Political Prisoners action, Modern Art Gallery, Ljubljana 2012
Sept. 20, 2012 the Voina Group held «Political Prisoners» action in the Moderna Galerija (Museum of Modern Art) in Ljubljana, Slovenia. This action dedicated to political prisoner and Voina`s activist Taisia Osipova. She was arrested at 2010 and got 8-year sentence. There are also names of political prisoners on the banner. It's an action in support of all political prisoners all over the world. Voina also protested against everybody's apathy regarding oppression of human rights by the police state.
Initiatives, camera, photo, montage - Alexey Plutser-Sarno, Voina Group ideologist and media artist.
Actions 2006-2010:
Actions 2011-2013:
Photos (actions 2011 - 2013):
&
List of political prisoners:
Special thanks to our friend Michael Petrowitsch.
10 Things to do in Ljubljana, Slovenia Travel Guide
Join as we visit Ljubljana, Slovenia in this travel guide covering some of the best things to do in the city including highlighting the local food and restaurant scene, museums worth visiting, the old town, castle, quirky neighborhoods and more. With a week in Ljubljana, Slovenia we had plenty of time to cover the main attractions in the city along with take some day trips. If you're thinking of visiting a weekend would be enough time for a busy trip but 3-4 days or longer would be more ideal for slower exploration. Now let's explore the capital city of Slovenia together!
10 Things to do in Ljubljana City Tour | Slovenia Travel Guide:'(Slovenija)
Introduction to Ljubljana - 00:01
1) Old Town of Ljubljana at Prešeren Square (Prešernov trg) + Franciscan Church (Frančiškanska cerkev) - 00:39
2) Bridges of Ljubljana = Triple Bridge (Tromostovje) + Love Lock Bridge (Mesarski most) + Dragon Bridge (Zmajski most) - 00:46
3) Ljubljana Central Market (Osrednja ljubljanska tržnica) + Ljubljana Cathedral (ljubljanska stolnica) - 02:59
4) Slovenian Food at Allegria restaurant in Ljubljana - 03:57
5) Ljubljana Castle (Ljubljanski grad - Laibacher Schloss) on Castle Hill - 04:24
6) River Cruise on the Ljubljanica River + Ice Cream (Cacao) - 06:54
7) Metelkova for street art in Ljubljana - 09:14
8) Balkan Food sampling Bosnian Cuisine at restaurant Sarajevo 84 - 10:43
9) Galleries and Museums Ljubljana including The National Gallery of Slovenia (Narodna galerija), the Museum of Modern Art (Moderna galerija), and the National Museum of Slovenia (Narodni muzej Slovenije) - 11:12
10) Tivoli City Park Gardens (Mestni park Tivoli) - 11:39
Outro to Ljubljana- 12:01
GEAR WE USE
Panasonic GH5:
Canon G7X ii:
Rode Video Micro:
Joby Gorilla Pod:
SanDisk 16GB Extreme Pro:
Our visit Ljubljana travel guide documentary covers some of the top attractions including a food guide (Slovene, Balkan and Bosnian), top sightseeing tourist attractions and the city by day including visiting castles, churches, the old town, quirky neighborhoods, museums and along the river. We also cover off-the-beaten-path outdoor activities you won't find in a typical Ljubljana tourism brochure, Ljubljana itinerary or Ljubljana, Slovenia city tour also known as Laibach.
10 Things to do in Ljubljana, Slovenia Travel Guide Video Transcript:
Prešeren Square is a central meeting spot in the heart of the Old Town, so it made sense to start our tour of Ljubljana here. You’ll find the Franciscan Church of the Annunciation, lots of gelato shops, and the baffling bridge we just mentioned.
As for the reasoning behind the Triple Bridge and the famed dragon bridge, which is guarded by four dragons.
Ljubljana’s Central Market is another spot worth checking out.
We needed to sample some Slovenian food so we went to Allegria.
Sam ordered Zlikrofi (zhlee-krofi), a Slovenian dumpling stuffed with potato + lamb goulash along with Slovenian sausage with cabbage & potatoes.
Ljubljana Castle, which sits on Castle Hill overlooking the city. Built as a medieval fortress in the 11th century, Ljubljana Castle has seen many redesigns and renovations. Climb the Outlook Tower for 360 degree views of the city.
There are departures for cruises down the Ljubljanica. We boarded a cruise directly underneath the Love Lock Bridge, which is actually called Mesarski Most. It was our favourite activity in Ljubljana and it was a super relaxed way to watch the city.
Metelkova is home to the best street art.
One place we really enjoyed was Sarajevo 84, a restaurant specializing in Balkan cuisine. The portions massive & everything we ordered was delicious.
We had a feast featuring: grilled meat with pita and onions, baked beans and sausage, roasted peppers, and a flaky pastry stuffed with cheese. It only came to 23 Euros.
Speaking of galleries and museums, a few you’ll find include: the National Gallery, the Museum of Modern Art, and the National Museum of Slovenia.
We finished off at Tivoli, which is the largest park in Ljubljana.
And that’s it for our time in Ljubljana. Our visit was short, tasty, and relaxing, and we’re really glad we made some time to visit this underrated capital.
Now you guys know the drill; if there are any other things to do in Ljubljana that we may have missed in this travel guide, feel free to share your suggestions with fellow travellers below.
This is part of our Travel in Slovenia video series showcasing Slovenian food, Slovenian culture and Slovenian cuisine.
Music by Ikson:
Moderna galerija : POGOVOR | Sergej Kapus in Tugo Šušnik
Pogovor z dvema slikarjema, Sergejem Kapusom in Tugomirjem Šušnikom, ki je potekal v okiru razstave Novi prostori, nove podobe. Osemdeseta skozi prizmo dogodkov, razstav in diskurzov – 1. del v Moderni galeriji.
Datum dogodka: 21.12.2016
ANDRAŽ ŠALAMUN / PREGLEDNA RAZSTAVA
Andraž Šalamun’s retrospective exhibition presents the artist’s oeuvre spanning five decades of uninterrupted work. Šalamun took his first steps in the world of art in the late 1960s as a member of the OHO group (together with Marko Pogačnik, Milenko Matanović and David Nez), when he produced some of his most poetic works in the spirit of arte povera (poor art) and body art. In the 1970s, the artist’s focus shifted to painting; as a self-taught painter he began exploring, by mid-decade, the materiality of abstract painting in large-format works. From the very start, his work could not be said to fall into any of the concurrent artistic trends. Although his artistic production coincides with post-conceptual fundamental painting, it appears to be completely independent of it. While clearly testifying to his fascination with the materiality of the paint and the support, at the same time his canvases exhibit a sublime poetic charge: poetic abstract landscapes, colorful suns, “cloud machines” and fantastic animal creatures, they always bring their potential to sensuously charm the viewer to the fore. In the 1980s, Šalamun’s painting exploded in image and color, which made the artist one of the foremost Slovene representatives of the New Image. In his work, the New Image manifested in fantastic animal compositions resulting from random play with images as facts, devoid of any clear or univocal semantic or symbolic allusions. Šalamun’s most famous series from that time is a series of enormous canvases of bison, including the one included in the Moderna galerija permanent collection exhibition 20th Century: Continuities and Ruptures. In the early 1990s, Šalamun’s painting became even more individualistic and unrelated to stylistic groupings. Presented at the exhibition from that period are his most characteristic and successful series of large-format canvases: Suns, which constitute a turning point in his development as a painter, a series of Greek islands characterized by his intense exploration of the abstract landscape, a series of so-called Mediterranean landscapes with a dark, melancholic charge, and the series Moss and Silver. After 2000 there followed the Venice series, the Cypresses series, the Moons series, and finally a series of abstract cosmic landscapes, which round up the artist’s many years of artistic explorations in the serial repetition of the same motif in numerous variations. Presented at the exhibition are over 50 large-format canvases – a selection of the most characteristic and best works from Andraž Šalamun’s oeuvre, which have been kindly loaned to Moderna galerija Ljubljana from numerous public and private collections in Slovenia.
Andraž Šalamun was born in Ljubljana on July 30, 1947. He finished high school in Koper. While studying in Ljubljana, he was an active member of the conceptual movement – working in the OHO group (whose works were shown at the Museum of Modern Art in New York as early as 1970). After the dissolution of the OHO group, Andraž Šalamun did not join the Šempas Family, but instead completed his studies in comparative literature and philosophy and returned to Koper. After his initial series of pastels and drawings he dedicated himself exclusively to painting (after 1976). As early as 1977 he received the Seven Secretaries of SKOJ Award, at the time a prestigious Yugoslav art award, for his early paintings. In the 1980s he won several prizes and awards at art colonies across Yugoslavia (Pazin, Sombor, Dubrovnik, Sisak, Čačak) and in 1993 the Prešeren Foundation Award.
Andraž Šalamun’s work has been featured at numerous exhibitions: he was included in all big surveys of conceptual art as a member of the OHO group, while his paintings were included in Yugoslav selections of major international shows (such as the Sao Paulo Biennial in 1979 and the Venice Biennale in 1982) soon after his first solo exhibitions in Zagreb and Belgrade, as well as in the collections of Yugoslav museums and galleries and in travelling survey exhibitions of (young) Slovene art. He was actively involved in the self-organizing of younger generation artists in the Equrna working community in Ljubljana (starting in 1982) and in the art scene on the Slovene coast, especially by working with the Littoral Galleries in Piran, the Artists’ Association of North Primorska (DLUSP, later the Insula Association) and the Sqart Studio in Koper.
Over the years, three art historians and critics in particular – Tomaž Brejc, Ješa Denegri and Andrej Medved – have written extensively on Andraž Šalamun and his art.
Moderna galerija: MELITA ZAJC, Televizija kot novi medij osemdesetih let
Torek, 23. maj 2017, ob 18.00, Seminar +MSUM
Ena temeljnih značilnosti sodobnosti je, da se med starim in novim oblikujejo doslej neznane konfiguracije. Pravzaprav je to tisto, kar danes vzbuja največ nelagodja. Po tem, ko smo se bili v modernem zahodnem svetu dodobra navadili, da novo vedno prevlada nad starim, zdaj staro prevzema nadzor nad novim. Primeri so raznoliki, vsi pa potrjujejo pomen konceptov kot je „mediologija“ Regisa Debraya, da je namreč ob gibanju tehnologij, ki poteka naprej, potrebno upoštevati tudi gibanje kultur, ki teče nazaj. „Retrogardizem“, koncept, ki ga NSK razvije v 1980ih letih v Sloveniji, je tisti, ki gibanje naprej najbolj neločljivo poveže z gibanjem nazaj. Od tu izhaja izhodiščno vprašanje tega predavanja, namreč, kaj se lahko iz dogajanja v 1980ih letih v Sloveniji naučimo o svetu, v katerem živimo danes. Osredotočila se bom na področje medijev, zlasti televizije, ki je kot naprava takrat obstajala že celo stoletje, prav tako se je video, ki se je pojavil v 1960ih, dotlej že dodobra uveljavil kot orodje umetnostne produkcije. Torej, niso bile nove naprave, pač pa so se v tistem obdobju v Sloveniji razvile nove oblike rabe televizije. Z današnjega vidika so zlasti pomembni novi produkcijski okviri in spremljajoče tekstualne prakse. Nove oblike distribucije TV programov so bile na eni strani zametek danes vodilnih tradicionalnih medijev (A kanal kot nekdanja ATV) in programov (Studio City kot nekadnji Studio City, sic!), na drugi pa so napovedale mrežne oblike organizacije, ki danes prevladujejo na področju družbenih medijev. Na področju tekstovnih praks pa je bil ključen razmah kreativnega prisvajanja, tekstualne strategije, ki je omogočala oblikovanje kritičnega javnega diskurza in politične kritike v pogojih, ki so bili značilni za takratno Jugoslavijo in jih je Slavoj Žižek leta 1983 v okviru simpozija Kaj je alternativna opisal kot “imanentni cinizem oblasti,” do danes pa so dosegli globalno prevlado. O tem posredno priča dejstvo, da so se podobne tekstovne prakse sočasno razvile v Sovjetski zvezi in drugih državah vzhodnega bloka, kjer so jih poimenovali “stjob”, kasneje pa so se v obliki satiričnih informativnih oddaj, in še kasneje v obliki lažnih novic, razširile takorekoč širom sveta.
Več na:
avto - portret Matjaža Stražarja Moderna galerija Ljubljana, 2007
Dokumentarec o ateljeju Matjaža Stražarja v Moderni galeriji v Ljubljani 2007 Špele Petrič in Dejana Žinka
Narodna galerija/National Gallery
Making the shot of the National Gallery interior shut off and emptied due to undergoing renovation + portrait of Miro Klajder, restorer.
Branko Čeak/Domen Pal/Jože Maček
Big thanks to Tomo Per
unknownljubljana.com
TADEJ POGAČAR & the P.A.R.A.S.I.T.E.Museum of Contemporary Art
TADEJ POGAČAR & the P.A.R.A.S.I.T.E.Museum of Contemporary Art: Hills and Valleys and Mineral Resources
Curator: Igor Španjol
The exhibition presents a comprehensive survey of Tadej Pogačar's creative output over the past few decades and his P.A.R.A.S.I.T.E. Museum of Contemporary Art, with special emphasis on selected projects that have left a lasting mark on contemporary art production in Slovenia. Devising fictitious systems and establishing fictitious institutions, Pogačar explores and spotlights hidden, obscured or ignored social phenomena, groups, practices, and relations. Part of his artistic practice involves invading real institutions and working within them; to this end he established a special institution in 1993, the P.A.R.A.S.I.T.E. Museum of Contemporary Art, to serve as the framework for his activities. The P.A.R.A.S.I.T.E. Museum inhabits the bodies of other museums and art institutions, organizing the materials found there so as to highlight certain essential though often overlooked principles that guide the way art institutions work in constructing our knowledge of both past traditions and the present.
Examining indeterminacy and transformation within social systems in his art, Pogačar engages in interventionist logic, institutional critique, and critical research on social and political issues as well as participatory and collaborative projects. The parasitism of his work is a subtle deconstruction of the horizon of the everyday, and of the ruthless challenges to the systems that are used to establish and maintain the center, domination, and power.
Over the years, the P.A.R.A.S.I.T.E. Museum of Contemporary Art has assumed numerous roles and forms, from organizing activist events and street actions, forming collaborative platforms, initiating interventions in urban structures and museum collections to creating archives of parallel economic models and constructing undesigned architecture. Among the art institutions in which the P.A.R.A.S.I.T.E. Museum has intervened in the past two decades are the National Museum of Contemporary History, Ljubljana; the Moderna galerija, Ljubljana; the Boijmans Van Beuningen, Rotterdam; the Natuurmuseum, Rotterdam; the Műcsarnok, Budapest; (the collection of) Moderna Museet, Stockholm; the Max Liebermann Haus, Berlin; the Limerick City Gallery, Limerick; and the Galerie für Zeitgenössische Kunst, Leipzig.
Pogačar's most notable projects in the streets are Kings of the Street (1994-1995) in Ljubljana and CODE:RED (1999/2000 -) in Venice. Kings of the Street was a pioneering collaborative project with a social minority group, the homeless of Ljubljana; CODE:RED was the first public episode of a long-term collaborative and participative project exploring the models of self-organization of marginalized urban minorities and parallel models of economy.
Tadej Pogačar (born in 1960 in Ljubljana) is an artist, curator, and the artistic director of the P74 Center and Gallery. He studied ethnology and art history at the Faculty of Arts in Ljubljana; before completing his studies he also enrolled at the Academy of Fine Arts in Ljubljana (1983).
Dancing Rods
Filmed by Stirling Perry (me) in the Ljubljana Modern Art Gallery (Galerija Moderna), August 2012.
Music: God Speed You Black Emperors - Static, Raise Your Skinny Fists Like Antennas to Heaven
Art Installation: Slavko Tihec - Kinetic Object - Verticals, 1969. polyester, electric pump
11.05.2015 V Moderni galeriji na ogled umetnostni zgodovinski fenomen Neue Slowenische Kunst
Ljubljana, 11. maja - Pred Moderno galerijo se je nocoj zbrala starostno heterogena množica z vrsto umetnikov in kulturnikov, ki si je želela med prvimi ogledati razstavo o NSK. Zbrane sta nagovorili direktorica galerije Zdenka Badovinac, ki je NSK označila za zgodovinski fenomen z ambivalentnim umetniškim konceptom, in ministrica za kulturo Julijana Bizjak Mlakar.
Artists Talks | Ne glej nazaj, okej? | Tanja Lažetić
Pogovor z umetnicami | Ne glej nazaj, okej?
UGM, Strossmayerjeva 6
četrtek, 14. marec 2019, 18.00
Artists Talks | No Looking Back, Okay?
UGM, Strossmayerjeva 6
Thursday, 14 March 2019, 18:00
Tanja Lažetić (1967, Slovenija) je leta 1994 zaključila študij arhitekture v Ljubljani. Področja njenega delovanja so fotografija, video, performans, keramika in knjiga umetnika. Razstavljala je med drugim v Moderni galeriji, kjer je na trienalu sodobne umetnosti U3 sodelovala že štirikrat; v Mednarodnem grafičnem likovnem centru, od tega enkrat na grafičnem bienalu; Neuer Berliner Kunstverein, Berlin; Real Academia de Bellas Artes de San Fernando, Madrid; Museum Brandhorst, München; Festival der Regionen, Avstrija; Gagosian Gallery, Pariz, Beverly Hills, New York. Leta 2015 je prejela bronasto nagrado na Nanjing International Art Festival na Kitajskem, leta 2016 pa Jakopičevo priznanje. Živi in dela v Ljubljani.
Tanja Lažetić (b. 1967 in Slovenia; lives and works in Ljubljana) graduated in architecture from the University of Ljubljana in 1994. She works in the fields of photography, video, performance, ceramics and artist's book. Her work has been featured in exhibitions in Moderna galerija, Ljublajna; The International Centre of Graphic Arts, Ljubljana; Neuer Berliner Kunstverein; Real Academia de Bellas Artes de San Fernando, Madrid; Museum Brandhorst; Munich; Festival der Regionen, Austria; Gagosian Gallery, Paris, Beverly Hills, New York. In 2015, she won the Bronze Award at the Nanjing International Art Festival and the 2016 Jakopič Award.
Dogodek poteka v okviru evropskega projekta Wom@rts, ki je podprt s strani programa Ustvarjalna Evropa, ki ga razpisuje Evropska unija.
The event is part of the Wom@rts project, co-funded by the Creative Europe Programme of the European Union.
CRISES AND NEW BEGINNINGS / ART IN SLOVENIA 2005–2015
The exhibition aims to present a selective overview of developments just past or still taking place, and attempts to define the main phenomena and trends in contemporary art in Slovenia over the past decade. Covering a wide range of fields and thus also involving the collaboration of several professionals and experts, it is a sequel to the exhibition trilogy from ten years ago, which presented, over three consecutive years (2003 to 2005) the trends in Slovene art and related fields by decade, since 1975.
This past decade we have witnessed two major social changes that seem contrasting at first glance. The first is the global financial crisis; the saving of the banking sector the crisis sparked has seriously undermined the welfare state and wrought havoc in the public sector in Slovenia. Those public cultural institutions and artists that have survived the budget cuts have been forced to identify and pursue new survival tactics. While this change is all about shortages and austerity measures, the other change advocates prosperity, offering up innovations and giving the appearance of being the better option. We are talking about the magic of technology, the imperative of the across-the-board digitization and general online accessibility. The neoliberal politics of austerity has made the digital paradigm all the more attractive. The story of the technological turn has overshadowed the more depressive story of the political and economic downslide, while the two phenomena are in reality very much intertwined.In their works, artists react to the numerous contradictions of the ideological and cultural discourses around them critically, though often also ironically and playfully. Analyses and reflections of their own personal daily circumstances require an exploration of broader and more complex structures determining and shaping their experiences and social events. Artists systematically exploit the potential of a productive – though often paradoxical – use of those multilayered and complex conditions and circumstances of their work that are traditionally understood as obstacles. They deal with the various spatial and cultural determinants of their sphere of activity, their enmeshment in the institutional and production machinery of the art system, and the limitations and exigencies as potentials and advantages, all with constructive irony and a somewhat false staging of their own position.
The new generation of artists has replaced nostalgia with melancholy, the banality of the everyday with an elevated pathos, and realistic expectations with overblown ambitions. Despite the general apathy and a sense of powerlessness due to the circumstances of transition they manage to incorporate a good measure of passion in their work. Extoling the everyday seems to have become a constituent part of the stand taken by most young artists who are either still searching for or establishing their positions within the system.
In addition to art in the narrower sense of the term we wish to present also certain practices from related fields and genres, such as the comic strip, photography, design, architecture, film, and performance art. There fields have all developed along their own, slightly different lines, which go beyond the scope of this exhibition, except where they overlap or intertwine, revealing certain common formal and topical contexts.Rather than being a classic overview of trends, phenomena, and fields, the show is designed around interpreting key topics and issues, i.e., we have tried to identify the most fundamental and compelling issues in contemporary art in Slovenia, as well as its nodes and contradictions. This interpretation underpins the exhibition display, which also includes a comprehensive chronological documentary presentation.
Bojana Piškur, Igor Španjol, Vladimir Vidmar curators
Deset priljubljenih slik iz zbirke Narodne galerije
Tina Dobrajc | Lepo slikarstvo je za nami
Lepo slikarstvo je za nami
2.8.-9.9.2012
Umetnostna galerija Maribor, Strossmayerjeva 6
ugm.si
V okviru projekta Umetnost zmeraj zmaga / Terminal 12 in s podporo zavoda Maribor 2012 -- Evropska prestolnica kulture in Francoskega inštituta Charles Nodier se v UGM predstavlja razstava Lepo slikarstvo je za nami. Šestintrideset umetnic in umetnikov iz Francije in Slovenije razstavlja najnovejša dela, ki so izjemna sodobna umetniška izpoved, komentar in analiza ujetosti človeka v zanke kompleksnega sveta. Razstava govori o moči sodobne slike, ob kateri ne moremo ostati hladni in neprizadeti, o generaciji umetnic in umetnikov, ki je rasla ter se oblikovala ob televiziji, računalniku, stripu, filmu in veliki klasični zakladnici umetnosti in za katero je slika ostala relevanten medij. Umetniki vsak v svoji izrazni govorici pričajo o nasilju sodobnega sveta. Njihov povratek k figurativni umetnosti odseva sijajno in hkrati pretresljivo sliko našega časa, v katerem se številne reference na zgodovino, slikarstvo in tudi svet na splošno zlivajo v interpretacijo resničnosti in odkrivajo pogosto vizionarski pogled na naše sodobne mite in družbo. Kljub raznolikosti slogovnih govoric najdemo nekaj skupnih potez med deli posameznih avtorjev, kot so npr. sublimno naglašene interpretacije v delih Axla Pahlavija, Youcefa Korichija in Audrey Nervi ter nasilno obarvan tok v delih Jérôma Zondra, Damiena Deroubaixa, Ronana Barrota, Ide Tursic in Wilfrieda Milleja.
»Ko danes mladi slikar/slikarka stojita pred platnom, ali kakršno koli podlago že uporabljata, ni ta površina nikoli bela, nikoli ni zares prazna, belo platno je le videz, pa nikdar praznina. Skoznjo utriplje zgodovina slikarstva, podobe, ki jih je mladi umetnik videl, reprodukcije in originali, ki jih hrani v svojem spominu (četudi nikdar ne pomisli nanje); skoznjo se premika velikanski arzenal sodobne medijske imažerije, tisoči podob, ki ga obdajajo v vsakdanjem življenju. Zdi se, kot da slikarji dandanes zelo malo razmišljajo o vnaprejšnji »formi«, o njenem abstraktnem idealizmu, čistosti, duhovnosti, metafiziki. Medijsko podobotvorje je realistično, pomensko funkcionalno, osredotočeno na sporočilo, videz služi vsebini, v medijih ni načeloma nič kantovsko abstraktnega, samega po sebi, zaradi sebe. Zato je današnje slikarstvo »realistično«, prežeto s fragmenti iz stripov in filmov, fotografij in televizije, je ravno tako performativno kot katera koli zunanja akcija, je plakatno in medijsko, glasbeno in spotovsko, je polno umetelnih barv in zloščenih ploskev. Toda tudi vsega, kar pripada urbanemu vizualnemu odpadu, razpadanju uporabljenih podob in komercialnih sporočil: ta sporočila so že bila v nekem drugem mediju, zdaj so se udomačila v sliki kot fragment, asociacija, prispodoba, tudi kot pomota ali uganka, skratka, kot mnogo bolj »odprto delo«, kakor ga dopušča medijska sporočilna funkcionalnost. Slike so torej na poseben način disfunkcionalne, neuporabne, zasebne, toda zato še toliko bolj ognjevito nagovarjajo gledalca.« (Tomaž Brejc in Arne Brejc, iz razstavnega kataloga)
Razstava je nastala je na pobudo Jean-Luca Maslina, svetovalca za sodelovanje na področju kulture in direktorja Francoskega inštituta v Turčiji. Pariški galeristki Evi Hober je predlagal razstavo, ki bi se osredotočila na sodobne francoske umetnike. Francoski del razstave je bil pred Mariborom na ogled v Istanbulu (2010), Ankari (2011) in v Nantesu (spomladi 2012). Za razstavo v UGM je Eva Hober povabila k sodelovanju Arneta Brejca, vodjo galerije Equrna v Ljubljani, in razstava se je tako razširila z deli slovenskih avtorjev. Naslednje leto bo nastala druga različica razstave z novo skupino umetnikov, ki bo sprva na ogled v evropskih umetnostnih institucijah, leta 2014 pa se bo selila v ZDA.
100 let Narodne galerije Slovenije
LJUBLJANA - Narodna galerija Slovenije je osrednja slovenska ustanova za starejšo umetnost in hrani največjo zbirko likovnih del na slovenskem ozemlju. Obsega čas od visokega srednjega veka do vključno 20. stoletja.
Miran Mohar: What Do Contemporary Art and Graphic Design Have in Common? Summer School as School2018
Miran Mohar at Summer School as School 2018
July 20, 2018, 20:00
Venue: Boxing Club
Summer School as School
July 16 – August 2, 2018
Stacion – Center for Contemporary Art Prishtina is pleased to announce “What Do Contemporary Art and Graphic Design Have in Common?” by Miran Mohar, part of Summer School as School 2018 Public Program.
We need to frequently reflect on our professional activity and the media we work in. If we don’t reflect on these things, we can come close to Marcel Duchamp’s saying “stupid as a painter”, which we can also read as “stupid as a designer or architect …” He divided art into lower-status art or retina art, which only pleases the eye, and cerebral art, which is based on rational reflective principles. Design without reflection is rather a craft. Design should in general positively contribute to humanity and should be critical to unjust societies and political systems, instead of just serving as the aestheticization of neoliberal capitalism. Today, contemporary art can be an inspiration and can help improve design, just as design influenced modern art in the beginning of the 20th century. Just think of Russian constructivism and John Hartfield. He is one of the best examples of artists who used the language of art for political posters. He merged art and design in the best way possible. He is still one of the most influential designers and his works still communicate with us today. Many of us still refer to his artistic methods. In his book from the early the 1970s, Design for the Real World, famous American theorist and designer Victor Papanek wrote about the ethical dimension in industrial design and architecture and his ideas are still topical and valuable today. In my presentation, I will show and comment on some examples of my works (or of the groups I’m working with) and explain how I personally intertwine/connect my different professions, being an artist and graphic and set designer.
Miran Mohar (born 1958 in Novo Mesto, Slovenia) is an artist based in Ljubljana.
He is a member of the Irwin artists group and a co-founder of the Neue Slovenishe Kunst art collective, the graphic design studio New Collectivism and the Scipion Nasice Sisters Theatre.
Together with four other members of Irwin (Dušan Mandič, Andrej Savski, Roman Uranjek and Borut Vogelnik) he has participated in all Irwin projects and exhibitions since 1984. Here are some of them: From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1887
As a member of the New Collectivism graphic design team he co-designed numerous books, posters and other graphic design products for the following institutions: P.S.1/ MOMA New York, Museum of Modern Art Ljubljana, Kunst Werke Berlin, Irwin, Laibach, Scipion Nasice Sisters Theatre, En Knap Dance Company, Castello Di Rivoli, Kampnagel, and others.
Summer School as School is an interdisciplinary education platform, based in Prishtina.
The Public Program organized during Summer School as School 2018 serves as a common platform for faculty, participants, and the public.
Produced by: Stacion - Center for Contemporary Art Prishtina
Music composition: Liburn Jupolli
For more info
#summerschoolasschool
New Nationalism(s)
How are local art scenes impacted by the tidal wave of nationalist sentiment rising across the globe? How are artists responding to the current political climate? Are they compliant with or critical of these developments? How do new nationalisms impact the production, display, and act of collecting contemporary art? And what are the strategies being put into place to counteract the rise of anti-liberalism? This panel will ask a group of curators about their experience navigating the new political conditions of the 21st century in their respective regions.
Kodwo Eshun and Anjalika Sagar, The Otolith Group, London
Zeynep Öz, Founder, Bahar, and Curator, Turkish Pavilion Venice Biennale 2019, Istanbul
Nicolaus Schafhausen, Strategic Director, Fogo Island Arts/Shorefast, Canada
Moderator: Zdenka Badovinac, Director, Museum of Modern Art, Ljubljana
Wednesday, June 12, 3pm to 4pm.
Filmed on site at Art Basel in Basel 2019.
Černigoj v Galeriji Božidarja Jakca
KOSTANJEVICA NA KRKI - V Galeriji Božidar Jakac v Kostanjevici na Krki je na ogled gostujoča razstava z mednarodnega projekta Baunet - mreženje idej in praks. Nosilec je zagrebški Muzej sodobne umetnosti.
No limitations: Nova čitanja fonda Moderne galerije Likovni susret
Narednih mesec dana će posetioci i publika Moderne galerije „Likovni susret moći da pogledaju izložbu „No limitations: Nova čitanja fonda Moderne galerije „Likovni susret. Ova izložba predstavlja novi način interpretacije umetničkih dela iz fonda Galerije, po odabiru kustoskinje Nele Tonković i osmoro savremenih subotičkih akademskih umetnika.
Subotički umetnici mlađe gereneracije: Ksenija Kovačević, Maja Rakočević- Cvijanov, Vanja Subotić, Srđan Milodanović, Biljana Stanimirović, Lea Vidaković, Slaven Gabrić i Spartak Dulić su odabrali po tri dela iz celokupnog fonda Moderne galerije „Likovni susret- po jedno iz zbirke slikarstva, grafike i skulpture i keramike. Umetnici selektori su pored odabira dela imali zadatak da svoj odabir obrazlože u formi teksta, te se izložba sastoji od odabranih dela i obrazloženja za svako od njih.
„No limitations: Nova čitanja fonda Moderne galerije „Likovni susret je izložba nastala zajedničkim radom kustoskinje Nele Tonković i savremenih subotičkih umetnika. Izložba pokušava da pokaže kako lični kriterijumi imaju presudnu ulogu u trajnom memorisanju nekog dela.
Značaj ove izložbe ogleda se u njenom doprinosu u proučavanju njenog vrednog fonda na sasvim nov način, komunicirajući direktnije sa publikom kojoj je ostavljena mogućnost da pisemno iznese svoje mišljenje o izložbi. Takođe nakon pola veka postojanja ove galerije, ova izložba je prva obasjana novom galerijskom rasvetom koja doprinosi opštem utisku prikazanih dela.
20th Century Fog - Megla stoletja
Matjaž Zupančič
Gledališka plesna predstava
EnKnapGroup
Že iz časa modernizma velja, da gledališki dogodek lahko vznikne iz česar koli – tudi iz telefonskega imenika. Dvajseto stoletje je neke vrste telefonski imenik, samo da večina številk že zvoni v prazno. Skoraj nihče se ne javi več. Stvari se počasi meglijo. A prostori, kjer v prazno zvoni naša radovednost, niso mrtvi arhivi. Nasprotno. So žive slike spominov na prihodnost, ki konstituirajo sodobnega človeka.
Dvajseto stoletje je čas erupcije novih umetniških praks, iskanja novih tehnologij; hkrati gre za najbolj krvavo obdobje v zgodovini človeštva. Gledališka plesna predstava 20th Century Fog – Megla stoletja raziskuje ta paradoks in uprizarja nekatere poudarke, ki jih najde v razmerju med komercialnim in angažiranim, stvarnim in abstraktnim, plesom in filmom – med kulturo in barbarstvom.
(Matjaž Zupančič)
Koncept in režija: Matjaž Zupančič
Koreografija: Sinja Ožbolt
Ustvarjalci in izvajalci: EnKnapGroup (Luke Thomas Dunne, Ida Hellsten, Bence Mezei, Ana Štefanec, Tamás Tuza
Scenografija: Vadim Fiškin, Miran Mohar
Oblikovanje videa: Luka Umek
Oblikovanje svetlobe in tehnično vodstvo: Jaka Šimenc
Oblikovanje zvoka in avtorska glasba: Vanja Novak
Glasba: Nick Cave & PJ Harvey; Miladojka Youneed
Kostumografija: Valter Kobal
Vodja vaj EnKnapGroup: Tanja Skok
Tehnična podpora - video in zvok: Omar Ismail
Izvršna produckcija: Marjeta Lavrič
Pomoč pri produkciji: Karmen Keržar
Produkcija: Zavod EN-KNAP
V sodelovanju s Slovensko Kinoteko