Mundus vadit retro » Avtorji

Eszter Szabó (HU): Dispenser of Delights

ziga dobnikar — Wed, 07 Jan 2015 13:41:20 +0000

She explores different aspects of everyday life by recreating situations based on her observations. Often she mixes characteristics of different individuals, filtering them down to what she perceives as the ‘essence’ of those living in a post-communist society. Szabó sees the infantile characters featured in her work as the cause and result of a paternal, controlling government. In a post-communist country, powerful residues of the past continue to deeply affect the everyday lives of its citizens. In Dispenser of Delights she manipulates real estate advertisements, which she populates with her imaginary characters. Szabó creates an accurate portrait of everyday people through re-animations of archetypal figures.

Eszter Szabó (1978, HU) is a painter and video artist based in Budapest (HU) and Lille (FR). She graduated from the Hungarian University of Fine Arts in 2006 and is currently completing her postgraduate studies at Le Fresnoy, France. In 2010 she won the Derkovits Scholarship, a grant for emerging artists in Hungary.

Eszter Szabó (HU): Dozirnik užitkov

ziga dobnikar — Wed, 07 Jan 2015 13:39:43 +0000

Umetnica s poustvarjanjem situacij na podlagi svojih opazovanj raziskuje različne aspekte vsakdanjega življenja. Pri tem pogosto združuje lastnosti različnih posameznikov ter jih izčisti do točke, ki jo sama dojema kot »bistvo« ljudi, živečih v postkomunistični družbi. Eszter Szabó razume infantilne like, ki jih prikazujejo njena dela, kot vzrok in hkrati posledico patriarhalne, oblastne drže vladnega aparata. Mogočni ostanki preteklosti dežele v postkomunističnem obdobju še naprej izrazito globoko vplivajo na vsakodnevno življenje njenih državljanov. V Dozirniku užitkov se poigrava z nepremičninskimi oglasi, ki jih naseli s svojimi izmišljenimi liki. Szabó ustvarja pronicljiv portret slehernika; kratki video prizori na podlagi naslikanih podob navadnih ljudi predstavljajo re-animacijo arhetipskih figur.

Eszter Szabó (1978, HU) je slikarka in video umetnica, delujoča v Budimpešti (Madžarska) in Lillu (Francija). Diplomirala je na madžarski državni Univerzi za likovno umetnost (2006), trenutno pa zaključuje podiplomski študij na centru sodobne umetnosti Le Fresnoy v Franciji. Leta 2010 je postala prejemnica štipendije Derkovits, ki jo namenjajo mladim umetnikom na Madžarskem.

Gábor Fülöp: Big Grey, Playground

ziga dobnikar — Tue, 09 Dec 2014 09:35:53 +0000

Gábor Fülöp (1981, HU) uses traditional methods when sculpting wood, but applies his own interpretation of limits and possibilities of this genre. He has developed his unique and characteristic style that allows him to prove his strong technical skills when dealing with complicated sculptural issues. His focus is centered on the relationship of living organisms with each other and with their environment. In this context he creates surrealistic sculptural objects and installations, which draw from nature, mythology, science fiction and other elements of popular culture, and are in constant dialogue with their surroundings. Through this relationship they form a subtle narrative commenting on various layers of contemporary society and artistic production. With his works Gábor rethinks the role and possibilities of sculpture, more precisely wood carving, in the contemporary art scene, while not turning away from the traditions of the genre.
http://www.gaborfulop.com/

Big Grey, wood, 215x65x40 cm, 2012
Playground, sculptural installation, wood, sand, dimensions variable, 2010-2012

Mitja Ficko (SI) & Marko Jakše (SI): Remains of the Day/Ire

ziga dobnikar — Tue, 09 Dec 2014 09:27:13 +0000

Mitja Ficko (1973, SI) studied painting at the Academy of Fine Arts in Ljubljana, where he also obtained his MA degree. Since 2004 he has been working as an independent cultural worker. Ficko participated in numerous solo and group exhibitions and was awarded several prizes and scholarships for his works, which now form part of many private and public collections.

Marko Jakše (1959, SI) completed his studies at the Academy of Fine Arts in Ljubljana as a self-taught artist in 1987. He has been a freelance artist since. He has exhibited his works at many solo and group exhibitions at home and abroad, and received several domestic and international prizes and awards

Remains of the Day/Ire, 299x544cm, mixed media on textile, 2014

drMáriás (HU): Charles the First!, Mao in Modigliani’s Studio

ziga dobnikar — Thu, 04 Dec 2014 15:16:24 +0000

Since the turn of the second millennium, concrete social-political criticism has been part of Máriás’s art practice. He always articulates his views on human corruption and the pestilence at the high level of society. Referring to the farcical demeanour, time-serving human attitude and mendacity of politicians and members of the parliament, for example, his style becomes rather concrete and devastating. Instead of caricature-like gestures of drawing, he presents the topic through heavy, condemnatory brushstrokes on a rough, compact ground of pure, vivid colours, with its roughness suggesting the roughness of life. The artist overtly names the targets of his personalised witticism, his list of names including Hungarian prime ministers, as well as figures familiar from European or universal history (Ferenc Gyurcsány as Leonardo da Vinci; Viktor Orbán as Jesus Christ; Having waited 35 years for it, Brezhnev receives his first Trabant car, and leaves right away for a picnic in Siberia; Mao in Modigliani’s Studio; Che as a child with his marionette, etc.). Máriás no longer veils anything with shades, no longer conceals or suggests things metaphorically. This time, there is no loophole for anybody; everyone is exposed: the musician, the television anchorman, the party leader, the porn star, the journalist, along with all the other self-appointed or media-construed notables crowding his series of paintings.
(original text by Bálint Szombathy)

Charles the First!, acrylic on fiberboard, 120 x 90 cm, 2012
Mao in Modigliani’s Studio, acrylic on fiberboard, 90 x 130 cm, 2012

drMáriás (Béla Máriás, 1966, RS/HU) studied at the University of Art in Belgrade. In 1991 moved to Hungary from Yugoslavia where he resides since. His multi-disciplinal art can be featured as having strong and critical attitude that deals with existential questins deriving from East-European identity, historic and political context. His artistic language implements elements of avantgarde, dadaistic, pop art, soc art and surrealist attitude. Defines his activity and social surgery. Leader, singer, saxophone and trumpet player of the Tudósok band (The Scientists) that gave more hundreds of concerts from Russia to the United States of America. Had many solo exhibitions among other in Budapest, London, Belgrade, Vienna, Ljubljana and New York. His prose has been connected to the beat generation and the Russian avantgarde. His books have been presented in the form of multimedia events, plays, performances, concerts. His essays on art are published in the Élet és Irodalom weekly and art magazines.
http://www.drmarias.hu/

drMáriás (HU): Charles Prvi!, Mao v Modiglianijevem studiu

ziga dobnikar — Thu, 04 Dec 2014 15:15:05 +0000

Vse od preloma tisočletja predstavlja konkretna družbeno-politična kritika del Máriásove umetniške prakse. Svoja stališča oblikuje na temo človekove korupcije in gnilosti visokih družbenih slojev. Tako se navezuje na absurdno obnašanje, človekovo podjarmljenost času ter zlaganost politikov (ali članov parlamenta), pri čemer razvije otipljivo uničujoč stil. Namesto karikaturam podobnih risarskih gest, teme predstavlja z uporabo težkih, obsojujočih potez čopiča na grobi, kompaktni podlagi čistih, živih barv – grobost, ki simbolizira grobost življenja. Umetnik odprto poimenuje tarče svojih personaliziranih, duhovitih in pikrih komentarjev. Na njegovem seznamu se znajdejo madžarski premierji ter druga znana imena evropske oziroma svetovne zgodovine (Ferenc Gyurcsány kot Leonardo da Vinci; Viktor Orbán kot Jezus Kristus; potem, ko je nanj čakal 35 let, dobi Brežnjev svojega prvega Trabanta in se z njim takoj odpelje na piknik v Sibiriji; Mao v Modiglianijevem studiu; Che kot otrok s svojo igračo – marioneto itd.). Máriás ničesar več ne zastira s sencami; stvari nič več ne skriva ali jih zgolj metaforično nakazuje. Tokrat za nikogar ne obstaja več luknja v sistemu; vsi so izpostavljeni: glasbenik, televizijski voditelj, šef stranke, porno zvezda, novinar ter vsi drugi samooklicani ali medijsko ustvarjeni ugledneži, ki se gnetejo na platnih njegovih slik. (povzeto po Bálint Szombathy)

Charles Prvi!, akril na iverico, 120 x 90 cm, 2012
Mao v Modiglianijevem studiu, akril na iverico, 90 x 130 cm, 2012

drMáriás (Béla Máriás, 1966, RS/HU) je diplomiral na Univerzi za umetnost v Beogradu. Leta 1991 se je iz Jugoslavije preselil na Madžarsko, kjer živi in dela še danes. Njegovo multidisciplinarno umetnost zaznamujeta odločnost in kritičnost do eksistencialnih vprašanj, povezanih z vzhodnoevropsko identiteto ter njenim zgodovinskim in političnim kontekstom. Umetniški izraz drMáriása vključuje elemente avantgarde, dadizma, pop- in soc-arta ter surrealizma. Zavzema jasno stališče do svojega umetniškega udejstvovanja in se kritično opredeljuje do družbe. Je tudi vodja, pevec, saksofonist in trobentač glasbene skupine Tudósok (Znanstveniki), ki ima za seboj več sto koncertov na prizoriščih od Rusije do ZDA. Samostojno je med drugim razstavljal v Budimpešti, Londonu, Beogradu, Dunaju, Ljubljani in New Yorku. Njegova prozna dela povezujejo z beatniško generacijo in ruskimi avantgardisti. Svoje knjige predstavlja v obliki multimedijskih dogodkov, dramskih iger, performansov, koncertov. Številne tekste je objavil v madžarskem tedniku Élet és Irodalom in drugih revijah, posvečenih umetnosti.
http://www.drmarias.hu/

Mitja Ficko (SI) & Marko Jakše (SI): Ostanki Dneva/Gneva

ziga dobnikar — Thu, 04 Dec 2014 15:04:00 +0000

Mitja Ficko (1973, SI) je študiral slikarstvo na Akademiji za likovno umetnost v Ljubljani, zaključil je tudi magistrski študij in od leta 2004 deluje kot samostojni kulturni delavec. Je avtor mnogih samostojnih razstav, sodeloval je na skupinskih razstavah in za svoje delo prejel različne nagrade ter štipendije. Njegova dela so vključena v številne javne in zasebne zbirke.

Marko Jakše (1959, SI) je 1987 je končal ALU v Ljubljani kot samouk. Od takrat živi kot svobodni umetnik. Razstavljal je na mnogih samostojnih in skupinskih razstavah, doma in v tujini, za svoje delo pa je prejel več domačih in mednarodnih priznanj in nagrad.

Ostanki Dneva/Gneva (299x544cm), mešana tehnika na tekstilu, 2014

Marko Jakše (SI): Shirt of the Happy Man, Reconvalescence

ziga dobnikar — Thu, 04 Dec 2014 15:01:26 +0000

Marko Jakše’s qualitative extent is still extremely wide and he still researches figure, portrait and flora and fauna in interiors as well as in open landscapes. The artist puts diverse figuration as equal elements into mutual conflicts, dramatically and many times bloody situations on one hand and elegiac, melancholic and sometimes symbolically tranquil shades on the other hand.

He is an extremely refined observer, who lucidly perceives visual tactile values and translates them into painting material. In his mature years and with continual researching approach he is achieving a true refined painting mastery.
It is as if he uses realism as a means to deceive / convince the eye, so that the viewer starts believing in a possible existence which is later, with some break or extreme, put into the sphere of the unreal (unreal because it can not be seen). And so he opens the dusty doors of a viewer and brings him into the world that arouses fear in its greyness or dreadfulness; there he swings him into aesthetic comfort, which is the immanent quality of art.
Marko Jakše has reached refinement of old masters and even more: his paintings can not be put in just any century; Although he operates with archetypes, his paintings talk about here and now. He is completely contemporary, subversive.

Shirt of the Happy Man (200×260), jubolin and acrylic on jute, Mohorje, 2014
Reconvalescence (200x300cm), oil on canvas, Mohorje, 2011

Marko Jakše (SI): Srajca srečnega človeka, Rekonvalescenca

ziga dobnikar — Thu, 04 Dec 2014 15:00:06 +0000

Jakšetov kvalitativni razpon je še vedno izjemno širok, saj še vedno raziskuje figuro, portret, floro in favno tako v zaprtih interierjih kot tudi v odprti krajini. Raznovrstno figuraliko kot enakovredne elemente postavlja v (izmenično) medsebojne konfliktne, dramatično, dostikrat krvavo izostrene situacije po eni strani in po drugi v elegične, melanholične tone, mestoma tudi simbolno umirjene.

Je izjemno pretanjen opazovalec, ki lucidno zapaža vizualne taktilne vrednosti in jih prevaja v slikarsko materijo. Zdaj v zrelih letih in s kontinuiranim raziskovalnim pristopom dosega pravo prefinjeno slikarsko mojstrstvo.
Kot bi realizem uporabljal za sredstvo, da prevara/prepriča oko, da gledalec prične verjeti v možen obstoj, ki ga kasneje z nekim prelomom ali ekstremom v nerealno sfero (nerealno zato, ker se ne vidi) in tako odpahne zaprašena vrata gledalca in ga pripelje v svet, ki zbuja strah v svoji sivini ali grozljivosti, tam ga zaziba v estetsko ugodje, torej v to, kar je imanentna lastnost umetnosti.
Dosegel je prefinjenost starih mojstrov, še več: njegovih slik ni mogoče postaviti v katerokoli stoletje, čeprav operira z arhetipi, slike prodorno govorijo o tukaj in zdaj, je popolnoma sodoben, subverziven.

Srajca srečnega človeka (200×260), jubolin in akril na juti, Mohorje, 2014
Rekonvalescenca (200x300cm), olje na platnu, Mohorje, 2011

Marko Jakše (1959, SI) je 1987 je končal ALU v Ljubljani kot samouk. Od takrat živi kot svobodni umetnik. Razstavljal je na mnogih samostojnih in skupinskih razstavah, doma in v tujini, za svoje delo pa je prejel več domačih in mednarodnih priznanj in nagrad.

Max Sudhues (DE): Plan and planet Installation, 2008

admin — Thu, 13 Nov 2014 16:34:17 +0000

Using simple methods and outdated technology, Sudhues creates witty and often allegorical light installations. Following the tradition of collages made from everyday objects he creates imaginary worlds, whose constituent parts are recognizable, but altered to the point where they become open to countless interpretations. Racing from the poetic to the endangering, they embark on a blurry, hard-to-describe zone between dreams and nightmare.

Max Sudhues (1977, DE) studied at the Kunstakademie Münster, and continued his educational path in Frankfurt and Ghent.

Max Sudhues (DE): Plan in planet, 2008

admin — Thu, 13 Nov 2014 16:32:31 +0000

Sudhues s preprostimi metodami in zastarelo tehnologijo ustvarja duhovite in pogosto alegorične svetlobne instalacije. V tradiciji kolažev iz vsakodnevnih objektov kreira imaginarne svetove, katerih sestavni deli so razpoznavni, vendar predrugačeni do te mere, da se odprejo številnim interpretacijam. Drvijo od poetičnega k ogrožajočemu, ter se podajajo na nejasno, težko opisljivo območje med sanjami in nočno…

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Libuše Jarcovjáková (SK): T-CLUB 1983-1984

admin — Thu, 13 Nov 2014 16:15:39 +0000

»Kobilja glava, Gospa Nabreknjena, Gospa Bradavička, Mala Limonca, Jebač, Skejter, Gospa Blabla – in še en in še en. Vsi so bili tam skoraj vsak dan. Bili so del inventarja, kot črna luknja v kaminu z umetnimi poleni, kot kostumi po praznovanju zgodovinskega praznika. Žarometi in ledeno hladna vodka, bliža se polnoč – niti premakniti se ne moreš, premajhen, prenatrpan prostor, zrak poln dima. Proti jutru smo DJ-u plačali petdesetko za vsak dodatni komad. Krčevit smeh in pristne solze. Pronicljive debate in lahkotno koketiranje. Avanture za en večer in ljubezen za vse življenje. Prelepi mladi moški in prelepe mlade ženske. Poženščeni fantje in na videz uglajeni gospodje, ki so prebolevali svoje družine. Nogometašice, natakarji, taksisti in najverjetneje tudi agenti tajne policije. Lekarnarji, poštar in sprevodnik. Dekleta z Jalte so tu običajno zaključila svojo nočno izmeno. Vsi so spadali sem – pripadali nekakšni psevdo-družini, skupnosti nekega praškega kluba, ki je bil eden izmed dveh. Ivan zabriše ven nadležne voajerje. Nikoli mi ni zares uspelo posneti pravega »dokumentarca«. Veliko je bilo takih, ki so želeli obdržati svojo »vsakodnevno« identiteto in niso želeli, da jih povezujejo s T-Clubom. Tako spoznavamo T-Club kot kraj »večnega karnevala«.« (Libuše Jarcovjáková)

Libuše Jarcováková (r. 1952) je diplomirala iz grafičnega oblikovanja v Pragi. Temu je sledilo več neuspešnih poskusov, da bi se pridružila Oddelku za film in televizijo na praški Akademiji za uprizoritvene umetnosti. Po štirih letih dela v tiskarni v mestni četrti Smichov (tam je ustvarila svoj prvi pomembnejši dokumentarec) se je v poznih 1970-ih odločila za ustvarjalen obisk Japonske, kamor se je kasneje še dvakrat vrnila. V svojih delih je dokumentirala romske in vietnamske skupnosti v nekdanji Češkoslovaški ter se osredotočala na življenje homoseksualne manjšine v enem izmed praških nočnih klubov, T-Clubu. Danes poučuje fotografijo na Šoli za grafično oblikovanje v Pragi.

Martina Grlić (HR): Tovarna

admin — Thu, 13 Nov 2014 16:07:00 +0000

Podravka#2, olje na platno, 120 x 150 cm, 2013 / Koka#2, olje na platno, 120 x 150 cm, 2013 / Jugoplastika, olje na platno, 120 x 150 cm, 2013

Martina Grlić pripada mladi generaciji hrvaških slikarjev, ki se osredotočajo na figuraliko in na narativne potenciale slikarstva. Skozi svoj opus kritično reflektira spremembe, ki so se zgodile in se pravzaprav še dogajajo v postsocialističnih družbah. V ciklu Tovarna izpostavlja figuro delavca, ki je v socialistični mitologiji zasedal junaško mesto tekom tranzicije pa je postajala vse bolj marginalizirana. Zdi se, da tovarne obstajajo le še v spominu in na starih fotografijah – ta elementa je Martina Grlić v ciklu Tovarna povezala, z uporabo fotografij interierov kultnih hrvaških tovarn, Podravka, Jadran, Jugoplastika etc., in delavcev v njih.

Martina Grlić (1982, HR) je leta 2009 diplomirala na Oddelku za slikarstvo Akademije likovnih umetnosti v Zagrebu. Od leta 2008 razstavlja na Hrvaškem in v tujini ter je ena od najbolj prominentnih mladih hrvaških likovnih umetnic. Leta 2012 je prejela Erste Grand Prix za najboljšo sliko. Živi in dela v Zagrebu.

Stojan Knežević (SI): Suburbia

admin — Wed, 12 Nov 2014 11:06:00 +0000

165 x 180 cm, oil on cardboard, 2012

The color-reduced, minimalist visual language of Stojan Knežević skillfully captures the dismal atmosphere that is becoming increasingly characteristic of the second decade of the 21st century. The author’s cogent use of cheap materials – carton and cardboard, corresponds to the depleted painting expression and creates a sharp contrast against the motifs of suburban comfort displayed in his works. Knežević’s painting pronounces a subtle criticism of cultural poverty – both in the sense of rich people lacking the proper attitude towards art, and in the sense of artists who are giving up on art at the account of poverty.

Stojan Knežević (1979, SI) graduated from the department of painting at the ALUO Ljubljana (2007). In the same year he received the ALUO Award for Special Artistic Accomplishments. Lives and works in Velenje and Topolšica in Slovenija. A selection of solo exhibitions: Sedmi blok, City Gallery Šoštanj, 2011; Suburbia, Plevnik – Kronkowska Gallery, Celje, 2013; Paint or Dye, Factory of Art, Majšperk, 2013.

Magda Tóthová (SK/AT):T a kraj se ne imenuje utopija

admin — Wed, 12 Nov 2014 01:35:34 +0000

Video instalacija v treh delih, 2012

Ta kraj se ne imenuje utopija Magde Tóthove sestoji iz video instalacije v treh delih, ki jo je avtorica ustvarila v času svoje umetniške rezidence na območju Zgornje Šlezije in premogovniškega bazena Dąbrowski v obdobju med majem in avgustom 2012, ko je tam sodelovala z lokalno mladino. Na prizorišču polnem uničenih zgradb skušajo v prvem delu mladi protagonisti odgovoriti na navidez tipična vprašanja, s katerimi se tudi sicer ukvarjajo mladi v času odraščanja: kaj bi želeli postati v prihodnosti? Kakšna bodo nekoč njihova življenja? Drugi del prikazuje dejavnosti, zasnovane na besednih igrah po navdihu futuroloških besedil Stanisława Lema. Besede, s katerimi označujejo svoje življenje sedaj, uporabijo za ustvarjanje neologizmov, s katerimi poimenujejo svoje domišljijske pojave ali naprave, ki bi lahko spremenile oziroma pozitivno vplivale na njihovo situacijo. Tretji del filma ne ponuja odgovorov na zastavljena vprašanja. Dogajanje je postavljeno v post-industrijski prostor – zapuščeno tovarno cementa, simbol izgubljenega bogastva, razkroja in propada. Področje Zgornje Šlezije in premogovniškega bazena Dąbrowski, kjer so nastali filmi Magde Tóthove in kjer živijo junaki pričujočega dela, se sooča z nasilno preobrazbo, pogosto zelo značilno za kraje, ki so bili nekoč rudarsko izkoriščani. Industrijski projekt so nadomestile informacijske storitve obdelave podatkov. Istočasno pa predstavljata sam prostor in njegova kulturna popotnica odprt projekt. Umetničino delo na nek način združuje mladost in nedolžnost s pohabljenim in uničenim, z izkušnjo razočaranja v resničnem svetu ter z negotovostjo glede jutrišnjega dne. Prva dva dela instalacije razkrijeta instinktivno otipljivo zaskrbljenost glede prihodnosti. Opazimo lahko željo po upočasnitvi življenjskega ritma in hitrosti napredka v svetu, ki je značilna tudi za številne druge kraje v globaliziranem svetu fluidne modernosti. V tretjem delu se mladi junaki skrivajo med post-industrijskimi ruševinami sveta, kjer so so se pogoji preživetja spremenili. Ostanejo sami s svojimi željami po spremembi. (Stanislaw Ruksza)

The film was produced by Imago Mundi Foundation and Kronika Center for
Contemporary Art / Produkcijo filma sta omogočila Imago Mundi Foundation in Kronika, Center za sodobno umetnost
Featuring / Nastopajo Ania Hanusek, Bartek Kania, Joanna Roskosz, Patrycja Roskosz,
Sandra Roskosz, Monika Szmolowska, Olaf Śliwa, Dawid Terech, Alicja Ziob, Daniel Żyłka

DOP / Direktor fotografije_Gerald Kerkletz
First Assistant Camera / Prvi asistent snemalca_Beata Rakoczy
Sound / Zvok_Marcin Cichon
Color Grading / Barvna korekcija_ Andreas Winter

Magda Tóthová (1979, SK) živi in dela na Dunaju. Njena dela se osredotočajo okrog modernih utopij, konstruiranih norm, družbenih modelov in njihovega neuspeha ter soočanja z osebnimi in družbenimi vprašanji na zasebnem in političnem področju. Bogato črpa iz pravljic in znanstvene fantastike, zanimata jo razvoj mitov in esencializem, ki se skriva za konceptom naključja. Tóthová je po Šoli za umetniško fotografijo F. Kubelke zaključila magistrski študij na Univerzi za uporabne umetnosti na Dunaju. Bila je tudi gostujoča študentka na akademiji Gerrit Rietveld Academy v Amsterdamu. Njena dela so bila razstavljena na samostojnih in skupinskih razstavah po vsej Evropi ter v ZDA, nedavno: Adds Donna, Chicago (2013), HDLU Zagreb (2013), Europe House, Tbilisi (2012), Bytom, Poljska (2012), Sculpturegarden, Strombad Kritzendorf, Klosterneuburg (2012), Project Artspace, New York (2012) ter Sofia City Art Gallery, Sofia (2012). Kot rezidenčna umetnica je živela in ustvarjala v Londonu, Kopenhagnu in nazadnje v Chicagu.

Stojan Knežević (SI): Suburbia

admin — Wed, 12 Nov 2014 01:32:15 +0000

165 x 180 cm, olje na kartonu, 2012

Barvno reducirana, minimalistična slikarska govorica Stojana Kneževića spretno ujame težko ozračje, ki vedno bolj zaznamuje drugo desetletje 21. stoletja. Zgovorno avtor uporablja cenene materiale — karton in lepenko, ki korespondirajo načrtno osiromašenemu likovnemu izrazu in so v globokem kontrastu z motivi predmestnega udobja, ki jih prikazujejo njegova dela. Kneževičevo slikarstvo podaja subtilno kritiko kulturnega siromaštva — tako v smislu premožnih brez odnosa do umetnosti kot tudi umetnikov, ki zaradi revščine umetnost opuščajo.

Stojan Knežević (1979, SI) je leta 2007 diplomiral na Oddelku za slikarstvo Akademije za likovno umetnost in oblikovanje. Istega leta je prejel Nagrado ALUO za posebne umetniške dosežke. Živi in ustvarja v Velenju in Topolšici. Izbrane samostojne razstave: Sedmi blok, Mestna galerija Šoštanj, 2011, Suburbia, Galerija Plevnik – Kronkowska, Celje, 2013, Paint or dye, Tovarna umetnosti, Majšperk, 2013.

Tadej Vindiš (SI): Exodus

admin — Wed, 12 Nov 2014 01:29:40 +0000

The current atmosphere on our confusing planet is resembling complete and utter defeat, this raises the concern that the system we have build over such a long time has failed miserably and that there may be a need to start over, to search for a new world somewhere else. A moth, as a nocturnal creature with the ability to fly and survive without nutrition, could metaphorically represent an advanced human being in a non-sustainable, new environment. A kind of spacecraft; a stimulant of our imagination towards the galactic world of infinite possibilities.

Tadej Vindiš studied photography at FAMU in Prague, where he obtained his BcA in 2013. His works feature a distinct conceptual approach; through an exploration of the medium of traditional photography in an interdisciplinary connection with other fine arts’ branches, he postulates the subject matter of contemporary fine arts, as related to the state of mind of the present-day society. He has exhibited in numerous solo and group exhibitions in Slovenia and abroad, in the Czech Republic, Slovakia, Iceland and China.

Tadej Vindiš (SI): Eksodus

admin — Wed, 12 Nov 2014 01:28:37 +0000

Trenutno vzdušje na našem zmedenem planetu spominja na popoln in dokončen poraz, zato se ob tem poraja vprašanje, ali ni sistem, ki smo ga gradili tako dolgo, žalostno spodletel in ali je nemara prišel čas, da začnemo znova, da poiščemo nov svet nekje drugje. Vešča, bitje noči s sposobnostjo letenja in preživetja brez hrane, bi lahko metaforično predstavljala napredno človeško bitje v neobnovljivem, novem okolju. Nekakšno vesoljsko plovilo; spodbuda naši domišljiji, naproti galaktičnemu svetu neomejenih možnosti.

Tadej Vindiš je študiral fotografijo na FAMU v Pragi, kjer je diplomiral leta 2013. V njegovem delu je močno prisoten konceptualni pristop; skozi raziskovanje medija klasične fotografije v interdisciplinarni povezavi z drugimi likovnimi smermi, nastavlja vsebine sodobne likovne umetnosti v razmerju do stanja duha današnje družbe. Razstavljal je samostojno in na skupinskih razstavah v Sloveniji in v tujini, na Češkem, Slovaškem, Islandiji in na Kitajskem.

Matija Bobičić (SI): Equestrian Portrait

admin — Wed, 12 Nov 2014 01:25:53 +0000

Bobičić’s works are defined by an articulate intuitiveness of the painter’s hand, which provides them with a touch of an almost forgotten animistic mythicism. The features are often harsh, even childlike in their blunt expressiveness, yet for that very reason so very voluble. His figures are flat and stylized; implied rather than unambiguously depicted; they are expressed as echoes of some distant memories, which are about to become devoured and absorbed by the background. It is this ambivalent presence, caught between decay and totality of experience that is the principle motor behind his paintings. From the fragments of distant memories he constructs arcane, uncomfortable canvases – articulated in their formal language, yet skillfully eluding any direct, straightforward narration.

Matija Bobičić (b. 1987, Maribor) is a final-year student of art education and a representative of the youngest generation of local painters. His contribution to the 2005 edition of Transgenerations Festival of Youth Creativity held in Cankarjev dom in Ljubljana, has won him a recognition award for an outstanding contribution to the event. In 2011 he co-authored an exhibition in Hladilnica, at the Pekarna cultural center in Maribor together with Marko Damiš and participated in a group exhibition Sesvetski likovni umjetnici & gosti in Kurija Gallery in Zagreb, Croatia. His first solo exhibition entitled Razsnovljen appeared in 2013 at the Rotovž Gallery in Maribor. In the same year he formed part of the 30th art colony Riviera in Poreč, Croatia (St. Nicholas Island).

Matija Bobičić (SI): Konjeniški portret

admin — Wed, 12 Nov 2014 01:24:32 +0000

Bobičićeve slike najbolj definira ekspresivna intuitivnost slikarske geste, ki vanje vnaša noto skoraj pozabljene animistične mitskosti. Poteze so pogosto grobe, v svoji neposredni izraznosti skoraj otroške, a prav zaradi tega jasno zgovorne. Figure so sploščene in stilizirane, bolj nakazane kot nedvoumno upodobljene; kažejo se kot odmevi nekih spominov, ki jih bo vsak čas požrlo, vpilo ozadje. Prav ta ambivalentna prezenca, razpeta med razkrojem in doživljajsko celostnostjo, je temeljno gibalo slik. Iz drobcev oddaljenih spominov sestavlja zastrta, nelagodna platna – artikulirana v svojem formalnem jeziku, a spretno izogibajoča se neposredni, jasni naraciji.

Matija Bobičić, absolvent likovne pedagogike, rojen v Mariboru leta 1987, je predstavnik najmlajše generacije mariborskih slikarjev. Leta 2005 je sodeloval na festivalu Transgeneracije, festival sodobnih umetnosti mladih, v Cankarjevem domu, kjer je prejel priznanje za izjemen prispevek festivalu. Leta 2011 je skupaj z Markom Damišem razstavljal v razstavišču Hladilnica v kulturnem centru Pekarna in istega leta sodeloval še na skupinski razstavi Sesvetski likovni umjetnici & gosti v zagrebški galeriji Kurija. Leta 2013 je imel samostojno razstavo Razsnovljen v galeriji Rotovž v Mariboru. Istega leta je sodeloval na 30. slikarski koloniji Riviera v Poreču (otok Sv. Nikolaja). Leta 2014 se je s samostojno razstavo Nočne živali predstavil v galeriji KiBela v Mariboru.

Jure Cvitan (SI): Conqueror of the Useless

admin — Wed, 12 Nov 2014 01:20:47 +0000

Jure Cvitan is trying to figure out the point of building a career as an artist and searching for various strategies that would lead to success. He depicts the duality of this situation through monumental paintings – placing the visitors into the crossfire of rage and destruction on the one hand and on the other of forced pleasantries prevalent through the art world. Jure Cvitan openly discloses himself by placing himself in the model of the so-called “Shooting gallery game” that he transposes from an internet game into the real gallery where he is shooting at himself. What is involved is a schizophrenic settling of accounts of an eccentric person who like in t¬¬he film Fight Club (1999) is fighting against himself. What are we to expect from such a situation? The dogs bark, we drink a glass of wine together, and the caravan moves on. An ever greater insensitiveness of the addressed flooded by “projects” demands from the addresser to take a more drastic action.

(Based on: Jani Pirnat, Likovni salon Celje)

Jure Cvitan (1981, SI) graduated at College for Visual Arts in Ljubljana Slovenia in 2006. At the moment he works as an freelance artist. He is primarily a painter, but also ventures into the fields of installation and performance. He was a resident artist at Flaxart in Belfast and in White canvas gallery in Nanjing (PRC). He is involved with the organization of international video art festival Electric Rats dream Video Dreams, of the Festival of Performance and Interventions Vstop prost – Admission Free and Lay Up graffiti festival. Cvitan works and creates in Celje, Slovenia. He is an active member KUD 567.

Jure Cvitan (SI): Osvajalec nekoristnega

admin — Wed, 12 Nov 2014 01:19:06 +0000

Slikar Jure Cvitan se sprašuje, čemu koristi, ko gradi kariero kot umetnik in išče strategije poti do uspeha. Razdvojenost njegovega položaja je ponazorjena v monumentalnih slikarijah, ki obiskovalce postavlja v navzkrižni ogenj destruktivne agresije in besa na eni ter prisilnega dobrikanja umetniški srenji na drugi strani. Model igre v strelski galeriji t.i. ”Shooting gallery game” je iz interneta je prenesel v dejansko galerijo, kjer s platna strelja nase. Gre za shizofren obračun čudaka, ki se kot v filmu Klub golih pesti (Fight Club, 1999) pretepa sam s seboj. Kaj lahko pričakujemo od tega? Psi lajajo, skupaj spijemo kozarec vina in karavana gre naprej. Vedno večja neobčutljivost nagovorjenih ob poplavi ”projektov” terja vedno bolj drastično akcijo s strani tistega, ki nagovarja.

(Povzeto po: Jani Pirnat, Likovni salon Celje )

Cvitan (1981, SI) je študiral slikarstvo na Visoki šoli za risanje in slikanje v Ljubljani. Ukvarja se s slikarstvom, instalacijo in performansom. Gostoval na rezidencah v Flaxart studio v Belfastu na Severnem Irskem in White canvas gallery v Nanjingu na Kitajskem. Sodeluje pri festivalu video umetnosti Electric Rats dream Video Dreams, festivalu performansa in intervencij Vstop prost in grafitarskem festivalu Lay Up. Živi in ustvarja v Celju.

Libuše Jarcovjáková (SK): T-CLUB 1983-1984

admin — Wed, 12 Nov 2014 01:17:22 +0000

“Mare’s head, Mrs. Bulbous, Mrs. Glasscutter, Little Lemon, Rattles , Backpack, Mrs. Bleble – and another and another. They were all there almost daily. They belonged to the inventory, like the black hole of a fireplace with artificial logs, as strange suits of armour that are left over from some first republic decorations. Strobe lights and super cooled vodka, close to midnight – nowhere to move, too small, over-crowded space, air thick with smoke. Near dawn the DJ was paid fifty for each additional song. Convulsive laughter and genuine tears. Insightful conversation and superficial coquetry. One-night stands and love for life. Beautiful young men and beautiful young women. Effeminate “B´s“ and respectable – looking gentlemen, who rebounded from their families. Female footballers, waiters, taxi drivers and most probably the secret police too. Drugstore assistants, a postman and a train conductor. The girls from Yalta used to end their night work here. They all belonged here – belonged to a kind of pseudo-family, to the community of one Prague gay club, which was one of the two. Ivan bounces the rubberneckers. I could never really shoot the real „documentary“. There were many of those who wished to preserve their „everyday“identity, and they would not like to be associated with T Club. So we are getting to know T – club as a place of „eternal carnival“.” (Libuše Jarcovjáková)

Libuše Jarcováková (b. 1952) graduated from the School of Graphic Arts and then made several unsuccessful attempts to enter the Film and Television Faculty of the Academy of Performing Arts in Prague. For four years she worked at the gravure printer in Prague’s Smichov, where she created her first substantial documentary. In the late 1970’s she left for a creative stay in Japan, and later returned there twice. In her work, she documented the Romani and Vietnamese communities in former Czechoslovakia and focused on the life of a homosexual minority group in one of Prague night clubs, the T-Club. She now teaches photography at the School of Graphic Design in Prague.

Martina Grlić (HR): Factory

admin — Wed, 12 Nov 2014 01:11:54 +0000

Podravka#2, oil on canvas, 120 x 150 cm, 2013 / Koka#2, oil on canvas, 120 x 150 cm, 2013 / Jugoplastika, oil on canvas, 120 x 150 cm, 2013

Martina Grlić belongs to a new stream of Croatian painting, which focuses on the figurative in art and on the narrative potential of painting. Her body of work is a critical reflection on the changes that took place, and are in fact still happening in the post-socialist societies. The Factory cycle highlights the figure of the working man, which occupied a heroic position within the socialist mythology, but became increasingly marginalized during the transitional period. It seems that factories still exist only in the memory and in old photographs – the two elements were connected by Grlić in the cycle Factory by using interior shots of some of the legendary Croatian factories such as Podravka, Jadran, Jugoplastika etc., and their workers.

Martina Grlić (1982, CR) graduated in 2009 at the Academy of Fine Arts – Painting Department in Zagreb. She has exhibited since 2008 in Croatia and abroad and is one of the most prominent young-generation Croatian visual artists. In 2012 she was awarded the Erste Grand Prix for best painting. Lives and works in zagreb.

María Elínardóttir (IS): The Good Wife Guide

admin — Mon, 10 Nov 2014 13:00:29 +0000

The photo series The Good Wife Guide is based on an article published in 1955 talking about the basic rules each good wife should adhere to: 1. Have dinner ready. Plan ahead, even the night before. 2. Be a little gay and a little more interesting for him. 3. Be happy to see him. 4. Greet him with a warm smile and show sincerity in your desire to please him. 5. Let him talk first – remember, his topics of conversation are more important than yours. 6. Catering to his comfort will provide you with immense personal satisfaction. 7. Encourage the children to be quiet. 8. Have a cool or warm drink ready for him. 9. You have no right to question him. 10. A good wife always knows her place. These guidelines were given to married women and their reactions served as the basis for the images. Thus an outdated concept is transformed to the modern housewives perspective.

María Elínardóttir is an Icelandic artist born in Reykjavík. For the past seven years her works have bridged together everything from documentary to social illustration using the medium of photography and literature. After graduating with BcA of photography from FAMU in Prague, 2013 she is currently working on completing her Masters degree of photography in 2015.

María Elínardóttir (IS): Vodič za dobre žene

admin — Mon, 10 Nov 2014 12:59:32 +0000

Serija fotografij Vodič za dobre žene je zasnovana na članku iz leta 1955, ki govori o osnovnih pravilih, ki naj jim sledi vsaka dobra žena: 1. Imej pripravljeno večerjo. Načrtuj vnaprej, celo kak dan prej. 2. Bodi vesela in bolj zanimiva zanj. 3. Bodi vesela, da ga vidiš. 4. Pozdravi ga s toplim nasmehom in pokaži, kako iskreno si želiš, da bi ga zadovoljila. 5. Pusti ga, naj govori prvi – zapomni si, da so njegove teme pogovora bolj pomembne kot tvoje. 6. Skrb za njegovo udobje ti bo zagotovilo neverjetno osebno zadovoljstvo. 7. Poskusi dopovedati otrokom, naj bodo tiho. 8. Imej pripravljeno toplo ali hladno pijačo zanj. 9. Nimaš nobene pravice, da bi dvomila vanj. 10. Dobra žena vedno ve, kje je njeno mesto.

Te smernice so bile namenjene poročenim ženskam, njihovi odzivi pa so podlaga za nastale podobe. Na ta način se zastarel koncept preobrazi v perspektivo sodobne gospodinje.

María Elínardóttir je islandska umetnica, rojena v Reykjavíku. V preteklih sedmih letih je z uporabo medijev fotografije in literature skozi svoja dela povezovala vse, od dokumentarnega do družbene ilustracije. Za leto 2015 načrtuje zaključek magisterija iz fotografije na praški akademiji FAMU, kjer je l. 2013 tudi diplomirala.

Magda Tóthová (SK): The Word for This Place Is not Utopia

admin — Mon, 10 Nov 2014 12:55:38 +0000

Three-part video installation, 2012

The Word for This Place Is not Utopia by Magda Tothova is composed of a three-part video installation, created during the artist’s residency in Upper Silesia and the Dąbrowski Basin in May and August 2012, when she worked with the local youth. In the first film, in a space of devastated buildings the young protagonists try to share answers to seemingly typical questions, often posed to young people when they are being socialized: Who would they like to be in the future? What would their lives be like? The second film shows activities centered around word games inspired by the futurological texts of Stanisław Lem. Based on words that characterize their present lives, the young people create neologisms to indicate imaginary phenomena or machines that could change or improve their situations. The third part of the film provides no response to the questions posed earlier. The action takes place in a post-industrial space – an abandoned cement factory, a symbol of lost wealth, degradation, and decay. The space of Upper Silesia and the Dąbrowski Basin, where Magda Tothova’s films were made, and where the film’s protagonists live, is undergoing the violent transformation often found in places that were once mined for raw materials. The industrial project has been replaced with information processing services. At the same time, the space itself, along with its cultural baggage, is an open project. The artist’s work brings together the young and innocent, in a way, with the crippled and destroyed, marred by disappointments in reality and an uncertainty toward tomorrow. The two first parts of the video installation show an instinctively tangible anxiety toward the future. We see a wish to change the speed of life’s rhythm and the pace of growth in the world, a desire characteristic of many places in the globalized world of liquid modernity. In Part Three, the young protagonists hide in the post-industrial ruins of the world, where the conditions of existence have altered. They remain alone with their desires for change. (Stanislaw Ruksza)

Magda Tóthová (1979, SK) lives and works in Vienna. Her work revolves around modern utopias, constructed norms, social models and their failures, how to address personal and social issues in the private and the political field. Borrowing heavily from fairy tales and science fiction, she is interested in the formation of myths or the essentialism underlying the concept of chance. Tothova received a MA from the University of Applied Arts Vienna and previously studied at the School for Artistic Photography Vienna (F. Kubelka) and was a visiting student at Gerrit Rietveld Academy, Amsterdam. Her work has been presented in solo and group exhibitions throughout Europe and the USA, most recently: Adds Donna, Chicago (2013), HDLU Zagreb (2013), Europe House, Tbilisi (2012), Bytom, Poland (2012), Sculpturegarden, Strombad Kritzendorf, Klosterneuburg (2012), Project Artspace, New York (2012), and Sofia City Art Gallery, Sofia (2012). She has been an artist-in-residence in London, Copenhagen, and most recently in Chicago.

Magda Tóthová (SK): Ta kraj se ne imenuje utopija

admin — Mon, 10 Nov 2014 12:53:40 +0000

Video instalacija v treh delih, 2012

Nika Autor (SI): The land of Bears

admin — Mon, 10 Nov 2014 12:48:34 +0000

The construction sector, which used to employ over 70.000 foreign workers in Slovenia, collapsed in the period between 2010 and 2011, leaving behind debts, a suspension of construction activity, and exploited, unpaid workers. The majority of the employed workers came from the geographical regions of the former common country. While the state silently observed the oppressed, underpaid, unpaid and humiliated workers, we witnessed an accumulation of wealth on one side, but also of exasperation and resistance on the other. As the competent national authorities, mass media and the general public failed to react, the self-organization of workers was inevitable. They demanded better living conditions, payment of unpaid wages, equal opportunities, etc. Armin, Aigul and Esad take us through their particular stories and specific areas of work (activism and construction), which become generic and universal.

Nika Autor works in the field of contemporary art. She finished her studies at the Academy of Fine Arts in Ljubljana. The focus of her work is a research of the invisibilities/ inaudibilities, along that the question of the production of dominant representations, which are emerging on today’s social, political and economical grounds. She is part if the collective Newsreel Front ( Obzorniška Fronta / OF ). Her work has been presented in different galleries and festivals; Film d’actualites- l’actu est a nous /Jeu de Paume, Paris, France; Between Worlds II, Gallery Miroslav Kraljevič, Zagreb, Croatia; U3, 7th Triennial of Contemporary Art in Slovenia, Ljubljana; Shifts in Time: Performing the Chronic, Mumok, Vienna, Austria; Alternative film/video, Festival novog filma i videa, Beograd, Serbia.

Chto Delat (RU): Border Musical 2013

admin — Mon, 10 Nov 2014 12:46:52 +0000

Ola from Finnmark meets Tanja from Kola. They fall in love, Tanja abandons her past and moves with her son to her new husband. Through the joys and challenges of their mixed marriage we get a glimpse into today’s Russia-Norwegian borderland across cultural and social norms and values. How are our behaviour and worldview influenced by culturally laden relations between the individual, family and society? To what degree are we responsible for our actions and to what degree do we leave it to the state? Who defines areas of responsibility? The Norwegian state and Ola’s best friend help the couple to build up a family based on the sound Norwegian values.

BORDER MUSICAL is not a description of the reality; it is a reality served in a spicy manner: through polished language and sharp definitions, exaggerated images and multifaceted characters, bizarre movements and eccentric scenes. Why cheer a mutual understanding when we learn from our differences?

Režija / Director: Tsaplya Olga Egorova
Ideja, scenarij, scenografija in montaža / Idea, Screenplay, Set and Edit: Tsaplya Olga Egorova and Dmitry Vilensky v sodelovanju z / in cooperation with Jesper Alvær.
Glasba / Composer: Mikhail Krutik.
Direktor fotografije / Director of Photography: Artyom Ignatov.
Vloge / Cast: Anna Bulavina, Haldor Lægreid, Ketil Høegh, Maryon Eilertsen, Kristine Henriksen, Camilla Wiig Revholt, Ann Christin Elverum, Egor Semenkov, Nikolay Kurbatov, Mikhail Baranov, Andrey Molodchinin.
Koreografinja / Choreographer: Nina Gasteva.

Produkcija / Producer: Pikene på Broen v sodelovanju z / in cooperation with KORO, Bergen Assembly, FilmCamp, Filmgården in številnimi drugimi / and many others

Chto Delat? (What is to be done? www.chtodelat.org) is a platform founded in early 2003 in Petersburg by a work-group of artists, critics, philosophers, and writers from Petersburg, Moscow, and Nizhny Novgorod with the goal of merging political theory, art, and activism. The platform’s activity consists in developing a network of collective initiatives in Russia and setting them into an international context. The platform is coordinated by a work-group of the same name. The work-group engages in a variety of art projects, including video-works, installations, public actions, radio programs, and artistic examinations of urban space and critique of everyday life.

Chto Delat (RU): Border Musical 2013

admin — Mon, 10 Nov 2014 12:41:59 +0000

Ola iz norveške pokrajine Finnmark spozna Tanjo iz ruskega mesta Kola. Zaljubita se, Tanja pusti preteklost za seboj in se s sinom preseli k svojemu novemu možu. Ob veselju in izzivih, ki jih prinaša mešan zakon se nam preko kulturnih in družbenih norm in vrednot razkrije bežen vpogled v današnje mejno območje med Rusijo in Norveško. Kako na naše vedenje in svetovni nazor vplivajo kulturno zaznamovani odnosi med posameznikom, družino in družbo? Do kakšne mere smo sami odgovorni za svoja dejanja in do kakšne mere to prepuščamo državi? Kdo definira področja odgovornosti? Norveška država in Olejev najboljši prijatelj pomagata novopečenemu paru pri oblikovanju družine na temelju zdravih norveških vrednot.

BORDER MUSICAL ni opis resničnosti; je resničnost postrežena na pikanten način: z uglajenim jezikom in strogimi definicijami, prenapihnjenimi podobami in večplastnimi liki, bizarnimi gibi in ekscentričnimi scenami. Zakaj bi stremeli k obojestranskemu razumevanju, ko pa se vendar lahko učimo iz razlik, ki so med nami?

Chto Delat? (Kaj nam je storiti? www.chtodelat.org) je platforma, ki jo je leta 2003 v Petersburgu ustanovila delovna skupina umetnikov, kritikov, filozofov in pisateljev iz Petersburga, Moskve in Nizhny Novgoroda, s ciljem združevanja politične teorije, umetnosti in aktivizma. Njihova dejavnost sestoji iz razvijanja mreže kolektivnih pobud v Rusiji in njihove vpeljave v mednarodno okolje. Koordinator platforme je delovna skupina z istim imenom. Ta se ukvarja z vrsto umetniških projektov, med drugim z video deli, instalacijami, javnimi akcijami, radijskimi programi ter umetniškim raziskovanjem urbanega prostora in kritiko vsakdanjega življenja.

Nika Autor (SI): V deželi medvedov

admin — Mon, 10 Nov 2014 12:39:09 +0000

Gradbeni sektor, ki je v Sloveniji zaposloval preko 70.000 tujih delavcev, je v letih 2010-11propadel in s tem za sabo pustil dolgove, ustavljeno gradbeno dejavnost ter izkoriščene in neplačane delavce. Večina zaposlenih delavcev je prihajala iz prostora bivše skupne države. Medtem ko je država nemo opazovala izkoriščane, podplačane, neplačane in ponižane delavce, se je s kopičenjem bogastva na eni strani, prav tako kopičil gnev in odpor na drugi strani. Ker so zatajili pristojni državni organi, javna občila in širša javnost, je bila samoorganizacija delavcev neizbežna. Zahtevali so boljše pogoje življenja, plačilo neizplačanih plač, prispevkov, enake možnosti itd. Armin, Aigul in Esad nas popeljejo skozi partikularne zgodbe in specifična področja dela (aktivizem in gradbeništvo), ki postanejo obče in univerzalne.

Nika Autor (1982, SI) deluje na področju sodobnih praks umetnosti. Leta 2008 je končala študij na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Umetniško prakso razume kot refleksijo družbene stvarnosti, ki prispeva k upiranju pogleda in ostrenju misli. Je del kolektiva Obzorniške fronte. Njena dela so bila predstavljena v nacionalnih in mednarodnih razstaviščih in festivalih, med drugimi: Film d’actualites- l’actu est a nous, Jeu de Paume, Pariz, Francija; Between Worlds II, Galerija Miroslav Kraljevič, Zagreb, Hrvaška;U3, 7. trienale sodobne umetnosti v Sloveniji, MSUM, Ljubljana; Shifts in Time: Performing the Chronic, MSUM, Dunaj, Avstrija; Alternative film/video, Festival novog filma i videa, Beograd, Srbija.

Mykola Ridnyi (UKR): Fortress

admin — Mon, 10 Nov 2014 12:29:49 +0000

The video is based on documentary materials filmed during the events on Maidan Square in Kiev during December 2013 – February 2014. The author’s voice over comments the episodes by quoting from texts on the history of the Middle Ages (including works by Georges Duby, Ewart Oakeshott, Henry Suso and others). Thematic associations caused parallels between the development of contemporary neoliberalism in post-Soviet countries and the system of feudal monarchy in Europe, and between the aesthetics and ethics of contemporary political protest and the struggle of free medieval cities against the rustless barons.

Mykola Ridnyi was born 1985 in Kharkiv, Ukraine, where he currently lives and works. He graduated from the Kharkiv State Academy of Design and Arts. In 2005 he became co-founder and curator of the gallery-laboratory SOSka, an artist-run space for developing the local culture sphere in Kharkiv. Ridnyi was shortlisted for the PinchukArtCentre Prize 2011.
Through video, sculpture and installation, Mykola Ridnyi performs a critical reflection on the socio-political context of the post-soviet environment. His artistic statements are often constructed using a combination of documentary films with traditional figurative sculptures and found objects.

Mykola Ridnyi (UKR): Trdnjava

admin — Mon, 10 Nov 2014 12:28:04 +0000

Video temelji na dokumentiranem materialu, posnetem v času dogodkov na trgu Maidan v Kijevu v obdobju od decembra 2013 do februarja 2014. Avtor, ki je hkrati tudi pripovedovalec, posamezne epizode pospremi s komentarji v obliki citatov besedil o zgodovini srednjega veka (med drugim dela Georgesa Dubyja, Ewarta Oakeshotta, Henryja Susoja in drugih). Na podlagi tematskih asociacij oblikuje vzporednice med razvojem sodobnega neoliberalizma v post-sovjetskih deželah ter sistemom fevdalne monarhije v Evropi; ter med estetiko in etiko sodobnih političnih protestov in bitko svobodnih srednjeveških mest proti večnim baronom.

Mykola Ridnyi se je rodil leta 1985 v Harkovu v Ukrajini, kjer trenutno živi in dela. Leta 2008 je diplomiral iz kiparstva na Akademiji za umetnost in oblikovanje v Harkovu. Je član, so-ustanovitelj (2005) in kurator galerije-laboratorija SOSka, organizacije pod vodstvom umetnikov, ki je namenjena razvoju lokalne kulturne scene v Harkovu. Uvrstil se je v ožji izbor za nagrado PinchukArtCentre Prize 2011 .
Z video deli, kiparjenjem in instalacijami ponuja Mykola Ridnyi kritičen razmislek o družbeno-političnem kontekstu v post-sovjetskem okolju. Njegov umetniški izraz pogosto sestavlja kombinacija dokumentarnih filmov in tradicionalnih figurativnih skulptur ter najdenih objektov.

Mariusz Waras (PL):

admin — Mon, 10 Nov 2014 12:25:39 +0000

Mariusz Waras was born 1978 in Gdynia. A graphic artist, outdoor painter, traveller, amateur architect. Waras is one of the key actors of Polish street art, known mostly for his monumental images of industrial machines, the industrialized landscape and semi-fantastic transport vehicles, which appear on façades and in galleries across the world. His style is always recognizable – he positions monochromatic geometrical segments, like Lego bricks, into skillfully rhythmicized compositions that address the viewer with a persuasive mathematic poetics. He graduated from the Department of Graphic Art at the Academy of Fine Arts in Gdańsk where he is currently assistant lecturer in Prof. Jerzy Ostrogórski’s painting studio. The author of the m-city project including several hundred murals. His work focuses on urban space. His murals may be seen in the streets of Warsaw, Gdańsk, Berlin, Paris, Budapest, Sao Paulo, Rio de Janeiro, Bolzano, London and Prague, as well as in art galleries, including individual exhibitions at the Arsenal in Poznań (2005) and the CSW Łaźnia in Gdańsk (2006). He is also a curator of the 238×504 hoarding gallery in Gdynia as well as an archivist / collector of Polish street art. Freelance graphic artist, frequently awarded in various contests.

Mariusz Waras (PL):

admin — Mon, 10 Nov 2014 12:23:26 +0000

Mariusz Waras, se je rodil l. 1978 v Gdyniji na Poljskem. Je grafični umetnik, slika na prostem, potuje in se ljubiteljsko ukvarja z arhitekturo. Waras je eden od ključnih akterjev poljske ulične umetnosti, znan predvsem po monumentalnih podobah industrijskih strojev, industrializirane krajine in napol domišljijskih prevoznih sredstev, ki se pojavljajo na pročeljih stavb in v galerijah širom sveta. Njegov slog je vedno prepoznaven — enobarvne geometrične segmente kot lego kocke sestavlja v spretno ritmizirane kompozicije, ki gledalca nagovarjajo s prepričljivo matematično poetiko.

Diplomiral je iz grafične umetnosti na Akademiji za likovno umetnost v Gdańsku, kjer trenutno predava v slikarskem ateljeju profesorja Jerzyja Ostrogórskega. Je avtor projekta M-city, z več sto zidnimi poslikavami. V svojem delu se osredotoča na urbani prostor. Njegove poslikave lahko srečate na ulicah Varšave, Gdańska, Berlina, Pariza, Budimpešte, Sao Paola, Ria de Janeira, Bolzana, Londona in Prage ter po mnogih galerijah. Samostojno je med drugim razstavljal na prizoriščih Arsenal v Poznanu (2005) in CSW Łaźnia v Gdańsku (2006). Je tudi kurator galerije 238×504 v Gydiniji ter arhivist/zbiralec poljske ulične umetnosti. Deluje kot svobodni grafični umetnik, njegova dela pa so bila večkrat nagrajena.

Tanja Lažetić (SI): Migrants

admin — Mon, 10 Nov 2014 12:17:37 +0000

Migrations are a complex global phenomenon, which is by no means exclusive to the time we live in, and is definitely not limited only to the human species. Migrations have been a key element of human existence throughout the entire course of our history – they are a means of expanding knowledge, transferring and mutually enhancing different cultures, and at the same time contributing significantly to the growth and prosperity of the countries of origin, as well as of the countries of destination. Across centuries, countless political, economic and other reasons have caused millions of people to change their cultural and geographical setting in the search of a new life. The video installation Migrants, created in Florence, juxtaposes two distinctly contrasting groups of modern-day migrants – hordes of tourists dragging suitcases down the Florentine streets, and a file of salesmen dragging their carts from the square. It is a confrontation of the people that choose to visit a certain city or country for personal, i. e. lighthearted reasons, and the people that choose to move permanently in search of a better chance of survival.

Tanja Lažetić graduated from the University of Ljubljana with a degree in architecture. She works in the fields of photography, video, performance, installation and artist’s book. Her work has been shown in group exhibitions at venues including Moderna galerija, Ljubljana; Ars Aevi, Sarajevo; Neuer Berliner Kunstverein, Berlin; ZKM, Karlsruhe; The Gallery of Extended Media, Zagreb; Museum 25th May, Belgrade and the 28th Biennial of Graphic Arts, Ljubljana. She lives in Ljubljana.

Tanja Lažetić (SI): Migranti

admin — Mon, 10 Nov 2014 12:15:25 +0000

Migracije so kompleksen globalen pojav, ki nikakor ni značilen le za današnji čas in vsekakor ni omejen zgolj na človeško vrsto. So ključen element človeškega bivanja skozi vso našo zgodovino — z njimi se širi znanje, prenašajo in medsebojno oplajajo različne kulture, hkrati pa pomembno doprinesejo k rasti in blaginji tako izvornih kot ciljnih držav. Skozi stoletja so iz političnih, gospodarskih in številnih drugih razlogov milijoni ljudi menjali svoje kulturno in geografsko okolje v iskanju nekega novega življenja. Video instalacija Migranti, ki je nastala v Firencah, sopostavlja dve izrazito kontrastni skupini sodobnih migrantov — množice turistov, ki vlečejo kovčke po florentinskih ulicah, in prodajalce, ki v vrsti vlečejo »vozove« s trga. Sooča tiste, ki se za obisk nekega mesta, države odločijo iz osebnih, pravzaprav lahkotnih razlogov in tiste, ki se za dolgoročnejšo selitev odločijo v iskanju boljših možnosti preživetja.

Tanja Lažetić je diplomirala iz arhitekture na Univerzi v Ljubljani. Deluje na področjih fotografije, videa, performansa, instalacij in knjige umetnika. Njeno delo je bilo razstavljeno na številnih skupinskih razstavah, med drugim na prizoriščih, kot so: Moderna galerija, Ljubljana; Ars Aevi, Sarajevo; Neuer Berliner Kunstverein, Berlin; ZKM, Karlsruhe; Galerija proširenih medija, Zagreb; Muzej 25. maj, Beograd ter na 28. Bienalu grafičnih umetnosti v Ljubljani. Tanja Lažetić živi v Ljubljani.

Visualizing Palestine: An Ongoing Displacement

admin — Mon, 10 Nov 2014 12:11:48 +0000

Visualizing Palestine is the intersection of communication, social sciences, technology, design and urban studies for social justice. Visualizing Palestine uses creative visuals to describe a factual rights-based narrative of Palestine/Israel.

Visualizing Palestine: An Ongoing Displacement

admin — Mon, 10 Nov 2014 12:11:06 +0000

Predstavlja presečišče komunikacijskih, družboslovnih, tehnoloških, oblikovalskih in urbanih študij za socialno pravičnost. Vizualiziranje Palestine z uporabo kreativnih vizualnih zgodb ponuja opis stvarnih, poučnih pripovedi na temo Palestine oziroma Izraela.

Anca Benera (RO) and Arnold Estefan (RO): Jus Soli

admin — Mon, 10 Nov 2014 12:08:11 +0000

Anca Benera and Arnold Estefan’s Jus Soli video documented performance (2013) is an attempt to unravel the complexity of national identity, by literally unraveling the flags of their native Romania, as well as their respective ethnicities.The long and painstaking process, which took several weeks, resulted in a ball of thread with no identifiable features according to national or ethnic lines. The flag, the national symbol, is reduced here to the transitory state of a raw material. Instead of placing national identity on a pedestal, as is often practiced in inter-ethnic or international conflicts, the artists demystify the concept, unspinning the tightly wound belief systems.

The work of Anca Benera (Romanian) and Arnold Estefan (ethnic Hungarian from Transylvania) deals directly with the issue of cultural difference, exploring the caustic imprints on subjectivity of identity, history-writing and law-making.Their practice spans different media, cultural registers and disciplines to reflect on society as being a tissue of conventions that can and must be permanently re-imagined.

Recent exhibitions include: Der Brancusi-Effekt, Kunsthalle Wien (2014); Sights and Sounds: Global Film and Video, The Jewish Museum, New York(2014); Ways of Working, According to an Office Desk, Upominki, Rotterdam (2014); Art Under a Dangerous Star, tranzit.hu, Budapest (2014); Mom, am I barbarian? 13 Istanbul Biennial (2013); Intense Proximity, La Triennale, Palais de Tokyo, Paris(2012).

Anca Benera (RO) and Arnold Estefan (RO): Jus Soli

admin — Mon, 10 Nov 2014 12:06:12 +0000

Z video dokumentiranim performansom z naslovom Jus Soli (2013) skušata avtorja Anca Benera in Arnold Estefan »razparati« kompleksnost nacionalne identitete, in sicer tako, da dobesedno razparata zastavo svoje domovine Romunije, ob tem pa simbolično tudi svojo etnično pripadnost. Dolgotrajen in mukotrpen postopek je trajal več tednov ter se končal z veliko kroglo niti, brez vsakršnih razpoznavnih značilnosti, ki bi pričale o narodnih ali etničnih mejah. Zastava, nacionalni simbol, je tukaj zreducirana do prehodnega stanja surovega materiala. Namesto postavljanja nacionalne identitete na piedestal, kar se pogosto dogaja pri med-etničnih in mednarodnih konfliktih, umetnika koncept demistificirata ter s tem zrahljata globoko zasidrane sisteme prepričanj.

Delo umetnikov Ance Benere (Romunija) in Arnolda Estefana (po narodnosti Madžar, sicer iz Transilvanije) se neposredno ukvarja z vprašanjem kulturne različnosti, pri čemer raziskuje njene najostrejše vplive na subjektivnost identitete, zgodovinopisje in zakonodajo. Njuna praksa zajema različne medije, kulturne registre in discipline, skozi katere razmišljata o družbi kot o tkivu norm in konvencij, ki jih lahko in moramo vedno znova domišljati. Nedavne razstave: Der Brancusi-Effekt, Kunsthalle Wien (2014); Sights and Sounds: Global Film and Video, The Jewish Museum, New York(2014); Ways of Working, According to an Office Desk, Upominki, Rotterdam (2014); Art Under a Dangerous Star, tranzit.hu, Budapest (2014); Mom, am I barbarian? 13 Istanbul Biennial (2013); Intense Proximity, La Triennale, Palais de Tokyo, Pariz (2012).

Bogdan Girbovan (RO): Uniforms and Vestments

admin — Mon, 10 Nov 2014 11:59:02 +0000

In his series Uniforms and Vestments Girbovan studies the Orthodox Church and the police. He does this through analyzing outwardly recognizable signs of status within these strictly hierarchical institutions. As the title of the series suggests Girbovan chooses to portray the official outfits of both organizations. The focus is clearly on the outfit and not so much on the individual wearing it, since outfits alone are one of the clearest bearers of institutional messages – they clearly place the individual within the institutional hierarchy and at the same time communicate his position and authority to the outside world.

Photographer and freelance artist Bogdan Girbovan graduated from the National University of Arts in Bucharest, Photography Department. He has exhibited throughout Romania, as well as in Paris, Istanbul, Vilnius, and Prague. In 2012, Bogdan received the Fostering Artistic Practices Award from ICR in Venice, Italy.

Bogdan Girbovan (RO): Uniforme in liturgična oblačila

admin — Mon, 10 Nov 2014 11:57:18 +0000

V seriji z naslovom Uniforme in liturgična oblačila Girbovan raziskuje ortodoksno pravoslavno cerkev in policijo. To stori z analizo na zunaj prepoznavnih statusnih znakov, tipičnih za te strogo hierarhične institucije. Kot razkriva že naslov serije, se Girbovan pri tem odloči za portret formalnih oblačil obeh organizacij. V središču pozornosti je vsekakor oblačilo in ne toliko posameznik, ki ga nosi, saj so prav tipična oblačila eden izmed najbolj nedvoumnih nosilcev institucionalnih sporočil – posameznika namreč zelo jasno postavljajo v okvir določene institucionalne hierarhije, hkrati pa sporočajo njegov položaj in avtoriteto tudi zunanjemu svetu.

Fotograf in svobodni umetnik Bogdan Girbovan je diplomiral na oddelku za fotografijo romunske državne Univerze za umetnost v Bukarešti. Razstavljal je po vsej Romuniji, pa tudi v Parizu, Istanbulu, Vilni in Pragi. Leta 2012 je postal prejemnik nagrade Fostering Artistic Practices Award, ki jo podeljuje romunski kulturni inštitut ICR v Benetkah, Italiji.

Ana Pečar (SI): Snake’s head

admin — Mon, 10 Nov 2014 11:52:23 +0000

Video, 2014

As a society, we have adopted the method of introducing new systems over and over again, and getting rid of all the traces of the old. This kind of progression resembles a tree whose branches we had cut off and now this tree crooks and grows unevenly.

This project is looking into the past to find urgently needed alternatives for our collective future. In my own heritage an extensive oral tradition remained in remote regions of Slovenia up to the 20th century. It was collected and published in the form of tales about stones. Aboriginals have kept the knowledge as a secret. From the oldest people that knew most, the researcher, Pavel Medvešček, got nothing. But he got befriended with one of indigenes and with his help he had gathered exceptional fragments. He had to promise, though, that he won’t publish collected stories until moon’s crest won’t turn downwards, toward the earth. This event occurs every 65 years and it happened in 2007. The two man took an oath, they squeezed hands with cloth dipped into salamander’s liquor and held it until the alcohol evaporated.

Among worshipped stones were those placed in a triangle, two of them as foundation stones and the third one called ‘binkl’ that was only known to the owner. In this triangle the soil was more fertile. Then there were special stones called Snake’s heads and were on the top of the hills. And there was a sacred moon’s stone in the brook’s gorge. And the snail’s stone that formed a triangle with Woman’s cave and the sinkhole.

Ana Pečar (1977) is a video and intermedia artist. She is active as an organizer of public events through which she communicates artistic and collective currents. She achieved formal education on Corcoran School of art and University of Maribor and gained additional skills on numerous workshops and residencies.

She mainly works as an artist to use this position as a tool to penetrate beyond constructed reality as it appears to exist in this space and time. In her work about water, for example, she was interested in its essence, in who this fluid entity really is. Lately, Ana has been occupied by researching her own heritage that was transmitted orally in remote parts of Slovenia, up until 20th century. This is how she relativises the unconditional system of values we have found ourselves in.

Ana Pečar works across different mediums of expression. She has recently produced a documentary film about Strike debt group and debt that serves as a strategic instrument. She often collaborates with other artists, composers, musicians, dancers, new media collectives…

Ana Pečar (SI): Kačja glava

admin — Mon, 10 Nov 2014 11:48:34 +0000

Video, 2014

Kot družba smo ubrali metodo vpeljevanja vedno novih sistemov, pri tem pa se znebimo vsake sledi za starimi. Takšen način napredka spominja na drevo, ki smo mu obrezali veje, zato se zdaj krivenči in raste neenakomerno.

Projekt se ozira v preteklost, kjer želi poiskati nujno potrebne alternative za našo kolektivno prihodnost. Kot del moje dediščine se je v odmaknjenih predelih Slovenije vse do 20. stoletja ohranila bogata ustna tradicija. Zbrana in izdana je bila v obliki pripovedk o kamnih. Staroselci so znanje varovali kot skrivnost. Od najstarejših ljudi, ki so vedeli največ, ni raziskovalec Pavel Medvešček izvedel ničesar. Toda spoprijateljil se je z enim izmed domačinov in z njegovo pomočjo mu je uspelo sestaviti izjemno zbirko fragmentov. A obljubiti je moral, da zbranih zgodb ne bo objavil preden se lunin krajec ne obrne navzdol, proti Zemlji. Ta pojav se ponovi vsakih 65 let in se je nazadnje zgodil leta 2007. Moža sta zaprisegla, stisnila sta dlani med katerima sta držala krpo, namočeno v močeradovo žganje in vztrajala v stisku, dokler alkohol ni izhlapel.

Med čaščene kamne so spadali tisti, ki so jih razporedili v trikotnik, dva kot temeljna kamna in tretjega, ki mu pravijo ‘binkl’ in ga pozna samo njegov lastnik. Znotraj tega trikotnika je bila prst bolj rodovitna. Potem so bili tukaj še posebni kamni, imenovani ‘kačje glave’, ki so jih postavljali na vrhove hribov. V strugo potoka so položili sveti lunin kamen. Pa polžji kamen, ki je tvoril trikotnik skupaj z Žensko votlino in vrtačo.

Ana Pečar (1977) je video- in intermedijska umetnica. Udejstvuje se kot organizatorka javnih dogodkov, preko katerih komunicira umetniške in kolektivne tokove. Formalno izobrazbo je pridobila na Univerzi v Mariboru ter na Corcoran School of Art (ZDA), raznovrstna dodatna znanja pa je osvojila s sodelovanjem na številnih delavnicah in rezidencah.

Kot umetnica deluje predvsem zato, ker želi ta položaj izkoristiti kot orodje za prodor onkraj konstruirane realnosti, kakršna dozdevno obstaja v tem prostoru in času. V svojem delu na temo vode jo je, na primer, zanimalo njeno bistvo; torej kaj ta tekoča entiteta pravzaprav je. V zadnjem času se Ana posveča raziskovanju lastne dediščine, ki se je s pomočjo ustne tradicije ohranila v odmaknjenih predelih Slovenije do 20. stoletja. Na ta način skuša relativizirati brezpogojni sistem vrednot, v katerem smo se znašli.

Ana Pečar deluje preko različnih izraznih medijev. Nedavno je kot producentka sodelovala pri nastanku dokumentarnega filma o skupini Strike debt; o dolgu v vlogi strateškega instrumenta. Pogosto sodeluje z drugimi umetniki, skladatelji, glasbeniki, plesalci, novomedijskimi kolektivi…

Marcel Mališ (SK): Erstereich

admin — Mon, 10 Nov 2014 11:42:14 +0000

The Austrian “Erste Bank und Sparkasse” has acquired several bank branches, which operate within the territory of the former Eastern Bloc, over the last decade. Thus, the area under the “Erste Bank’s” influence morphologically re-connects to the borders of the former Austro-Hungarian Monarchy. The maps of the old Monarchy and the current Erstereich are almost identical. An object in the form of a geographical maquette comments on that fact.

Marcel Mališ (b. 1978, Bratislava) has a PhD degree in painting from the Academy of Fine Arts and Design Bratislava (2013). He focuses on the medium of painting but is not strictly restricted to this medium and sometimes wanders into the realm of object or digital photography. His works offer a critical reflection of the present time using irony and mockery. Some of his most recent solo exhibitions include: Life is Beautiful, ČIN ČIN Gallery, Bratislava, Slovak republic (2013), Tomáš Mališ Marcel Werner, Fru Fru gallery, Bratislava, Slovak republic (2011) and JACKPOT, Gallery 19, Bratislava, Slovak republic (2010). Group exhibitions include: Transcending Cultures, Essl Museum, Klosterneuburg, Austria (2013) and Spaceship Yugoslavia, NGBK, Berlin, Germany (2011). Marcel Mališ lives and works in Bratislava.

Marcel Mališ (SK): Erstereich

admin — Mon, 10 Nov 2014 11:40:26 +0000

Avstrijska Erste Bank und Sparkasse v preteklem desetletju z nakupom bančnih ustanov na območju nekdanjega vzhodnega bloka morfološko sledi mejam Avstroogrske monarhije. Zemljevida nekdanje monarhije in trenutnega »Erstereicha« se praktično prekrivata. Objekt v obliki geografske makete predstavlja komentar omenjenega dogajanja.

Marcel Mališ (r. 1978, Bratislava) je zaključil doktorski študij slikarstva na Akademiji za likovno umetnost in oblikovanje v Bratislavi (2013). Osredotoča se predvsem, toda ne izključno na slikarski medij, včasih pa ga zanese tudi v svet objektov in digitalne fotografije. Njegova dela ponujajo kritičen pogled na sodobni čas, prevevata pa jih ironija in posmeh. Med nedavne samostojne razstave spadajo: Life is Beautiful, ČIN ČIN Gallery, Bratislava, Slovška (2013), Tomáš Mališ Marcel Werner, Fru Fru gallery, Bratislava, Slovaška (2011) ter JACKPOT, Gallery 19, Bratislava, Slovaška (2010). Sodeloval je tudi na skupinskih razstavah, med drugim na: Transcending Cultures, Essl Museum, Klosterneuburg, Avstrija (2013) in Spaceship Yugoslavia, NGBK, Berlin, Nemčija (2011). Marcel Mališ živi in dela v Bratislavi.

Boris Pramatarov (BG): Competition, Fear, my Friend, Conversation Near to Hive

admin — Mon, 10 Nov 2014 11:35:47 +0000

The fantastic and schizophrenic images created by Boris Pramatarov follow the pattern of horror. They appeal to the viewers’ emotions and tickle their feelings of fear and repugnance. He is fascinated by the “doppelgänger”, who is not just a fantastic figure, he is the possible other – the one next to us, beyond the path, in another country, on a different continent or planet, whom we not always know so we imagine him evil and demonic. Meanwhile, however, the twin is the other one inside of us, our “different”, hidden, side. As if reminding us of the “folklore” and the fantastic tales, the works of Boris Pramatarov raise viewers’ attentiveness to themselves and their own (sub)consciousness.

Boris Pramatarov (1989) was born in Sofia, Bulgaria. He graduated in Book and Graphic Design at the Bulgarian National Academy of Art and specialized in Illustration at the Hogeschool voor Wetenschap and Kunst, Sint-Lucas Beeldende Kunst, Gent, Belgium and Duksung Women’s University, Seoul, South Korea. Finalist of the 2010-2011 Raymond Leblanc Award, with the comic project “Eloge à l’Internet”, he participated in the group album of the top five (edited by Lombard Publishers) and in the exhibition of the finalists at Moof Museum, Brussels, Belgium (September 2011-March 2012).

Boris Pramatarov (BG): Tekmovanje, Strah – prijatelj moj, Pogovor blizu upanja

admin — Mon, 10 Nov 2014 11:34:02 +0000

Fantazijske, shizofrene podobe Borisa Pramatarova sledijo vzorcu groze. Apelirajo na gledalčeva čustva in podžigajo njegove občutke strahu in gnusa. Fascinira ga “Dvojnik”, ki ni zgolj fantazijska figura, je tudi možni drugi – tisti zraven nas, preko ceste, v drugi deželi, na drugem kontinentu ali planetu, nekdo, ki ga ne poznamo nujno, zato si ga zamišljamo kot zlobnega in demonskega. Toda v resnici je dvojček tisti drugi znotraj nas samih, naša »drugačna«, skrita plat. Spominjajoč na »folkloro« in domišljijske pripovedke, usmerjajo dela Borisa Paramatarova gledalčevo pozornost na samega sebe in svojo lastno (pod)zavest.

Boris Pramatarov (1989) se je rodil v Sofiji v Bolgariji. Na bolgarski državni Akademiji za umetnost je zaključil študij knjižnega in grafičnega oblikovanja ter specialko iz ilustracije na Hogeschool voor Wetenschap and Kunst, Sint-Lucas Beeldende Kunst, v Gentu v Belgiiji ter na Duksung Women’s University, v Seulu v Južni Koreji. Kot finalist izbora za nagrado Raymond Leblanc Award (2010-2011) se je s svojim stripovskim projektom Eloge à l’Internet uvrstil v skupinski album petih najbolje uvrščenih avtorjev (ur. Lombard Publishers) ter na razstavo finalistov v muzeju Moof v Bruslju v Belgiji (september 2011-marec 2012).

Rena Rädle (DE) & Vladan Jeremić (RS/DE): The Housing Question

admin — Mon, 10 Nov 2014 11:30:09 +0000

In order to unmask the models of market-oriented welfare, and the commercialization of public services to the European precarious class who is denied the right to urban living, Rädle & Jeremić point to the perfidious system developed in the city of Rome, where Roma are housed in ghettoized container settlements and monitored by security guards. The video animation “The Housing Question” incorporates animated drawings of the city of Rome and the speech of three characters: an elderly woman who survived a concentration camp in Germany and two younger male characters who live in contemporary ghettoized settlements in Rome. The animation emphasizes the continuity of European racist policies towards Roma, situating their speech in the familiar historical setting of the city or places in Rome, Italy, such as Casilina 700 and 900 where settlements have been demolished and their inhabitants relocated to containers.

Rena Rädle (1970, Germany) and Vladan Jeremić (1975, Serbia) are artists, activists and cultural workers. Rena Rädle graduated at Kunsthochschule Kassel, Germany. Vladan Jeremić holds an MA degree from the University of Arts in Belgrade. They work together since 2002 and are the founders of “Biro Beograd”, an association that provides a platform for critical practice that goes beyond conventional forms of contemporary art, cultural and political activism. Their artistic practice is placed in the field of intersections between contemporary art and political activism. The current focus of their research is the significance of modernist urbanism today, and the emerging social movements, such as Roma emancipation movements in Europe.

Rena Rädle (DE) & Vladan Jeremić (RS/DE): Stanovanjsko vprašanje

admin — Mon, 10 Nov 2014 11:28:05 +0000

Z namenom, da razkrinkata modele tržno usmerjene socialne politike in komercializacijo javnih storitev namenjenih evropskemu prekariatu, ki nima pravice do urbanega življenja, Rena Rädle in Vladan Jeremić izpostavljata podel in zahrbten sistem, ki so ga razvili v Rimu, kjer so Romi nameščeni v getoiziranih kontejnerskih naseljih pod stalnim nadzorom varnostnikov. Video animacija »Stanovanjsko vprašanje« zajema animirane risbe Rima ter posnetke govora treh likov: starejše ženske, ki je preživela koncentracijsko taborišče v Nemčiji in dveh mlajših moških, ki živita v sodobnih getoiziranih naseljih v Rimu. Animacija poudarja kontinuiteto evropske rasistične, protiromske politike ter njihove komentarje postavlja v dobro znane zgodovinske lokacije v mestu ali določena območja v Rimu, recimo Casilina 700 in 900, kjer so naselja uničili, njihove prebivalce pa preselili v omenjeno kontejnersko naselje.

Rena Rädle (1970, Nemčija) in Vladan Jeremić (1975, Srbija) sta umetnika, aktivista in kulturna delavca. Rena Rädle je diplomirala na Kunsthochschule Kassel v nemčiji. Vladan Jeremić je zaključil magisterij na Univerzi za umetnost v Beogradu. Sodelujeta od leta 2002, skupaj sta ustanovila društvo Biro Beograd in oblikovala platformo za kritično prakso, ki sega onkraj konvencionalnih oblik sodobne umetnosti ter kulturnega in političnega aktivizma. Njuno umetniško prakso uvrščamo v polje stičišč med sodobno umetnostjo in političnim aktivizmom. Trenutno se v svojem raziskovanju najbolj osredotočata na pomen modernega urbanizma v današnjem času ter na nastajajoča družbena gibanja, kot so denimo gibanja za emancipacijo Romov v Evropi.

Lana Čmajčanin (BiH): 166987 Pricks

admin — Mon, 10 Nov 2014 11:15:12 +0000

Through the medium traditionally associated with “women’s work” the brutally frank language of sexual power is rendered in the quiet, gentle craft of embroidery. There is an obvious enjoyment of the tension that this produces, a relish redoubled by double entendre. Explicit content ironically commenting relationships, offers, demands, positioning, stereotypes, expectations and experience (within the art system).

Lana Čmajčanin (1983, BiH) lives and works as a visual artist in Sarajevo. Lana graduated in sculpture at the Academy of Fine Arts in Sarajevo and is a founding member of the Association for Art and Culture “Crvena” as well as a member of the Artists Association of Bosnia and Herzegovina (BiH). Her work presents an unbribable political agenda: giving voice to the most marginalized subjects as victims of sexualized war violence. However, Lana always succeeds to translate and transmit this local realities and experiences in a universal code, comprehensive for international audience. Lana’s work has been shown at The Biennale of Contemporary Art in Konjic, BiH; The Centre for Contemporary Art Tel Aviv, Israel; at the Decolonial Aesthetics, Bogotá, Colombia; at the SpaPort Biennale, Banja Luka, BiH and elsewhere.

Lana Čmajčanin (BiH): 166987 vbodov

admin — Mon, 10 Nov 2014 11:12:08 +0000

Preko medija, ki ga tradicionalno povezujemo s pojmom »ženskega dela«, se brutalno neposreden jezik seksualne moči izrazi v obliki mirne, nežne spretnosti vezenja. Pri tem gre za očitno sproščanje napetosti, užitek, ki ga le še podvoji double entendre v naslovu (»prick« v angleščini pomeni vbod ali vbodljaj (kot pri vezenju), lahko pa je tudi vulgaren izraz za penis, recimo tič; op. prev.). Eksplicitna vsebina, ki na ironičen način komentira odnose, ponudbe, zahteve, dodeljevanje položajev, stereotipe, pričakovanja in izkušnje (znotraj sistema umetnosti).

Lana Čmajčanin (1983, BiH) živi in dela kot vizualna umetnica v Sarajevu. Diplomirala je iz kiparstva na Akademiji za likovne umetnosti v Sarajevu in je soustanoviteljica Društva za umetnost in kulturo Crvena ter članica Društva vizualnih umetnikov Bosne in Hercegovine. V ozadju njenih del se skriva nepodkupljiv politični namen: izraža tudi najbolj marginalizirane teme, kot so recimo žrtve spolnega nasilja med vojno. Vendar pa takšne lokalne realnosti in izkušnje vedno znova uspešno prevede in prenese v univerzalen jezik, ki je razumljiv širšemu mednarodnemu občinstvu. Dela Lane Čmajčanin so bila razstavljena na Bienalu sodobne umetnosti v Konjicu, BiH; v Centru za sodobno umetnost v Tel Avivu, Izrael; na razstavi Decolonial Aesthetics v Bogoti, Kolumbija; na bienalu SpaPort v Banja Luki, BiH ter drugod.

Adela Jušić (BiH) & Andreja Duganžić (BiH): Labor of Love

admin — Mon, 10 Nov 2014 11:09:53 +0000

Woman reproduces for free the workforce that is quintessential in capitalism. She gives birth to, nurtures, services and loves the workforce that capital will later benefit from. Her work is degraded, artfully disguised as a labor of love, and as such it is not considered a socio-economic activity that has value, but as a natural service of women to society. A woman who performs domestic work is a force behind the entire human labor, constantly exploited for the benefit of capitalist accumulation.

Systemic attack on women is directed towards their entire being as well as their sexuality. Within the patriarchal and capitalist framework, female sexuality is reduced to passivity, receptivity, sublimation and almost resistance to her own sexual needs. Sexuality is in the service of capitalistic objectives which consider functions of the uterus, vagina and clitoris only in the reproduction of the workforce. Within an isolated sphere of home, the woman is an object over which a man expresses dissatisfaction towards the system which exploits him, or over whom he exercises the power that he is deprived of by that very system.

Being deprived of autonomy and creativity, both in her own sexuality, and in the process of socio-economic production, women recognize and build their identity in a role of housewife. Isolated inside the house ghetto, they do not learn about their own political resources, possibilities of their use and the possibilities of social organization.

The struggle for denaturalization of housework is a political struggle. The position of housewives and the struggle for their liberation is determinant for the position of all other women.

We did enough housework!

This work is inspired by Mariarosa Dalla Costa, Selma James, Silvia Federicci and the “Wages for housework ” movement.

Adela Jušić (b. 1982, Sarajevo, Bosnia & Herzegovina) graduated from the Academy of Fine Arts at the University of Sarajevo (2007). She works primarly with video art, video performances and recently also sound installations. Socially engaged and rooted in personal experiences, her artistic practice revolves around the subject of the war in Bosnia, the position of women in war, and the religion and tradition in which she grew up. Adela Jušić received the award for Best Bosnian Artist (YVAA) in 2010, which also won her a residency at the ISCP in New York. Over the past two years she has collaborated with artist Lana Čmajčanin. She is a member and co-founder of the Association for Art and Culture “Crvena”.

Some of her recent exhibitions include: Center for Contemporary Art Celje (Continuity); Videonale 13, Kunstmuseum Bonn; Manifesta 8, Murcia; El Parqueadero, Bogota, (Decolonial Aesthetics); The Red House, Sofia, (Transitland); Galerija P74, Ljubljana, (Global South); Transmediale, Collegium Hungaricum, Berlin.

Adela Jušić (BiH) & Andreja Duganžić (BiH): Delo z ljubeznijo

admin — Mon, 10 Nov 2014 11:05:09 +0000

Ženska zastonj reproducira delovno silo, ki je v kapitalizmu bistvenega pomena. Rodi, neguje, skrbi za in ljubi delovno silo, od katere bo nekoč imel korist kapital. Njeno delo je razvrednoteno in spretno zakrinkano kot delo z ljubeznijo, kot takšno ni obravnavano v smislu družbeno-ekonomske dejavnosti z določeno vrednostjo, temveč kot naravna storitev, ki jo ženske nudijo družbi. Ženska, ki opravlja gospodinjsko delo je sila izza celotnega človeškega početja, ki je venomer izkoriščana v korist kapitalističnega kopičenja dobrin.

Sistemski napad na ženske je usmerjen proti celotnemu njihovemu bitju, pa tudi proti njihovi seksualnosti. Znotraj patriarhalnih in kapitalističnih okvirov je ženska seksualnost skrčena do pasivnosti, receptivnosti, podredljivosti in skorajšnjega odpora do lastnih seksualnih potreb. Seksualnost je v službi kapitalističnih ciljev, ki na funkcije maternice, vagine in klitorisa gledajo zgolj s stališča reprodukcije delovne sile. V izoliranem domačem okolju je ženska objekt, preko katerega moški izraža nezadovoljstvo s sistemom, ki ga izkorišča, ali preko katerega udejanja moč, ki mu jo ta isti sistem odvzema.

Prikrajšane za neodvisnost in ustvarjalnost, tako v smislu lastne seksualnosti kot tudi v smislu procesa družbeno-ekonomske produkcije, ženske prepoznavajo in gradijo svojo identiteto v vlogi gospodinje. Izolirane v hišnem getu ostajajo nepoučene o lastnih političnih sredstvih, možnostih njihove uporabe ter možnostih družbene organiziranosti.

Bitka za denaturalizacijo gospodinjskega dela je politična bitka. Položaj gospodinj in boj za njihovo osvoboditev je odločilen tudi za položaj vseh drugih žensk.

Dovolj smo gospodinjile!

Delo so navdihnile Mariarosa Dalla Costa, Selma James, Silvia Federicci in gibanje »Wages for housework« (Plače za gospodinjsko delo).

Adela Jušić (1982, BiH) je diplomantka Akademije za likovno umetnost v Sarajevu (2007). Večinoma se ukvarja z video umetnostjo, video performansi in od nedavnega tudi z zvočnimi instalacijami. Njena najpomembnejša dela se vežejo na vojno in povojno situacijo v Bosni in Hercegovini ter so globoko zakoreninjena v njenih osebnih izkušnjah.Adela Jušić je prejemnica nagrade za najboljšo bosansko umetnico (YVAA) v letu 2010, za kar je med drugim prejela rezidenco na ISCP v New Yorku. V zadnjih dveh letih sodeluje z umetnico Lano Čmajčanin. Je članica in soustanoviteljica Organizacije za kulturo in umetnost Crvena. Nekaj njenih nedavnih razstav: Center za sodobno umetnost Celje , (Continuity); Videonale 13, Kunstmuseum Bonn; Manifesta 8, Murcia; El Parqueadero, Bogota, (Decolonial Aesthetics); The Red House, Sofia, (Transitland); Galerija P74, Ljubljana, (Global South); Transmediale, Collegium Hungaricum, Berlin.

Maja Hodošček (SI): We Need a Title

admin — Mon, 10 Nov 2014 11:00:52 +0000

2014, HD video, 28. min

Hodošček made the video in collaboration with six members of a school debate club (Gymnasium Celje – Center). For several months the members participated in a sort of parallel curricula initiated by the artist. The departure point of the debate was the legacy and potentiality of the Non-Aligned Movement (First NAM conference in Belgrade, 1961). Pupils engaged themselves into a thought process where they reflected upon the idea of the third politics today, new forms of communism and their own role within family, institutional and social structure. The artist however was interested in the transitional moment from the act of speaking to a moment of collective being and working together. The video therefore documents a process of writing a collective poem that expresses their mutual concerns. However, the moment of being and doing things together is a complicated process, since individual voices have to be in sync with the overall interest of the group. The video exposes moments of mutual effort of creation, disagreement or points of negotiation and affirmation.

Special thanks: Lara Čalasan Dorn, Tinkara Godec, Sergeja Hrvatič, Matej Ocvirk and Jure Macuh

Thanks to: Doreen Mende, Armin Linke, Milica Tomić, Kodwo Eshun and Miha Gartner

Commissioned by the Travelling Communiqué project in Belgrade June 10 to August 17, 2014. Produced in collaboration with the Museum of Yugoslav History Belgrade, funded by the Ministry of Culture and Information of the Republic of Serbia, and in cooperation with the Goethe-Institut Belgrade, funded by the Foreign Office of the Federal Republic of Germany.

Maja Hodošček (b. 1984) works in the media of video and installation, exploring social relations in the policies of exchange and collaboration, with special emphasis on speculative modes of representation in relation to the documentary. To this end, she focuses on the concept of work as a means of self-realization, the dynamic of work and labor processes, their transformative potential, and the position of a subject in the organization and structure of labor. Most of this questions are being realized through multiple relations with highschool and elementary school pupils with whom Hodošček initiates various situations that are taking place within the school environment.

Hodošček has presented her work at solo exhibitions (e.g. In the Background, P74 Gallery, Ljubljana, 2011; Raw Material, Gregor Podnar Gallery, Ljubljana, 2010; …) and group exhibitions (Travelling Communiqué, Museum of Yugosalv History, Belgrade, 2014, U3, 7. Triennial of Contemporary Art, Museum of Contemporary Art Metelkova, Ljubljana, 2013, Three Artists Walk into a Bar, deAppel, Amsterdam, 2012, among others). In 2010 she received the OHO Award. She completed her master’s degree at the Dutch Art Institute in Arnhem, the Netherlands. In addition to her artistic practice she also works as a curator for the Center sodobnih umetnosti Celje.

Maja Hodošček (SI): Potrebujemo naslov

admin — Mon, 10 Nov 2014 10:58:17 +0000

2014, HD video, 28. min

Video je nastal v sodelovanju s šestimi člani šolskega debatnega krožka (Gimnazija Celje – Center). Več mesecev so člani kluba sodelovali v nekakšnem paralelnem učnem načrtu, ki ga je zasnovala umetnica. Izhodiščna točka debate je predstavljala dediščina in možna potencialnost Gibanja neuvrščenih, konkretno fotografski arhiv prve konference gibanja leta 1961 v Beogradu. Dijaki so reflektirali ideje o možni “tretji politiki” danes, o novih oblikah komunizma in o njihovi lastni vlogi znotraj družinske, institucionalne in družbene strukture. Umetnico je zanimal trenutek prehoda iz stanja pripovedovanja v stanje kolektivnega bivanja in delovanja. Video dokumentira proces pisanja kolektivne pesmi, ki izraža njihovo skupno skrb. Vendar, trenutek skupnega bivanja in delovanja je kompleksen proces saj se morajo individualni glasovi uskladiti s poglavitnim interesom skupine. Video tako prikaže skupni napor ustvarjanja, točke nesoglasja ali trenutke pogajanja in potrjevanja.

Posebna zahvala: Lara Čalasan Dorn, Tinkara Godec, Sergeja Hrvatič, Matej Ocvirk in Jure Macuh.

Hvala: Doreen Mende, Armin Linke, Milica Tomić, Kodwo Eshun in Miha Gartner

Video je nastal za projekt Travelling Communiqué, ki je potekal v Beogradu od 10. junija do 17. avgusta v Muzeju istorije Jugoslavije. Produciran je v sodelovanju z Muzejom istorije Jugoslavije in financiran s strani Ministrstva za kulturo Republike Srbije, Goethe Inštituta in Ministrstva za zunanje zadeve Zvezne republike Nemčije.

Maja Hodošček (1984) ustvarja video dela in instalacije. V svojem delu raziskuje socialne odnose skozi politiko izmenjave in sodelovanja, zanimajo jo spekulativni načini reprezentacije v odnosu do dokumentarnega. Te interese uresničuje z osredotočanjem na koncept dela kot sredstva samouresničitve, na dinamiko delovnih procesov, njihovih transformativnih potencialov in položaj subjekta v organizaciji in strukturi dela. Ta vprašanja realizira preko številnih relacij z osnovnošolci in srednješolci, s katerimi vzpostavlja različne situacije, ki se odvijajo znotraj šolskega okolja.
Svoje delo je predstavila na samostojnih razstavah (kot so In the Background, Galerija P74, Ljubljana, 2011; Raw Material, Galerija Gregor Podnar, Ljubljana, 2010; …) in številnih skupinskih razstavah (Travelling Communiqué, Muzej Istorije Jugoslavije, Beograd, 2014, U3, 7. Trienale sodobne umetnosti, Muzej sodobne umetnosti Metelkova, Ljubljana, 2013, Three Artists Walk into a Bar, deAppel, Amsterdam, 2012; …). Je dobitnica nagrade OHO za leto 2010. Zaključila je magistrski študij na Dutch Art Institutu v Arnhemu (Nizozemska). Poleg umetniške prakse deluje kot kustosinja v Centru sodobnih umetnosti Celje.

Katarina Šević (RS/HU) and Tehnica Schweiz (HU): Stummer Diener

ziga dobnikar — Mon, 10 Nov 2014 09:37:40 +0000

The installation is based on the 1958 drama by Max Frisch, Biedermann und die Brandstifter (The Fire Raisers). It is an epic drama in the Brechtian tradition, but also a critical reaction to the Brechtian Lehrstück, as the subtitle suggests: Lehrstück ohne Lehre: A Morality Play without a Moral.

Stummer Diener is an object and at the same time a device for a continuous performative act. The choir stands in a circle around this object and ritually repeats the selected admonitions from a book in a given order.

The title of the installation, Stummer Diener (translates to mute servant) comes from the German name for the furniture type that became popular in homes of the expanding middle class during the Biedermeier period. It is a reminder of a style, a form of life and a general mood that grew out of the wealth of the bourgeoisie during the process of Restoration under Metternich between 1815, the end of the Napoleonic war and the revolutions of 1848. The work cites Frisch, who created a timeless middle class setting, within which the fear of change, hypocrisy and short-sightedness blocks the voice of reason. The appropriated texts are quotations from the play: seven chosen admonitions of the fireman; a choir of seven that expects a disaster to happen, but only has the means to give warnings, to extinguish the fire, but not to prevent it. The only reference to a specific historical epoch that is in the title of the play, points our attention to a state of ignorance and passivity amongst the empowered segment of society that first unfolds during the Biedermeier period, a state that is continuously renewed and sustained in the cycle of revolutions and restorations until the present time.

Tehnica Schweiz is the artistic collaboration of Gergely László (1979) and Péter Rákosi (1971) since 2004. Tehnica Schweiz has been exhibited internationally in: Secession Wien, Ernst Museum Budapest, ISCP NY, NBK Berlin, ZTK Karlsruhe, etc.

Most Tehnica Schweiz projects work around the theme of community and collaboration. TSCH projects often rely on the participation of large groups of volunteers. All TSCH projects engage in extensive research, and occasionally archival work. Gergely László is also a founding member and representative of the Lumen Photography Foundation & Lumen Gallery (www.photolumen.hu) as well as a founding member of IMPEX – Contemporary Art.

Katarina Šević (197RS), based in Budapest, utilizes and integrates diverse strategies of observation and communication, questioning the vehicles of design and behavioral patterns in society. Her practice includes performance, video, objects and publication projects. She has in numerous international galleries: Trafo Gallery, Budapest; Kunstlerhaus Bethanien, Berlin; Apexart, New York; Škuc Gallery, Ljubljana; Salon of the Museum of Contemporary Art, Belgrade; CIC, Cairo; Secession, Vienna; Futura, Prague; Kunsthalle Budapest and others. She initiated and co-founded independent art spaces Dinamo and Impex. She also co- edited and published several publications.

Katarina Šević (RS/HU) in Tehnica Schweiz (HU): Nemi služabnik

ziga dobnikar — Fri, 07 Nov 2014 15:24:55 +0000

Instalacija je zasnovana na podlagi dramske igre Maxa Frischa iz leta 1958, Biedermann und die Brandstifter (Dobrnik in požigalci). Gre za epsko dramo v brechtovski tradiciji, ki pa hkrati predstavlja tudi kritičen odziv na Brechtov Lehrstück (poučna igra), kakor razkriva podnaslov: Lehrstück ohne Lehre – poučna igra brez nauka. Naslov instalacije Stummer Diener (Nemi služabnik) izhaja iz nemškega imena za kos pohištva, ki je postal izredno priljubljen v domovih hitro rastočega srednjega razreda v času obdobja bidermajer. Obuja spomine na takratni slog, na način življenja ter na splošno prevladujoče vzdušje, ki je zraslo iz blagostanja meščanskega razreda v času obdobja restavracije pod Metternichom med letom 1815 ter koncem napoleonskih vojn in revolucijami leta 1848. Delo citira Frischa, ki je ustvaril brezčasno prizorišče meščanskega srednjega razreda, v katerem strah pred spremembami, licemerstvo in kratkovidnost blokirajo glas razuma. Apropriirano besedilo vsebuje citate iz drame: sedem izbranih svaril gasilcev; zbor sedmerice, ki katastrofo pričakuje, a ima sredstva le, da nanjo opozarja; požar lahko pogasijo, ne pa tudi preprečijo. Edina referenca na specifično zgodovinsko obdobje, ki se nahaja v naslovu igre, usmeri našo pozornost na stanje nevednosti in pasivnosti med tistim okrepljenim družbenim segmentom, ki se je prvič razmahnil v času obdobja bidermajer; na stanje ki se nenehno obnavlja in vzdržuje v ciklusu revolucij in obnov vse do današnjega dne.

Tehnica Schweiz je umetniški kolektiv, ki ga sestavljata Gergely László (1979) in Péter Rákosi (1971). Njuno sodelovanje traja od leta 2004. Tehnica Schweiz se je pojavila na več mednarodnih razstavnih prizoriščih, med drugim na: Secession Wien, Ernst Museum Budapest, ISCP NY, NBK Berlin, ZTK Karlsruhe itd.

Večina njunih projektov se osredotoča na tematiko skupnosti in sodelovanja. Projekti TSCH pogosto vključujejo tudi sodelovanje velikega števila prostovoljcev, vsi pa zajemajo obsežno raziskovalno delo ter občasno tudi preučevanje arhivov. Gergely László je med drugim tudi ustanovni član in predstavnik fundacije in galerije Lumen Photography Foundation & Lumen Gallery (www.photolumen.hu) ter so-ustanovitelj iniciative IMPEX – Contemporary Art Provider.

Katarina Šević živi in dela v Budimpešti. Z uporabo in prepletanjem raznolikih strategij opazovanja in komunikacije se sprašuje o vzvodih oblikovanja družbe in vedenjskih vzorcev v njej. Njena umetniška praksa zajema performans, video, objekte in založniške projekte. Razstavljala je na številnih mednarodnih prizoriščih, kot so: Trafo Gallery, Budimpešta; Kunstlerhaus Bethanien, Berlin; Apexart, New York; Galerija Škuc, Ljubljana; Salon Muzeja sodobne umetnosti, Beograd; CIC, Kairo; Secession, Dunaj; Futura, Praga; Kunsthalle Budimpešta in drugod. Je iniciatorka in soustanoviteljica neodvisnih umetniških prostorov Dinamo in Impex. Kot so-urednica je sodelovala pri izdaji številnih publikacij.

Siniša Ilić (RS) and Bojan Djordjev (RS): Gathered by Meaning

ziga dobnikar — Fri, 07 Nov 2014 15:14:58 +0000

Gathered by meaning is an installation that spatially and conceptually connects a wall painting, archive-historical photograph and performance / reading group The Discrete Charm of Marxism. Heterogeneous elements of the installation are focused on the picture and scene of reading – an unspectacular moment of meaning being created and world being constantly re-made. In the photograph a young woman is reading aloud at the meeting communist youth organization – a poem, a note, a thought; the wall painting shows moments of communication and exchange of ideas and knowledge; the reading group explores relations in society that had to be understood again every day.

Siniša Ilić and Bojan Djordjev have been collaborating in various theater, performance art and visual art projects. In these works the authors investigate and rearticulate the traditional division of labor in the arts and their professional positions and collective authorship, at the same time exploring issues such as performative utterance, gender, desire, memory, text. In their works they explore performative potentials of communication with the audience in different performative formats through critical readings of images that surround us. Both are co-founders of TkH (Walking Theory) theoretical-artistic platform through which they realize part of their artistic activities.

Siniša Ilić
Works in the fields of visual and performing arts. Through his work he deconstructs social phenomena and mechanisms, such as forms of labor and violence in society, concepts of education, etc. His works are often oriented towards collective and collaborative self-organized projects with co-authors from different artistic fields of visual arts, but also theory, theatre and performance. MFA in painting at Faculty of Fine Arts, Belgrade. Artist in residence at Tate Modern, London, Kultur Kontakt, Vienna, ISCP, New York, Akademie Schloss Solitude, Stuttgart. Born in 1977 in Belgrade.

Bojan Djordjev
Theatermaker active in both institutional and independent theater. His interests in theater and performance include collective authorship, working with experimental playwriting and post-drama theater. MA in Theory of Arts and Media at University of Arts in Belgrade, BA in Theater Directing at Faculty of Drama Arts, Belgrade. Artist in Residence at Akademie Schloss Solitude, Stuttgart, Les laboratoires d’Aubervilliers, Paris as part of TkH project How to do Things by Theory and Artslink, New York. Born in 1977 in Belgrade. Participant of DasArts Master of Theater program in Amsterdam.
(photo credit) In the photograph: Milena Sajić, Belgrade, 1946.

Siniša Ilić (RS) in Bojan Djordjev (RS): Združeno v pomenu

ziga dobnikar — Fri, 07 Nov 2014 15:07:52 +0000

Gathered by meaning (Združeno v pomenu) je instalacija, ki prostorsko in konceptualno povezuje stensko sliko, arhivsko-historično fotografijo in performans / bralno skupino The Discrete Charm of Marxism. Heterogeni elementi instalacije se osredotočajo na podobe ter prizora branja – nespektakularen trenutek, v katerem se rojeva pomen in kjer se svet nenehno poustvarja. Na fotografiji mlada ženska bere na glas na sestanku organizacije komunistične mladine – pesem, zapisek, misel; stenska slika prikazuje trenutke komunikacije in izmenjave idej in znanja; bralna skupina raziskuje družbene odnose, ki jih je bilo potrebno znova razumeti vsak dan.

Siniša Ilić in Bojan Djordjev sodelujeta v okviru številnih gledaliških, performativnih in vizualnih umetniških projektov. Skozi dela raziskujeta in razkrivata nov pogled na tradicionalno delitev dela v svetu umetnosti, svoj poklicni status in kolektivno avtorstvo, hkrati pa se ukvarjata tudi z vprašanji performativnega govora, spola, želje, spomina, besedila. Njuna dela preučujejo performativni potencial komunikacije z občinstvom v različnih performativnih formatih, skozi kritično branje podob, ki nas obkrožajo. Sta soustanovitelja teoretično-umetniške platforme TkH (Teorija koja hoda), preko katere udejstvujeta del svojih umetniških aktivnosti.

Siniša Ilić
Deluje na področju vizualnih in performativnih umetnosti. Skozi svoja dela se loteva dekonstrukcije družbenih pojavov in mehanizmov, kot so npr. oblike dela in nasilja v družbi, izobraževalni koncepti, itd. Njegova dela so pogosto usmerjena v kolektivne in sodelovalne samoorganizirane projekte s so-avtorji iz različnih podzvrsti vizualne umetnosti, pa tudi teorije, gledališča in performansa. Je magister slikarstva, študij je končal na Fakulteti za likovno umetnost v Beogradu. Umetniške rezidence: Tate Modern, London; Kultur Kontakt, Dunaj; ISCP, New York; Akademie Schloss Solitude, Stuttgart. Rojen 1977 v Beogradu.

Bojan Djordjev
Gledališki ustvarjalec, aktiven v institucionalnih in neodvisnih gledališčih. Na področju gledališča in performansa ga zanimajo predvsem kolektivno avtorstvo, delo z eksperimentalno dramatiko in postdramsko gledališče. Diplomiral je iz gledališke režije na Fakulteti za dramske umetnosti v Beogradu ter ima magisterij iz teorije umetnosti in medijev Univerze za umetnost v Beogradu. Umetniške rezidence: Akademie Schloss Solitude, Stuttgart; Les laboratoires d’Aubervilliers, Pariz, v okviru projekta TkH How to do Things by Theory; Artslink, New York. Rojen 1977 v Beogradu. Vpisan na magistrski študijski program DasArts v Amsterdamu.

(zahvala) na fotografiji. Milena Sajić, Beograd, 1946.

Tina Gverović (HR): Znane neznanke

ziga dobnikar — Fri, 07 Nov 2014 14:52:30 +0000

Na togih strukturah visijo obešena telesa, upodobljena v linijah (linijskih prostorskih risbah), kot oblačila na obešalniku ali perilo, ki se suši na stojalu. Toda čeprav jih dojemamo kot voljna in ranljiva, so telesa v resnici tudi zelo vsestranska. Delo sestoji iz treh ključnih elementov – začasne stenske strukture, teles, izrisanih v linijah in besedila na steni. Elementi skupaj ustvarijo ravnovesje stabilnosti in začasnosti, oblike in brezobličnosti. Če je torej stena nekakšen »impasse« oziroma omejujoča struktura, potem bodo telesa/izrezane linije našle prebrisan način, da smuknejo vanjo, iz nje ali okrog nje. Franco Berardi v svoji teoriji semiokapitalizma opisuje vpliv tehnologije na človeške vire, zaradi katerega sodobne oblike ekonomije in vseprisotnega dela učinkujejo na naša telesa na najrazličnejše načine. Zaspimo na nenavadnih mestih, na poti v službo, v službi, na poti domov; in veliko nas je, ki obrok pojemo kar v pisarni (»al-desko«). Telesa, na katera aludira pričujoče delo, so nemara izčrpana telesa, a prav tako so lahko tudi lahkotna, komaj zaznavna, prehodna in minljiva. Zato prav tem kontekstu predstavlja besedilo na steni – sicer zasnovano na (ne)slavnem, po(ne)srečenem govoru Donalda Rumsfelda o variantah znanih/neznanih znanih reči – misel o kolektivnem navideznem telesu, ki je hkrati tukaj in drugje.

Tina Gverović (1975, HR) deluje med Dubrovnikom in Londonom, se ukvarja z instalacijami, risbo, slikarstvom, zvokom ter videom. Njena dela – pogosto v obliki potopitvenih, dezorientirajočih instalacij – se nanašajo na prostor, teritorij in identiteto ter na način, kako se ti koncepti povezujejo z domišljijo in domiselnostjo. Trenutno zaključuje doktorski študij na Univerzi Middlesex v Londonu ter ima diplomo iz likovne umetnosti Akademije za likovno umetnost v Zagrebu in magisterij, zaključen na Jan van Eyck Academie v Maastrichtu.

Tina Gverović (HR): Known Unknowns

ziga dobnikar — Fri, 07 Nov 2014 14:47:30 +0000

The bodies – rendered as lines (line drawings in space) – hang from the rigid structure in a way that recalls clothes on hooks or perhaps washing left to dry, but while the bodies might be thought to be malleable and vulnerable they are also versatile. There are three key elements to the work – the temporary wall structure, the bodies formed from line drawings, and the wall-text. Together these elements produce a balance of stability and temporality, form and formlessness. If the wall is some sort of impasse or constraining structure then the bodies/cut-out lines find a way to slip in, or out, or around it in a tricky manner. Franco Berardi describes a theory of ‘semiocapitalism’ in which power technology aims at our human resources, so contemporary forms of economy, omnipresent work, impact upon our body in various ways. We fall asleep in unusual places, on the way to work, at work, on the way home from work, and some of us might eat lunch ‘al-desko’. The bodies alluded to here might be exhausted bodies, although equally they might just be slight, light, transient and ephemeral. And in this context, the wall text that’s based on Donald Rumsfeld’s infamously smart-dumb speech about variants of “known/unknown knowns” adds a notion about a collective illusive body that is simultaneously here and elsewhere.

Tina Gverović (1975, HR) is based between Dubrovnik and London, Gverović works with installation, drawing, painting, sound and video. Her work – often in the form of immersive, disorientating installations – engages with space, territory and identity and how these concepts are bound to invention and imagination. She is currently completing a doctorate at Middlesex University in London and holds a BA in Fine Art from the Academy of Fine Arts, Zagreb and an MA from Jan van Eyck Academy, Maastricht.