), the exhibition is presenting approximately one hundred paintings, sculptures and graphic art pieces by the most famous Slovenian artists who studied at the Academy of Fine Arts in Zagreb, such as: Gabrijel Stupica, Zoran Mušič, Zoran Didek, France Pavlovec, Marij Pregelj, Maksim Sedej, Miha Maleš, Nikolaj Pirnat, France Gorše, France Mihelič, Zdenko Kalin. Some works were already exhibited in Zagreb in the interwar period and will now be presented to Zagreb’s public again after eighty years. The works of Slovenian artists will be exhibited in parallel with the works of their Croatian colleagues, namely Antun Motika, Oton Postružnik, Marijan Detoni, Frano Šimunović, Slavko Kopač and then professors Ljubo Babić, Vladimir Becić, Ivan Meštrović, Krsto Hegedušić, Marino Tartaglia and others. The exhibition attempts to detect the mutual influences, ties and collaborations between Slovenian and Croatian artists, and to point out some of the widely known key issues that were of particular interest to the artists of both milieus at the time, such as the issue of national artistic expression or socially engaged art.
Besides works of art from the collection of the National Museum of Modern Art in Zagreb and the Božidar Jakac Art Museum, the exhibition is also presenting works from fifteen other public collections from Slovenia and Croatia, from several private collections and the archives of the Academy of Fine Arts in Zagreb.
The texts in the accompanying exhibition catalogue are authored by art historians Asta Vrečko, PhD, museum consultant Dajana Vlaisavljević, Head of the Archives of the Academy of Fine Arts in Zagreb Ariana Novina, and retired senior museum consultant at the National Museum of Modern Art in Ljubljana Breda Ilich Klančnik. The exhibition catalogue was designed by Ana Zubić.
Stenska poslikava je bila odkrita pod opažem med obnovo dela nekdanje restavracije Slamič. Zaradi številnih predelav prostora je veljala za uničeno, a se je izkazalo, da je v celoti ohranjena (18 m²) in v dobrem stanju, le močno zamazana in porumenela.
V konservatorsko-restavratorskem posegu je največji problem predstavljalo odstranjevanje temnih madežev in porumenelih plasti. Izvedeni so bili razni testi čiščenja s topili, njihovimi mešanicami, vodnimi sistemi in pufrskimi raztopinami po recepturah R. Wolbersa, v različnih aplikacijah (raztopina, gel in pulpa), pri čemer je bila najučinkovitejša vodna raztopina amonijaka (1%). Ker je poslikava izvedena v seko tehniki v eni od temper z organskim vezivom, je barvna plast zelo občutljiva na mehanske posege, zato smo izbrali za površino najmanj agresivno metodologijo čiščenja s celuloznimi oblogami, ki smo jih na steni pustili do osušitve. Poslikava je bila nato utrjena z nanoapnom, poškodbe pa zakitane in retuširane.
Problematiko retuše lahko obravnavamo glede na tehnični, zgodovinski, etični in estetski vidik. S slednjega lahko preučujemo retušo kot pripomoček, ki naj likovni umetnini pripomore v njenem sporočilu, kar pomeni, da naj bi se retuša bodisi integrirala z umetnino ali se podredila izvirniku, ne glede na njegovo kakovost in prikupnost. Tu je obravnava retuše tudi najbolj kontradiktorna. Retuše na poslikavi so izvedene izključno na zakitanih mestih, tako da nismo posegali v avtorjevo delo. Po več poskusih je bilo izbrano vezivo akrilna emulzija v nizkem razmerju (2% -3%). V procesu retuširanja smo imitirali tako barvo in obliko kot tudi strukturo, način pa se je razvijal od enobarvnega podlaganja do črtkanja in punktiranja. Retuša je od blizu definirana in se razlikuje od originalnega barvnega nanosa.
Key words: Ljubljana Fine Artists Society, artist organisation, cultural politics, exhibitions, slovenian art, exhibiton history.
*
DLUL je bil ustanovljen l. 1982, ko se je stanovsko društvo likovnih umetnikov preoblikovalo v zvezo društev. V svoji 35-letni zgodovini so si prizadevali za izboljšanje materialnih pogojev umetnikov, organizirali so mnogo razstav, strokovnih predavanj, sodelovali z društvi doma in v tujini ter prirejali različne založniške akcije.
Ključne besede: Društvo likovnih umentikov Ljubljana, DLUL, umetniško društvo, ateljeji, kulturna politika, zgodovina rastavljanja.
At the start of the 1930s, a new generation of artists, educated at the Academy of Fine
Arts in Zagreb, stepped on the Slovenian art scene. The most prominent among them
were assembled in the Independent Group of Slovenian Artists, the Independents for
short, and their art left an indelible mark on that period in history.
In the broadest sense, the Independent Group was comprised of fourteen Slovenian
painters and sculptors, though all fourteen never appeared at the same exhibition
together. The members of the Group were: Zoran Didek, Boris Kalin, Zdenko Kalin,
Stane Kregar, France Mihelič, Zoran Mušič, Nikolaj Omersa, France Pavlovec, Nikolaj
Pirnat, Marij Pregelj, Karel Putrih, Maksim Sedej, Frančišek Smerdu, and Evgen Sajovic.
It must also be said that the activities of each individual artist were distinct and
that each one also exhibited their work outside of the Group, making their own impression on the Slovenian art scene.
In their aspiration for the broadest social recognition, the Independents utilised
various strategies. They were aware of the strength of the media and made good use
of them for the purposes of popularising their art. The name they selected for themselves
is also interesting and raises the question from what or whom the Independents
were or were striving to be independent. They wished to position themselves into
the continuity of Slovenian art and present their work as its organic development. At
the same time, their chosen name walled them off from innumerable matters and asserted their independence. We can learn something about the naming process from
the statements the members themselves made on various occasions about taking the
French as their model. Furthermore, they were not the first in the former Kingdom of
Yugoslavia to adopt such a name.
Sometimes, the Independents were criticised for being too closely connected with
Zagreb professors, namely, for their foreign influences (in addition to the influence
of the Zagreb professors, especially the influence of French art). In response, the artists
themselves consistently emphasised their search for a unique artistic expression,
which was, of course, a Slovenian artistic expression, in their opinion.
In the course of their work and promotion, the Independents used many strategies
to increase their visibility and presence in the media, ensuring a greater connection
with their audience and, in the final analysis, their survival. The Group’s successful
emergence on the art scene was due to their considerable individual artistic talents,
the quality art education they received at the Academy of Fine Arts in Zagreb, the
eagerness with which they worked, and their excellent organization. They succeeded
in their endeavour because they had managed, in a short amount of time, to position
themselves within Slovenian art as a group which, while somewhat lacking in homogeneity of artistic expression, nevertheless represented artistic quality. And all of this, placed in the context of the social circumstances at the end of the 1930s, also contributed to their popularity.
During and after the Second World War, different fates befell the Group members.
Today, each and every one of them is counted as a major figure in Slovenian art history,
not only when it comes to Slovenian but also Yugoslavian 20th century painting.
Despite the fact that former members helped shape Slovenian art in significant ways
even after the war, the activities of the Group itself have never been closely examined
in art history before. Hence, along with a number of their exhibitions, my paper attempts
to present the fundamental characteristics of the Group’s activities and the reception they received.
...
Klub neodvisnih likovnih umetnikov, kratko imenovan Neodvisni, je bila verjetno najbolje organizirana skupina umetnikov v tridesetih letih 20. stoletja na Slovenskem. V najširši sestavi jo je sestavljalo štirinajst kiparjev in slikarjev. Kot bolj ali manj enotna skupina so sodelovali na šestnajstih razstavah na Slovenskem in eni v Zagrebu. Uspešnost Neodvisnih je bila povezana z izrazito izstopajočim talentom nekaterih članov, kakovostno likovno izobrazbo, ki so jo člani večinoma dobili na akademiji v Zagrebu, željo po uveljavitvi in dobro organiziranostjo.
As we go through our daily routines we frequently overlook how important community is in our lives; we lose sight of our place within it, our relationships with other people, and how strongly this shapes our daily lives. But once this interaction is broken due to personal or social circumstances, it soon becomes obvious how much it is missed. It's in times of economic, health or natural crises that indoor public community spaces suddenly become extremely important connective elements whose existence is crucial for the widest community.
http://www.mao.si/Razstava/Paviljon-Republike-Slovenije-na-17-Mednarodni-razstavi-arhitekture-La-Biennale-di-Venezia.aspx
V vsakdanjem življenju pogosto ne opazimo, kako pomembne so skupnost, naša vpetost vanjo in pove-zanost z drugimi ljudmi ter kako močno določajo naš vsakdan. Hitro in korenito pa se zavemo njihovega pomanjkanja, ko je interakcija zaradi osebnih ali druž-benih okoliščin pretrgana. Notranji javni prostori skup-nosti se izkažejo za izjemno pomembne povezovalne elemente ravno v času gospodarskih, zdravstvenih ali naravnih kriz, zato je njihov obstoj ključnega pomena za najširšo skupnost.
Izhodišče so izbrane manifestacije, ki so oblikovale slovensko umetnostno dogajanje v zadnjem desetletju Jugoslavije. Družbene spremembe, politična kriza po smrti predsednika Josipa Broza - Tita in gospodarska kriza so neizbežno zaznamovale umetnost in kulturo. Skupaj s preostalo Evropo je v začetku desetletja tudi Jugoslavijo prevzel val nove umetnosti.
Z novimi idejami v filozofiji in umetnostni teoriji so se odprla ontološka vprašanja o umetnosti. Soočeni z novimi izzivi so umetnice in umetniki iskali drugačne načine delovanja. Zbirali so se okoli različnih prostorov, ki so postali katalizatorji novih umetnostnih in družbenih fenomenov ter stičišča kulturnega in političnega delovanja. Sodelovanja umetnikov in kustosov so potekala tako na lokalni, republiški kot zvezni ravni. Mednarodne povezave in študijska izpopolnjevanja v tujini so postali še izrazitejši. Vzporedno so se rahljali odnosi med centrom in periferijo. Umetnostni diskurz so poleg etabliranih ustanov usmerjali novi prostori in institucije. V ospredje so prišle nove tematike in načini ustvarjanja, ki so pred tem veljali za obrobne.
V osemdesetih letih sta kultura in umetnost osvojili vse ravni družbe: oddaje na radiu in televiziji, časopise in popularna glasila, notranjost lokalov, bank in hotelov ter gospodarstvo. Podjetja so igrala pomembno vlogo na umetnostnem prizorišču s finančno podporo različnim akcijam in s širjenjem svojih umetniških zbirk. K razgibanemu dogajanju so pripomogle tudi razprave v številnih strokovnih publikacijah.
S presekom skozi pomembnejše razstave, dogodke in prostore tistega časa omogoča vpogled v živahno slovensko umetnostno sceno osemdesetih let. Izpostavlja razstave in razstavišča, kot so Forma viva, Murin park skulptur, Jugoslovanski bienale male plastike, Koroški likovni bienale, Obalne galerije Piran, Galerija Študentskega kulturno-umetniškega centra - ŠKUC, Trajni delovni skupnosti samostojnih kulturnih delavcev Equrna in DESSA, EKO - Jugoslovanski trienale Ekologija in umetnost, BIO - Bienale industrijskega oblikovanja ter Mednarodni bienale tapiserije.
Asta Vrečko’s Interview with Aleksander Bassin
http://www.newmappingsofeurope.si/en/books/asta-vrecko_70
The interview was conducted at the occasion of the Southern Constellations: The Poetics of the Non-Aligned exhibition, since Bassin had been actively involved in various fields of Yugoslavia’s international collaborations in culture. His first-hand accounts cast additional light on and help us better understand the events and situation at the time, as does his retrospective explanation of Yugoslavia’s cultural policies, which he experienced not only when staging exhibitions and attending international symposia but also as a member of Yugoslavia’s Commission for Cultural Relations with Foreign Countries. In 1968, Bassin was appointed as the Yugoslav selector for the international 1st Triennale India; India was one of the leading countries of the Non-Aligned Movement. He was one of the key organizers of the 25th general assembly of AICA (International Association of Art Critics) in Yugoslavia in 1973, and the Yugoslav delegate at AICA’s extraordinary 3rd congress in Kinshasa, which was the first of its kind in Africa. Also related to the politics of non-alignment were the international exhibitions organized in the Art Pavilion Slovenj Gradec under the auspices of the United Nations, staged also with the collaboration of Aleksander Bassin. In the interview, Bassin presents his many diverse roles and experiences as well as Slovenia’s and Yugoslavia’s position vis-à-vis art and its importance in the period of the Non-Aligned Movement.
Artists and curators collaborated on the local, republican level as well as on the federal level. International connections intensified and study trips abroad became more frequent. At the same time, relations between the center and the periphery grew looser. In addition to established institutions, new art spaces and institutions influenced the art discourse. New themes and approaches in artistic production,
previously considered marginal, took center stage. The article "New Spaces, New Images. The Eighties through the Prism of Events, Exhibitions and Discourses" gives an insight into the vivacious 1980s art scene in Slovenia, through the crosssection of the major exhibitions, events, and art spaces of the time.
16. 6.–29. 10. 2017
https://www.mglc-lj.si/bienale/32_graficni_bienale
32. izdaja grafičnega bienala v sodelovanju in koprodukciji s številnimi partnerji ponovno prinaša obsežen sklop razstav in dogodkov. Izbor umetnikov za osrednjo bienalsko razstavo z naslovom Kriterij rojstva, ki bo na ogled v MGLC (Grad Tivoli) in v ravnokar prenovljeni stavbi Švicarije, je tokrat sledil zanimivemu eksperimentu. Šlo je za preprost mehanizem: prejemniki velike nagrade z zadnjih petih bienalov – Jeon Joonho (2007), Justseeds (2009), Regina José Galindo (2011), María Elena González (2013) in Ištvan Išt Huzjan (2015) – so bili povabljeni, naj predlagajo po enega umetnika, ki bo sodeloval na tokratnem dogodku; ti so bili nato povabljeni, naj imenujejo naslednjih pet sodelujočih umetnikov. Proces je obsegal še pet krogov in na koncu 32. bienale oskrbel z imeni najmanj tridesetih sodelujočih umetnikov. S tem je postavila 32. izdaja bienala za svojo izhodiščno točko transgresivni moment, ki meri na radikalno preoblikovanje – ne le vsebine dogodka, temveč tudi njegove strukture. To nakazuje že njegov naslov, Kriterij rojstva, ki namiguje na pesem modernističnega pesnika iz 20. stoletja Jureta Detele – pesem, ki je ponudila impulz za samorefleksijo, kakršne se je lotil bienale. Ali z drugimi besedami, celo kadar 32. grafični bienale zavrača okvir tematske razstave, izhaja iz pesmi, vendar take, ki razstavi ne ponuja vodilne teme, ampak s svojim radikalnim preizpraševanjem vseh polarnosti kliče po prelomu. Prelom, ki ga vpelje pesem Jureta Detele, odzvanja v rizomski strukturi letošnjega bienala, ki – brez osrednje figure kuratorja – namesto tega deluje kot entiteta, ki proizvaja samo sebe. Z izstopom iz območja ugodja, naj gre za tradicijo bienala ali pa uveljavljene protokole snovanja razstav sodobne umetnosti, Kriterij rojstva postavlja v ospredje raznovrstna razmerja – mnogoterost, ki nima enega samega, združevalnega koncepta, namesto tega pa obstaja kot nepretrgan tok pomenov in ponudi množico potencialnih povezav in interakcij med umetniškimi deli.
32. grafični bienale poleg osrednje razstave Kriterij rojstva (MGLC, Švicarija in Galerija ŠKUC) predstavlja tudi tradicionalno razstavo dobitnika prejšnje velike nagrade bienala, tokrat Ištvana Išta Huzjana, v Mestni galeriji Ljubljana, dela Petra Gidala, dobitnika nagrade za življenjsko delo na 31. bienalu, projekt nagrajenke občinstva 31. grafičnega bienala Mete Grgurevič, pregledno razstavo Marie Bonomi v Galeriji Jakopič ter pester diskurzivni program z mednarodnim simpozijem. Od drugih projektov so tu mednarodni plakatni projekt dobri sosed v sodelovanju z bienalom iz Istanbula, knjiga, ki predstavlja delo argentinske pesnice Alejandre Pizarnik, in grafična mapa umetnikov 32. grafičnega bienala, ki je na ogled v Galeriji Kresija.
Bienalski kolegij: Irena Borić, Miklavž Komelj, Yasmín Martín Vodopivec, Nevenka Šivavec, Breda Škrjanec, Lili Šturm, Vladimir Vidmar, Asta Vrečko, Božidar Zrinski
razstava, 4. oktober – 12. november 2017
Društvo likovnih umetnikov Ljubljana (DLUL) je bilo ustanovljeno 4. marca 1982, ko se je slovensko najstarejše stanovsko društvo likovnih umetnikov preoblikovalo v zvezo društev ZDSLU. DLUL se je ob ustanovitvi zavezal k delovanju za izboljšanje materialnih pogojev umetnikov na področju osrednje Slovenije in popularizaciji njihovega dela. V svoji 35-letni zgodovini so organizirali mnogo razstav, strokovnih predavanj, posvetov in pogovorov o likovni umetnosti, sodelovali so s šolami in likovnimi pedagogi, udeležujejo se likovnih kolonij, sodelujejo z drugimi stanovskimi društvi doma in v tujini ter prirejajo različne založniške akcije. Med osnovne dejavnosti društva spada tudi informiranje članov o specifičnih problemih umetnikov, ki se tičejo ljubljanske regije. Člani DLUL-a so člani različnih odborov in komisij na mestnem nivoju, v okviru katerih lahko pomagajo pri oblikovanju mestne kulturne politike. Že od samega začetka je eden izmed najpomembnejših segmentov njihovega dela borba za ustvarjalne in razstavne prostore, ki je prinesla nekatere uspešno zaključene akcije.
Na razstavi bo predstavljeno delovanje ljubljanskega društva likovnih umetnikov, ki je trenutno tudi največje v zvezi društev in združuje 315 umetnic in umetnikov vseh generacij.
Vodja projekta: Mojca Smerdu
Kustosinji: Asta Vrečko in Maruša Kocjančič
Grafično oblikovanje: Zoran Pungerčar
Konec dvajsetih let 20. stoletja se je na slovenskem umetnostnem prizorišču pojavila prva številčnejša generacija izoblikovana na akademiji v Zagrebu. Po končanem šolanju je večji del diplomantov začel razstavljati in imel relativno uspešne samostojne kariere. A ti mladi umetniki so se doma znašli v drugačnem okolju, kot so ga bili vajeni v večjem in kulturno bolj raznovrstnem mestu študija. Tako v pisanju kronistov kulturnega dogajanja kot umetnikov pogosto naletimo na opo zorila na pomanjkanje infrastrukture in finančne težave umetnikov, ki so jih umet niki reševali tudi s poskusi samoorganiziranja. Nastalo je več stanovskih društev in različnih umetniških skupin v želji, da bi s skupnim nastopom lažje nastopili na umetnostnem prizorišču. Posamezniki so med skupinami tudi veliko prehajali in si izmišljali nove in nove načine, da bi zagotovili prepoznavnost ter preživetje s svojim umetniškim delom. V obdobju med vojnama so nastale predvsem tri ključne skupine večinsko sestavljene iz umetnikov formiranih v Zagrebu: Četrta generacija, Klub neodvisnih slovenskih likovnih umetnikov in Gruda.
In the creation and development of the concept of national consciousness, the field of art most often cooperated by forming and promoting a national cultural identity and by searching for the most important characteristics of individual nations. This could also lead to formulations of national artistic styles or, when necessary, open a debate on the possibility and impossibility of its existence. In this context, art was often given an educational role, which first manifested itself in historical painting. But it could also serve as a promoter of national art abroad, since, parallel to the acknowledgment of the existence of national arts, the need arose for their inclusion into a broader European space.
Ideas about the shaping of national artistic expression thus first found expression in artistic production, which dealt in various ways with national particularities regardless of the style. National artistic expressions – and those that were understood as such – were most often articulated through iconography, which referred to national cultural heritage, through themes that interpreted myths in key moments in national history, and through heroization and monumentalization of the landscape, characteristic of a certain national space. But they also include those tendencies that sought to create the national artistic expression by searching for and creating authentic forms and with specific formal elements, which differed from other national arts.
The re-actualization of the national in art must be understood also as a reaction to the social conditions of that time. After the end of World War I the geopolitical map of Europe was transformed. From the ruins of the multinational Austro-Hungary, several countries were formed and for a time, it seemed as if national aspirations, which had plagued the monarchy, were at least partially realized. Slovenian territory mostly became part of the newly established Kingdom of Serbs, Croats, and Slovenes (Kingdom of SHS), since the beginning often called simply Yugoslavia. The kingdom was a linguistically, religiously and ethnically diverse country. Formally, it was constituted as a modern bourgeois state, but its institutions and mechanisms of political action were always more in favor of the interests of the (Serbian) bourgeoisie, which legalized centralism and unitarism with the Vidovdan Constitution in 1921. The constitution suppressed ethnic particularities, nations were understood as tribes (three tribes of one people) and not as national entities, which caused a reaction and the struggle for national recognition, as well as for the democratization of society.
The artistic production of the Independent Group of Slovenian Artists can be placed into the current of those tendencies in the search of a national art, which tried to found its position with the authenticity of the form as well. Their activities and the search for a national expression can be linked to four intertwined factors. The first is their formation at the Academy of Fine Arts in Zagreb, where they met as students with the tradition of European modernism and developed under the influence of their professors an affinity especially towards French art. The second factor is the Zagreb cultural milieu, where they followed polemics on the understanding and shaping of a national artistic expression, especially in artistic works and writings of Ljubo Babić and Krsto Hegedušić, which also shaped their understanding of the national expression. The third factor is a more declarative identification with national identity at the end of the thirties – and especially at the time of the exhibitions in 1940 – with the general social climate, when the national question once again came to the forefront. The fourth and final factor was the general understanding of art in Slovenia, where the beginning of Slovenian art was connected to the art of the Impressionists at the break of the twentieth century.
The THE EIGHTIES project constitutes part of the five-year program Uses of Art – the Legacy of 1848 and 1989 organized by the museum confederation L’Internationale. It is supported by the Ministry of Culture of the Republic of Slovenia and by the Culture Programme of the European Union.
Published by the Moderna galerija, Ljubljana
http://www.mg-lj.si/en/exhibitions/1835/the-eighties/
--
Prva razstava od treh v ciklusu OSEMDESETA nosi naslov Novi prostori, nove podobe in se posveča predvsem klasičnim likovnim medijem, arhitekturi in oblikovanju z vidika novih bienalnih prireditev in novih razstavnih strategij.
Projekt OSEMDESETA sodi v petletni program Rabe umetnosti – dediščina let 1848 in 1989, ki ga vodi konfederacija muzejev Internacionala. Podpirata ga Ministrstvo za kulturo Republike Slovenije in Program Kultura Evropske unije.
Izdala Moderna galerija, Ljubljana
http://www.mg-lj.si/si/razstave/1835/osemdeseta/
The new ideas in philosophy and art theory broached also ontological questions about art. Faced with a host of new challenges, artists sought alternative ways of working. They gathered around various spaces that became catalysts of new artistic and social phenomena and nodes of cultural and political activities. Artists and curators collaborated on the local, republican level as well as on the federal level. International connections intensified and study trips abroad became more frequent. At the same time, relations between the center and the periphery grew looser. In addition to established institutions, new art spaces and institutions influenced the art discourse. New themes and approaches in artistic production, previously considered marginal, took center stage.
In the 1980s, culture and art permeated all levels of society, from radio and television, through newspapers and popular magazines, to bar and restaurant interiors, banks, hotels, industry and business. Companies played an important part on the art scene by financing a range of actions and developing their own art collections. Similarly, discussions and polemics in the numerous art journals contributed to the variety and vigor of the art scene.
Presenting a cross-section of the major exhibitions, events, and art spaces of the time, the New Spaces, New Images exhibition offers us insight into the vivacious 1980s art scene in Slovenia, placing special focus on exhibitions and art spaces like Forma Viva; the Mura sculpture park; the Yugoslav Biennial of Small-Scale Sculpture; the Carinthian Art Biennial; the Coastal Galleries Piran; ŠKUC; the Permanent Labor Communities of Freelance Cultural Workers Equrna and DESSA; EKO – the Yugoslav Triennial Ecology and Art; BIO – the Biennial of Industrial Design; and the International Biennial of Tapestry.
This exhibition forms part of an extensive project entitled THE EIGHTIES, which constitutes part of the five-year programThe Uses of Art – the Legacy of 1848 and 1989, organized by the museum confederation L’Internationale. It is supported by the Ministry of Culture of the Republic of Slovenia and the Culture Programme of the European Union.
http://www.mg-lj.si/en/exhibitions/1816/exhibition-new-spaces-new-images/
---
Razstava predstavlja slovensko umetnost osemdesetih let s prerezom izbranih razstavišč in razstav.
Izhodišče razstave so izbrane manifestacije, ki so oblikovale slovensko umetnostno dogajanje v zadnjem desetletju Jugoslavije. Družbene spremembe, politična kriza po smrti predsednika Josipa Broza - Tita in gospodarska kriza so neizbežno zaznamovale umetnost in kulturo. Skupaj s preostalo Evropo je v začetku desetletja tudi Jugoslavijo prevzel val nove umetnosti.
Z novimi idejami v filozofiji in umetnostni teoriji so se odprla ontološka vprašanja o umetnosti. Soočeni z novimi izzivi so umetnice in umetniki iskali drugačne načine delovanja. Zbirali so se okoli različnih prostorov, ki so postali katalizatorji novih umetnostnih in družbenih fenomenov ter stičišča kulturnega in političnega delovanja. Sodelovanja umetnikov in kustosov so potekala tako na lokalni, republiški kot zvezni ravni. Mednarodne povezave in študijska izpopolnjevanja v tujini so postali še izrazitejši. Vzporedno so se rahljali odnosi med centrom in periferijo. Umetnostni diskurz so poleg etabliranih ustanov usmerjali novi prostori in institucije. V ospredje so prišle nove tematike in načini ustvarjanja, ki so pred tem veljali za obrobne.
V osemdesetih letih sta kultura in umetnost osvojili vse ravni družbe: oddaje na radiu in televiziji, časopise in popularna glasila, notranjost lokalov, bank in hotelov ter gospodarstvo. Podjetja so igrala pomembno vlogo na umetnostnem prizorišču s finančno podporo različnim akcijam in s širjenjem svojih umetniških zbirk. K razgibanemu dogajanju so pripomogle tudi razprave v številnih strokovnih publikacijah.
Razstava Novi prostori, nove podobe s presekom skozi pomembnejše razstave, dogodke in prostore tistega časa omogoča vpogled v živahno slovensko umetnostno sceno osemdesetih let. Izpostavlja razstave in razstavišča, kot so Forma viva, Murin park skulptur, Jugoslovanski bienale male plastike, Koroški likovni bienale, Obalne galerije Piran, Galerija Študentskega kulturno-umetniškega centra - ŠKUC, Trajni delovni skupnosti samostojnih kulturnih delavcev Equrna in DESSA, EKO - Jugoslovanski trienale Ekologija in umetnost, BIO - Bienale industrijskega oblikovanja ter Mednarodni bienale tapiserije.
Razstava je del širšega projekta OSEMDESETA, ki sodi v petletni program Rabe umetnosti – dediščina let 1848 in 1989; tega vodi konfederacija muzejev Internacionala. Podpirata ga Ministrstvo za kulturo Republike Slovenije in Program Kultura Evropske unije.
http://www.mg-lj.si/si/razstave/1816/razstava-novi-prostori-nove-podobe/
RAPPRESENTAZIONE DEL TRAUMA NEL L’INVERNO D’ITALIA DA DAVIDE TOFFOLO
La novella grafi ca L’inverno d’Italia di Davide Toffolo racconta la storia di due bambini, Drago e Giudita, internati nel campo di concentramento fascista di Gonars. Il saggio analizza la novella ed esamina il suo linguaggio visivo
rispetto al contenuto. Per interpretare il lavoro come una rappresentazione del trauma si fa un confronto a Maus, la celebre novella grafi ca di Art Spiegelman. Maus ha ispirato nuovi concetti nel campo interdisciplinare di studio sulla
memoria ed alcuni di loro vengono usati per dare un’interpretazione a L’inverno d’Italia.
--
The interwar period was ripe with political crises connected to the national
question in the Kingdom of SHS and the Kingdom of Yugoslavia. The relationship
between Yugoslav and Slovene identity again became central for the question of national emancipation within an increasing supranational conflict and became the focus of visual arts in the 1930s. After a decade marked by Expressionism and New Objectivity in the thirties, values of moderate modernism and the quest for national expression re-emerged. At the time a new group of artists emerged on the Slovene artistic scene.
They were schooled in Zagreb, the cultural centre of the Kingdom of Yugoslavia, where intense polemics regarding national expression in art were taking place.
This contribution outlines the search for “our expression” in art as understood
by the central protagonists of the art scene in Croatia, Krsto Hegedušić and Ljubo
Babić. The latter especially was of central importance to the formation of the young
Slovene art, because he was a prolific writer and one of the most important professors at the Academy of Fine Arts in Zagreb. The former Slovenian students, who formed the Independent group of Slovenian artists (Klub neodvisnih slovenskih likovnih umetnikov) emerged in the turbulent years before the outbreak of World War II. In art, so they claimed, they were seeking their own, Slovenian national visual expression. In this search they took inspiration from Croatian artists, whose ideas they adapted to the Slovenian situation. At the same time, they legitimised their efforts with references to Slovene impressionists, who were regarded as the founding fathers of Slovene national art. In this way the Independents (Neodvisni) sought to highlight the continuity in their search for Slovene national expression in art despite the transformed historical context. They based their national expression in art on a modernist version of Slovene impressionism. They combined this with their Zagreb professors' understanding of modernism and presented this transformation as a new Slovenian expression based on tradition but in synch with contemporary art movements.