Mundus Vadit Retro, brochure

MUNDUS VADIT RETRO Prihodnost zre v preteklost The Future Gazing into the Past KIBLA PORTAL, MARIBOR, SLOVENIA 14. 11. 2014—31. 1. 2015 mednarodna skupinska razstava international group exhibition

MUNDUS VADIT RETRO KATARINA ŠEVIĆ (RS/HU) & TEHNICA SCHWEIZ (HU) LANA ČMAJČANIN (BA) RENA RÄDLE (DE/RS) & VLADAN JEREMIĆ (RS) ADELA JUŠIĆ (BA) & ANDREJA DUGANŽIĆ (BA) MARÍA ELÍNARDÓTTIR (IS) VISUALIZING PALESTINE BORIS PRAMATAROV (BG) MARCEL MALIŠ (SK) MARCEL MALIŠ (SK) MAJA HODOŠČEK (SI) ANCA BENERA (RO) & ARNOLD ESTEFAN (RO/HU) ESZTER SZABÓ (HU) MARTINA GRLIĆ (HR) DINO ZRNEC (HR) JURE CVITAN (SI) SINIŠA ILIĆ (RS) & BOJAN ĐORĐEV (RS) CHTO DELAT? (RU) drMáriás (HU) TINA GVEROVIĆ (HR) LIBUŠE JARCOVJÁKOVÁ (CZ) TADEJ VINDIŠ (SI) MAX SUDHUES (DE) TANJA LAŽETIĆ (SI) MARIUSZ WARAS (PL) ANA PEČAR (SI) MARKO JAKŠE (SI) MITJA FICKO (SI) & MARKO JAKŠE (SI) GÁBOR FÜLÖP (HU) MATIJA BOBIČIĆ (SI) NIKA AUTOR (SI) MAGDA TÓTHOVÁ (SK) STOJAN KNEŽEVIĆ (SI) MYKOLA RIDNYI (UA) BOGDAN GIRBOVAN (RO)

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MUNDUS VADIT RETRO Aleksandra Kostič, Žiga Dobnikar

Mundus vadit retro odpira, remapira in rekontekstualizira spomin ter zgodovino, na katerih utemeljujemo sedanjost in prihodnost. Skozi izbor premišljeno angažiranih in pogosto subverzivnih umetniških del v širokem razponu medijev se potaplja v kulturno-politični konglomerat sodobnosti in preteklosti. Osredotoča se na nenehno raziskovanje identitete, na perpetuum mobile političnih in kulturnih sprememb, v Evropi, zlasti srednji, vzhodni in jugovzhodni – regijah, ki jih druži skupna zgodovina, živahen dialog z zahodnimi družbami in vedno bolj tudi soočanje s fenomeni sodobnih migracij. Umetniška dela med reprezentacijo in raziskovanjem ter med invencijo in repeticijo iščejo pot med individualnimi, kolektivnimi in socialnimi napetostmi, ki tlijo okoli nas.

Ko govorimo o preteklosti, je tako, kot bi govorili o rezervoarju spomina. Ko govorimo o ljudeh, ne govorimo samo o spominu kot informaciji, temveč o živem spominu, o vsakodnevnem védenju, kaj in kako, o kodi vsakodnevnega življenja, o spominu, ki je zapisan v naša telesa. Selektivni kulturni spomin je kodiran v objekte kulturne zgodovine.

Neselektivni spomin je utelešen v živih bitjih, v človeku, živem muzeju informacij in mimobežnih vtisov, na način, kot ga je začutila brazilska umetnica Lygia Clark. Preteklost je kodirana v naših telesih in se nenehno spreminja, hkrati pa se tudi po smrti naš spomin prenaša naprej; na genetskem nivoju, s sprejemanjem nematerialne in materialne kulturne dediščine in z nezavednim ponotranjenjem kolektivnega spomina. * Z obiski linškega muzeja Mauthausen v Avstriji, enega prvih modelov nacističnih koncentracijskih taborišč (1938–1945), ter spomenikov in razdejanih vasi kot posledic vojne v Bosni in Hercegovini (1992–1995), se soočamo s koncepti vojne in sovraštva, ki nas spomnijo na misli Thomasa Hobbesa, ko opisuje naravno stanje človeštva, v katerem se ljudje raje 6

brezobzirno grebejo za lastne interese, kot pa da bi skrbeli za skupno dobrobit. Rena Rädle in Vladan Jeremić jasno pokažeta, da zablode, ki jih navado povežemo z nacistično Nemčijo, še zdaleč niso za nami – v njunem dokumentarnem filmu analizirata bivanjsko situacijo rimskih Romov, ki bivajo v kontejnerskih getih pod strogim nadzorom varnostnih služb. Predvsem s stališča nekdanjih državljanov Jugoslavije, ki smo bili (ne)posredno vpleteni v vojno, se soočamo z vidiki polpretekle zgodovine; čutimo potrebo po razumevanju okrutne zveri, ki na petdeset let kolektivno izbruhne v Evropi. Katarina Šević in Tehnica Schweiz v delu Stummer Dienner izpostavljata (malo)meščanski strah pred spremembami, licemerstvo in kratkovidnost, ki blokirajo glas razuma in ustvarjajo pogubno pasivnost. Umetnice Lana Čmajčanin, Adela Jusić in Andreja Dugandžić na različne, a v svoji brutalni neposrednosti komplementarne načine detektirajo mačizem in globoko zakoreninjen patriarhalni sistem vrednot, ki sta že stoletja del balkanske (in seveda širše) identitete in tesno povezana z izbruhi nacionalizma.

Islandska fotografinja María Elínardóttir se pozicije ženske v sodobni družbi loteva preko priročnika za žene iz 50ih let 20. stoletja, ki odzvanja mnoge racionalno prerasle, a še vedno tiho prisotne predstave o odnosu moški–ženska.

Jasna naracija zaznamuje skupino Visualizing Palestine, ki iz kompleksne dokumentacije, povezane s palestinskoizraelskim konfliktom, ustvarja razumljive in informativne grafike. Bolj zastrta je vizualna pripoved bolgarskega ilustratorja Borisa Pramatarova, ki s svojimi nadrealističnimi podobami gradi zgodbo o živalskem, skritem in grozljivem polu človeške narave. * Kulturno-politični konglomerat sodobne Evrope je v svoji heterogenosti in kompleksnosti pogosto težko razumljiv.

Ta kompleksnost, pogosto celo nekompatibilnost, se je najjasneje pokazala ob vnovičnem »sešitju« Evrope po padcu 7

socializmov. V tem kontekstu je zanimivo delo Marcela Mališa, ki je opazil veliko podobnost med mejami nekdanje Avstro-Ogrske in območji, kjer so poslovalnice Erste Bank.

Politična in družbena usmerjenost držav bivšega socializma, ki so ga definirale ideologije heglovske in marksistične filozofije, vodi k precej drugačnemu pojmovanju družbe, solidarnosti in revščine v primerjavi s politično korporativno, kapitalistično usmerjeno zahodno družbo. Pospešeno sprejemanje zahodnih modelov je pripeljalo do novih napetosti in razslojevanj, hkrati pa do skoraj načrtnega odrinjanja socialistične preteklosti. Maja Hodošček s skupino dijakov skupaj raziskuje dediščino gibanja neuvrščenih in reflektira možno sodobno »tretjo politiko«, skozi sam proces pa prikazuje težavnost usklajevanja individualnih glasov s poglavitnim interesom skupine. Nadnacionalno konotacijo nosi tudi gesta v performansu Ance Benere in Arnolda Estefana, ki razpleteta nacionalne zastave in jih pretvorita v surovino, ki omogoči nov začetek. Eszter Szabó v svojih animiranih slikah odseva vso banalnost sodobnosti, hkrati pa sooča tranzicijo in vplive z zahoda z vražami in navadami, ki so še vedno del madžarske družbe. Martina Grlić in Dino Zrnec skozi pretanjene slikarske postopke raziskujeta in prikazujeta danes skoraj povsem pozabljeni proletariat.

Skoraj povsem nasproten jima je Jure Cvitan, ki v značilni potezi medijskega slikarstva pristno odslikava ekscesno sodobnost. Siniša Ilić in Bojan Đorđev se skozi instalacijo in performans osredotočata na podobe ter prizore branja – nespektakularen trenutek, v katerem se rojeva pomen in kjer se svet nenehno poustvarja. Mednarodna umetniška skupina Chto delat? se v Mejnem mjuziklu kulturnih razlik med Norveško in Rusijo loteva na humoren, ekscentričen način, ki pa ne zakrije prepada med Vzhodom in Zahodom.

Sorodno ekscentričen je budimpeški slikar drMarias, ki v svojstveni maniri združuje ikone socializma, klasične umetnosti in digitalne sodobnosti. * V srcu Vzhodne Evrope, bogate z mešanico germanskih, slovanskih, madžarskih in romskih kultur in tradicij, pod diktatom hitro spreminjajočih se ideologij, v nizu ekonomskih vzponov in padcev ter naravnih in političnih katastrof, v nenehnem toku ljudi različnih korenin – se za današnjimi prebivalci Evrope vije stoletje, posvečeno iskanju lastne identitete. O identiteti v trenutku »tukaj in zdaj« se takole sprašuje Tina Gverović: »Ali se lahko z življenjskim slogom, ki je v nas zasidran skozi vzgojo, osvobodimo svoje dediščine in prispemo do točke, ko nismo več odvisni od kulturno-specifičnih kategorij, skupin, v katere smo bili rojeni?« Ob avtorjih, ki so izrazito obrnjeni navzven, se skozi razstavo vije linija poetik, ki so bolj individualne, vendar jasno odsevajo miljeje nastanka. Libuše Jarcovjáková skozi osebno konotirano dokumentarno fotografsko pripoved govori o praškem gej klubu, v katerem je sredi »trdega komunizma« živela marginalna, a živahna, skupnost. Fotografijo Tadeja Vindiša zaznamuje eskapizem v smislu globoko človeške potrebe po iskanju novih poti in svetov. Humoren obrat 8

želje po osvajanju novih svetov zasledimo v senčni projekciji Maxa Sudhuesa, ki iz figurice opice, pritrjene na stiroporno kroglico, ustvarja vtis jeznega primata, ki vlada svetu. Tanja Lažetič v instalaciji dveh videov spretno in z značilno subtilno duhovitostjo ujame kontraste med sodobnimi migranti v nepretrganem krogu migracij. Mariusz Waras v svojih risbah in grafitih reflektira urbano prenasičenost in mestno ujetost.

Prav nasprotno tendenco kažejo avtorji, ki se obračajo k naravi, preteklosti in vedno bolj obskurnim mitom. Ana Pečar se potaplja v pozabljene mitologije in korenine naših prednikov ter skoznje išče možnosti za ustvarjanje boljše kolektivne prihodnosti. Soroden arhetipski, šamanski impulz nosi tudi slikarstvo Marka Jakšeta, Mitje Ficka in Matije Bobičića ter kipi Gáborja Fülöpa, ki prikazujejo tujstvo skozi kulturnozgodovinski filter mitologij in znanstvene fantastike. * Recesija in gospodarska politika, ki sta velik del Evrope potisnila v stanje večnih dolgov in globoko zamajala naše zaupanje v uveljavljene politične elite, predstavljata plodna tla za razmah skrajno desničarskih tendenc, hkrati pa sta tudi bistveno povečali socialno neenakost. V trdem kontrastu z odbleski minulih časov se položaja sodobnega izkoriščanega in neplačanega delavca loteva Nika Autor v dokumentarnem filmu V deželi medvedov. Magda Tóthová v sodelovanju z mladino iz Šlezije preizprašuje prihodnost, ki jo imajo opuščene industrijske pokrajine in njihovi prebivalci. Soroden ton »težkega ozračja« zaznamuje delo Stojana Kneževiča, skoraj monokromno sliko, ki subtilno odslikava predmestno realnost. Mykola Ridnyi skozi jukstapozicijo ukrajinskih vstaj v zimi 2013–14, Janukovičevih rezidenc in tekstov o evropskem srednjem veku vzpostavlja pretresljivo paralelo med vzhodnoevropskim neoliberalizmom in fevdalno ureditvijo. Bogdan Girbovan v fotografski seriji Uniforme in liturgična oblačila raziskuje hierarhije v cerkvi in policiji, dveh strogo urejenih institucijah z velikimi socialnimi razlikami med svojimi člani. * Umetnost je bila vedno skladišče časa, ki bi ga lahko enačili s fizičnim spominom, z biološkim in kulturnim, z individualnim in s kolektivnim. Lahko bi rekli, da je fizični spomin v odnosu do sebe akcija umetniške ekspresije. Je prenos celostne zaznave časa in okolja, v katerem bivamo, v medij – pa naj gre za sliko, kip, fotografijo, video, performans ali instalacijo.

Področje umetnosti se pogosto zdi kot ena zadnjih trdnjav svobodnega izražanja, ustvarjanja in protestiranja.

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Mundus vadit retro opens, remaps and re-contextualizes memory and history, upon which the present and the future are substantiated. Through a selection of thoughtfully committed and often subversive artworks scattered over a wide range of mediums, it delves into the cultural-political conglomeration of contemporaneity and the past. It focuses on the incessant exploration of identity, on the perpetuum mobile of political and cultural changes in Europe, especially Central, Eastern and South-Eastern Europe – regions that share a common history, a lively dialogue with the Western societies and increasingly also the confrontation with the phenomena of modern-day migrations. The artworks between representation and research, between invention and repetition, are in search of a way amidst the individual, collective and social tensions that kindle around us.

When we speak about the past, it is like speaking of a reservoir of memory. When we speak about people, we are not only referring to memory in the sense of information, but to the living memory; the everyday knowhow; the everyday code; the memory inscribed in our bodies. Selective cultural memory is coded inside objects of cultural history. The non-selective memory is embodied inside living beings; inside man, a walking museum of information and fleeting impressions, in the manner expressed by Brazilian artist Lygia Clark. The past is encoded in our bodies and it is changing all the time, and even after we die, our memory is transferred onwards; on the genetic level, by accepting the immaterial and material cultural heritage, and by subconsciously internalizing collective memory. * Visiting the Mauthausen Museum in Linz, Austria, one of the first models of a Nazi concentration camp (1938– 1945), and the monuments and demolished villages left behind by the war in Bosnia and Herzegovina (1992–1995), we are faced with concepts of war and hatred, which remind us of Thomas Hobbes describing a natural state of humanity, in which people prefer to carelessly fight for their own interests, much rather than taking care of a common well-being. Rena Rädle and Vladan Jeremić clearly point out that the delusions typically associated with Nazi 10

Germany, are far from over – their documentary analyzes the housing situation of the Roma living in Rome, inside ghettoized container settlements and monitored by security guards. Especially from the position of ex-Yugoslavian citizens, as we were (in)directly involved in the war, we are facing aspects of recent history; feeling the need to understand this cruel beast that strikes collectively every half century in Europe. Katarina Šević and Tehnica Schweiz, in Stummer Dienner, expose the (small-town) middle class fear of change; the hypocrisy and short-sightedness blocking the voice of reason and creating a fatal passivity.

Artists Lana Čmajčanin, Adela Jušić and Andreja Dugandžić use different, yet in their brutal straightforwardness complementary ways of detecting machismo and the deeply rooted patriarchal system of values, which have been a part of the Balkan (and wider) identity for centuries and are tightly linked to nationalistic outbursts. Iceland-born photographer María Elínardóttir is concerned with the issue of the position of women through a 1950's “good wife” manual that reflects many of the rationally outgrown, but still silently present perceptions about the man-woman relation. A clear, factual narration characterizes Visualizing Palestine, a group that uses the complex documentation relating to the Palestinian-Israeli conflict to create comprehensive and informative graphics. Slightly more sheltered is the visual narrative of Bulgarian artist Boris Pramatarov, who employs his surrealist images to build a story of the animalistic, hidden and terrifying side of human nature. * The cultural-geopolitical conglomerate of contemporary Europe is very heterogeneous and not easy to understand in its complexity. This complexity, often even incompatibility, was clearly visible with the newly formed “stitch up” of Europe after the fall of socialist regimes. The work of Marcel Mališ stands out in this respect, as he notices a great similarity between the borders of the former AustroHungarian Empire and the geographical area covered by Erste Bank offices today. The political and social orientation of ex-socialist countries based on Hegelian and Marxist 11

philosophy leads to a rather different understanding of society, solidarity and poverty as compared to the politically corporative, capitalist-driven and goal-oriented Western society. The increasing rate at which we accept Western-based models results in the formation of new tensions and stratifications and at the same time an almost deliberate rejection of our socialist past. Maja Hodošček with a group of students explores the heritage of the NonAligned Movement and reflects a possible contemporary “third politics”, using the process itself to demonstrate the difficulty of coordinating individual voices with the prevailing interest of the group. A super-national gesture is expressed also in the performance of Anca Benera and Arnold Estefan, who unravel the fabric of their national flags, turning them into a material that symbolically enables a fresh beginning. Eszter Szabó's animated images reflect the total banality of contemporaneity and confront the transition and Western influences with the superstitions and habits, which are still part of Hungarian society. Martina Grlić and Dino Zrnec apply their sophisticated painting processes to explore and depict the almost forgotten proletariat. Virtually opposite to them is the work of Jure Cvitan, whose typical media painting expression genuinely exhibits the excess nature of contemporaneity. Siniša Ilić and Bojan Djordjev’s installation and performance focus around the images and scenes of reading – an unspectacular moment of meaning being created and the world being constantly re-made. Border Musical by Chto delat? – an international artistic collective, considers the cultural differences between Norway and Russia in a humorous, eccentric manner, but without covering up the gap between the East and the West. A kindred eccentricity is displayed in the work of Budapest-based painter drMáriás, whose unique practice combines icons of socialism, classical art and digital contemporaneity. * At the heart of Eastern Europe, lush with a mixture of Germanic, Slavic, Hungarian and Romani cultures and traditions, under the dictates of rapidly changing ideologies, amidst the string of economic rises and falls and disasters both natural and political, in a constant stream of people with different origins – the present-day inhabitants of Europe have been searching for their identity for the last hundred years. Tina Gverović reflects on the question of identity in the “here-and-now” moment: “Can we use our lifestyle, which has become moored inside us through the course of our upbringing, to free ourselves from our heritage, arriving to a place where we would no longer depend on culturally specific categories/groups that we were born into?”

Alongside the authors with a distinct outward-oriented expression, the exhibition also features a line of poetics, which are much more individual, but still clearly reflect their milieu of creation. Through a personally connotated documentary photographic narrative, Libuše Jarcovjáková describes a gay club in Prague, home to a marginal but very cheerful community in the middle of the “hardboiled 12

communism” period. The photography of Tadej Vindiš is marked by escapism in the sense of the deeply human need to search for new ways and new worlds. A humorous twist of the desire to conquer new worlds can be observed in the shadow projection of Max Sudhues: from a monkeyshaped figurine attached to a polystyrene globule, he creates the impression of an angry primate that rules the world. In an installation of two videos, Tanja Lažetić skillfully and with a typical, subtly expressed humor, captures the contrasts between modern-day migrants in an uninterrupted circle of migrations. Mariusz Waras uses his drawings and graffiti to reflect upon the urban oversaturation and feeling of entrapment. The exact opposite tendency is expressed in the works of authors who turn to nature, the past and the increasingly obscure myths. Ana Pečar delves into forgotten mythologies and our ancestral roots, searching through them for a possibility to create a better collective future. A similar archetypal, shamanic impulse characterizes the paintings of Marko Jakše, Mitja Ficko and Matija Bobičić, and the statues of Gábor Fülöp, expressing alienation through the culturalhistorical filter of mythologies and science fiction. * The recession and economic policies that have plunged a large part of Europe into perpetual debt and deeply shaken our trust in established political elites are a fertile ground for the far-right to flourish, and at the same time they have caused an immense increase of social inequality.

In a sharp contrast to the reflections of past times, Nika Autor’s documentary In the Land of Bears discusses the position of the contemporary exploited and unpaid working man. Magda Tóthová, collaborating with the youths from Silesia, re-questions the future of abandoned industrial landscapes and their inhabitants.

A similar, “heavy atmosphere” note characterizes the work of Stojan Kneževič, an almost monochromatic painting that subtly reflects the suburban reality. Mykola Ridnyi juxtaposes the Ukranian uprisings during the winter of 2013–14, Yanukovych’s residences and the texts on the European Middle Ages, to establish a shocking parallel between Eastern-European neoliberalism and the feudal system. In the photographic series Uniforms and Vestments Bogdan Girbovan explores the hierarchies of the church and the police, two rigorously systematized institutions with vast social differences between the members. * Art was always a storage of time, such that it could be equated with physical memory, with the biological and the cultural, the individual and the collective. We would venture to say that physical memory in relation to itself, is an act of artistic expression. It is a transfer of the overall perception of time and the environment where we reside, into a medium – whether a painting, statue, photograph, video, performance or installation. The domain of art often seems as one of the last standing fortresses of freedom of expression, of creation, of protest.

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KATARINA ŠEVIĆ (RS/HU) & TEHNICA SCHWEIZ (HU)

Nemi služabnik Stummer Diener Video, 11’ 23”, 2014

Delo je zasnovano 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 Stummer Diener (Nemi služabnik) izhaja iz nemškega imena za kos pohištva, ki je postal izredno priljubljen v času obdobja bidermajer.

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; na stanje, ki se nenehno obnavlja in vzdržuje v ciklusu revolucij in obnov.

Tehnica Schweiz je umetniški kolektiv, ki ga sestavljata Gergely László (1979, HU) in Péter Rákosi (1970, HU). Od leta 2004 sta sodelovala pri številnih projektih, skupaj ali posamezno. 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.

Katarina Šević (1979, RS/HU) 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. Je iniciatorka in soustanoviteljica neodvisnih umetniških prostorov Dinamo in Impex. Kot sourednica je sodelovala pri izdaji številnih publikacij.

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The work 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 Stummer Diener (Mute Servant) comes from the German name for the furniture type that became popular during the Biedermeier period. 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; a state that is continuously renewed and sustained in the cycle of revolutions and restorations.

Tehnica Schweiz stands for all projects Gergely László (1979, HU) and Péter Rákosi (1970, HU) have been working on, together and individually, since 2004.

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.

Katarina Šević (1979, RS/HU), based in Budapest, utilizes and integrates diverse strategies of observation and communication, questioning the vehicles of design and behavioral patterns in society. She initiated and co-founded independent art spaces Dinamo and Impex. She also co- edited and published several publications.

LANA ČMAJČANIN (BA)

166987 vbodov 166987 Pricks Vezenina – tekstil, svilena nit za vezenje / Embroidery – fabric, silk embroidery thread, 2013

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 dvoumnost (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, BA) 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.

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Through a 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, BA) 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.

RENA RÄDLE (DE/RS) & VLADAN JEREMIĆ (RS)

Stanovanjsko vprašanje The Housing Question Video animacija z risbami in fotografijami / Video animation with drawings and photographs, 11’, 2013

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.

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Rena Rädle (1970, DE/RS) in Vladan Jeremić (1975, RS) 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.

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, DE/RS) and Vladan Jeremić (1975, RS) 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.

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ADELA JUŠIĆ (BA) & ANDREJA DUGANŽIĆ (BA)

Delo z ljubeznijo Labor of Love Tisk, grafiti / Print, graffiti, 2014

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. 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.

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

Adela Jušić (1982, BA) je diplomantka Akademije za likovno umetnost v Sarajevu (2007). Ukvarja se 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.

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 18

benefit from. Her work is degraded, artfully disguised as a labor of love, and as such it is not considered a socioeconomic 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.

The systemic attack on women is directed towards their entire being as well as their sexuality. 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.

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.

MARÍA ELÍNARDÓTTIR (IS)

Vodič za dobre žene The Good Wife Guide Tisk na folijo / Print on foil, 265 x 400 cm, 2014

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.

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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 (IS) 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 leta 2013 tudi diplomirala.

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) 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.

VISUALIZING PALESTINE

Še trajajoč pregon An Ongoing Displacement Print on foil / Tisk na folijo, 2013

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

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.

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BORIS PRAMATAROV (BG)

Tekmovanje Competition Digitalna povečava risbe, tisk / Digital enlargement of drawing, print 2013

Strah, prijatelj moj Fear, my Friend Digitalna povečava risbe, tisk / Digital enlargement of drawing, print, 2013

Pogovor blizu panja Conversation Near to Hive Digitalna povečava risbe, tisk / Digital enlargement of drawing, print, 2013

Pogovor blizu panja / Conversation Near to Hive, digitalna povečava risbe, tisk Digital enlargement of drawing, print, 2013

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 Pramatarova gledalčevo pozornost na samega sebe in svojo lastno (pod)zavest.

Boris Pramatarov (1989, BG) 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.

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Strah, prijatelj moj / Fear, my Friend, digitalna povečava risbe / digital enlargement of drawing, 2013

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 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, BG) 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.

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MARCEL MALIŠ (SK)

La Rivoluzione Siamo Noi

Trifazni rotacijski pano, fotografska folija / Trivision billboard, photographic foils, 205 x 305 x 50 cm, 2010

Na trifaznem rotacijskem panoju sta prikazani dve skupinski fotografiji avtorjevega nekdanjega osnovnošolskega razreda, posneti med letoma 1989 in 1990. Na prvi so oblečeni v pionirske uniforme, na drugi pa že v “zahodnjaška” oblačila z logotipi znamk, podobami Disneyevih junakov itd. Tretja ploskev panoja je prekrita z aluminijsko odbojno folijo, ki odseva okolico, galerijo, gledalce. La Rivoluzione Siamo Noi je komentar na obdobje med letoma 1989–1990. Revolucijo demistificira in jo portertira kot formalno spremembo ali lingvistični preobrat; njeni protagonisti ostajajo isti, sprememba pa se zgodi zgolj na površju. Rotacijski pano je 23

medij oglaševanja s funkcijo širjenja mitov kapitalizma in demokracije, ali celo mita o družbi, osvobojeni vsake sledi komunizma ali kakršne koli ideologije.

A three-phase rotational billboard shows two photographs of the artists’ former elementary-school class, taken over the course of the years 1989–1990. The first photo depicts us in pioneer uniforms, the second one already in „western“ outfits with logos, Disney pictures, etc. The third plane of the billboard is covered with an aluminium reflective foil, mirroring the environment, the gallery, the viewers. La Rivoluzione Siamo Noi is a commentary on the years 1989–1990. It demystifies the revolution and pictures it as a formal change or a linguistic turnaround, its protagonists remain the same and the change occurs on the surface only.

A rotational billboard is a medium of advertisements, its function is to spread the myths of capitalism and democracy and even the myth of a society freed from the traces of communism or any kind of ideology.

MARCEL MALIŠ (SK)

Erstereich Perspex, inkjet print, 2009

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

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 24

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 (1978, SK) 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.

Marcel Mališ (1978, SK) 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.

MAJA HODOŠČEK (SI)

Potrebujemo naslov We Need a Title HD video, 28’, 2014

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. Izhodiščno točko 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.

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Maja Hodošček (1984, SI) 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. Zaključila je magistrski študij na Dutch Art Institutu v Arnhemu (Nizozemska). Poleg umetniške prakse deluje kot kustosinja v Centru sodobnih umetnosti Celje.

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.

Posebna zahvala / Special thanks: Lara Čalasan Dorn, Tinkara Godec, Sergeja Hrvatič, Matej Ocvirk, Jure Macuh. Hvala / Thanks to: Doreen Mende, Armin Linke, Milica Tomić, Kodwo Eshun, Miha Gartner. Video je nastal za projekt / Commissioned by: Travelling Communiqué project (Belgrade June 10 to August 17, 2014). V sodelovanju z / In collaboration with: Muzej istorije Jugoslavije (Ministrstvo za kulturo Republike Srbije), Goethe-Institut Belgrade (Foreign Office of the Federal Republic of Germany) Maja Hodošček (1984, SI) 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. 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.

ANCA BENERA (RO) & ARNOLD ESTEFAN (RO/HU)

Jus Soli

Video dokumentacija performansa / Performance recorded on video, HD video, 48’ 25”, 2013

Z video dokumentiranim performansom z naslovom Jus Soli skušata avtorja »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 medetničnih in mednarodnih konfliktih, umetnika koncept demistificirata ter s tem zrahljata globoko zasidrane sisteme prepričanj.

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Delo Ance Benere (1977, RO) in Arnolda Estefana (1978, RO/HU) 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.

Anca Benera and Arnold Estefan’s Jus Soli video documented performance 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 (RO) and Arnold Estefan (RO) 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.

ESZTER SZABÓ (HU)

Dozirnik užitkov Dispenser of Delights Video instalacija / Video installation, 2014

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.

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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. Szabóva 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.

Eszter Szabó 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 reanimations 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.

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MARTINA GRLIĆ (HR)

Tovarna Factory Podravka #2, olje na platno / oil on canvas, 120 x 150 cm, 2013 Koka #2, olje na platno / oil on canvas, 120 x 150 cm, 2013 Jugoplastika, olje na platno / oil on canvas, 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 zasedala 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 itd. 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.

Podravka #2, olje na platno / 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 29

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, HR) 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.

DINO ZRNEC (HR)

Projekcijska soba Projection Room Brez naslova / Untitled, olje na platno / oil on canvas, 170 x 230 cm, 2010 Brez naslova / Untitled, olje na platno / oil on canvas, 200 x 175 cm, 2010 Brez naslova / Untitled, olje na platno / oil on canvas, 164 x 200 cm, 2010

Prizori kolektivnega dela na slikah Dina Zrneca aludirajo na socialistično mitologijo kolektivnosti in dela kot osnove družbe ter napredka. Slike so nastale na podlagi fotografij, ki jih je avtor projiciral na platno. Vendar v delu Dina Zrneca ne gre za golo referiranje minule ere – s tem, ko v prizore vslika tudi svoj avtoportret, postane fiktiven akter v tovarniškem delu. Gledalca noče prepričati v resničnost svoje infiltracije, temveč se jasno distancira od imaginarne situacije na slikah. Tako na platnih sočasno obstajata dve stvarnosti – historično-dokumentarna, ki jo nosijo fotografije, in subjektivna avtorjeva. Dela predstavljajo neobremenjen pogled na socializem s perspektive umetnika mlajše 30

generacije, ki do minulega obdobja dostopa skozi ohranjeno dokumentacijo, ki pa jo skozi ustvarjalni proces popači in subjektivizira.

Dino Zrnec (1983, HR) je leta 2008 diplomiral na Oddelku za slikarstvo Akademije likovnih umetnosti v Zagrebu in se istega leta vpisal na dunajsko Akademijo. Aktivno razstavlja na Hrvaškem in v tujini. Leta 2011 je prejel nagrado HDLU za najboljšega mladega umetnika.

The scenes of collective work in Dino Zrnec’s paintings allude to the socialist mythology of collectivity and work as the foundations of society and progress. The paintings were created on the basis of photographs, which the author projected onto the canvas. But the work of Dino Zrnec is not a mere reference to a past era – by painting his self-portrait into the scenes, he becomes a fictitious actor in the factory work. He is not interested in convincing the viewer of the realness of his infiltration, but is clearly distanced from the imaginary situation in the paintings. Thus, two realities exist simultaneously in the paintings – the historicdocumentary, rendered in the photographs, and the author’s subjective. The works represent an unburdened view of socialism from the perspective of a younggeneration artist, who accesses the past era by means of preserved documentation, but which becomes subject to disfigurement and subjectivization in the course of the creative process.

Dino Zrnec (1983, HR) graduated in 2008 from the department of painting at the Academy of fine arts in Zagreb and began his studies at the Viennese Academy in the same year. He has exhibited actively in Croatia and abroad.

In 2011 he was awarded the HDLU Award for best young artist.

JURE CVITAN (SI)

Osvajalec nekoristnega Conqueror of the Useless Mešana tehnika na platno / Mixed media on canvas, 180 x 560 cm, 2011 Mešana tehnika na platno / Mixed media on canvas, 180 x 560 cm, 2011

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 31

galeriji t. i. ‘’Shooting gallery game’’ je z interneta 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. Vedno večja neobčutljivost nagovorjenih ob poplavi ‘’projektov’’ terja vedno bolj drastično akcijo s strani tistega, ki nagovarja.

(Povzeto po: Jani Pirnat, Likovni salon Celje) Jure Cvitan (1981, SI) je študiral slikarstvo na Visoki šoli za risanje in slikanje v Ljubljani. Ukvarja se s slikarstvom, instalacijo in performansom. 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.

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 the film Fight Club (1999) is fighting against himself. 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 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.

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SINIŠA ILIĆ (RS) & BOJAN ĐORĐEV (RS)

Združeno s pomenom Gathered by Meaning Prostorska instalacija, risba, performans / Installation, drawing, performance, 2014

Združeno v pomenu je instalacija, ki prostorsko in konceptualno povezuje stensko sliko, arhivsko-historično fotografijo in performans – bralno skupino The Discrete Charm of Marxism (Diskretni šarm marksizma). 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. (zahvala: na fotografiji. Milena Sajić, Beograd, 1946) Siniša Ilić (1977, RS) in Bojan Djordjev (1977, RS) 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. Sta soustanovitelja teoretično-umetniške platforme TkH (Teorija koja hoda), preko katere udejstvujeta del svojih umetniških aktivnosti.

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 33

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. (photo credit: In the photograph: Milena Sajić, Belgrade, 1946) Siniša Ilić (1977, RS) and Bojan Djordjev (1977, RS) 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. They are co-founders of TkH (Walking Theory) theoretical-artistic platform through which they realize part of their artistic activities.

CHTO DELAT? (RU)

Mejni muzikal A Border Musical HD-video, 50’, 2013

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? Norveška država in Olejev najboljši prijatelj pomagata novopečenemu paru pri oblikovanju družine na temelju zdravih norveških vrednot. Mejni muzikal 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?

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Chto Delat? je platforma, ki jo je leta 2003 v Sankt Peterburgu ustanovila delovna skupina umetnikov, kritikov, filozofov in pisateljev iz St. Peterburga, 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. Ukvarjajo se z vrsto umetniških projektov, med drugim z video deli, instalacijami, javnimi akcijami, radijskimi programi ter umetniškim raziskovanjem urbanega prostora in kritiko vsakdanjega življenja.

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 RussiaNorwegian 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?

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 in/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? 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. They engage 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.

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drMáriás (HU)

Mao v Modiglianijevem studiu Mao in Modigliani’s Studio Akril na iverico / acrylic on fiberboard, 90 x 130 cm, 2012

Charles prvi!

Charles the First!

Akril na iverico / acrylic on fiberboard, 120 x 90 cm, 2013

Mao v Modiglianijevem studiu / Mao in Modigliani’s Studio, akril na iverico / acrylic on fiberboard, 90 x 130 cm, 2012

Vse od preloma tisočletja predstavlja konkretna družbenopolitična 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, pri čemer razvije otipljivo uničujoč stil. Namesto karikaturnih risarskih gest teme predstavlja z uporabo težkih, obsojajočih 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. (povzeto po Bálint Szombathy) 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.

Since the turn of the second millennium, concrete socialpolitical 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 36

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 and global history.

(Based on Bálint Szombathy) drMáriás (Béla Máriás, 1966, RS/HU) studied at the University of Art in Belgrade.

In 1991 he moved to Hungary from Yugoslavia where he resides since. His multidisciplinal art can be featured as having a strong and critical attitude that deals with existential questions deriving from the East-European identity, historic and political context.

TINA GVEROVIĆ (HR)

Znane neznanke Known Unknowns Prostorska instalacija, risba / Installation, drawing, 2014

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 37

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.

Tina Gverović (1975, HR) 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.

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.

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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.

Tina Gverović (1975, HR) 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.

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LIBUŠE JARCOVJÁKOVÁ (CZ) Iz serije / From the series:

T-CLUB 1983–1984

Tisk na fotografski papir, dimenzije variirajo / Print on photographic paper, dimensions variable

»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 (1952, CZ) je diplomirala iz grafičnega oblikovanja v Pragi.

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.

“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 40

republic decorations. Strobe lights and super cooled vodka, close to midnight – nowhere to move, too small, overcrowded 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 (1952, CZ) graduated from the School of Graphic Arts.

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.

TADEJ VINDIŠ (SI)

Eksodus Exodus Tisk na folijo / Print on foil, 285 x 500 cm, 2014

Vzdušje na našem zmedenem planetu spominja na popoln in dokončen poraz. Ob tem se poraja vprašanje, ali ni sistem, ki smo ga gradili tako dolgo, žalostno spodletel in ali je 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.

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Tadej Vindiš (1990, SI) 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.

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 (1990, SI) 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.

MAX SUDHUES (DE)

Plan in Planet Plan und Planet Svetlobna instalacija / Light installation, 2008

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, 42

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 moro.

Max Sudhues (1977, DE) je študiral na Šoli za umetnost v Münstru, izobraževanje pa nadaljeval v Frankfurtu in Gentu. Kot umetnik raziskuje predvsem tehniko kolaža, ki mu s pomočjo sodobnih tehnoloških elementov vdihuje novo raven izraza; njegovo delo pogosto zaznamuje element nadrealistične fantastike. Trenutno živi in deluje v Berlinu.

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. His principal field of research as an artist is the technique of collage: through the use of contemporary technological elements he endeavours to invest it with new expressive dimensions. His work is frequently marked with elements of surrealist fantasy. Currently he lives and works in Berlin.

TANJA LAŽETIĆ (SI)

Migranti Migrants Video instalacija / Video installation, loop, 2010

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 firenških 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 (1967, SI) 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.

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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 (1967, SI) 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.

MARIUSZ WARAS (PL)

Brez naslova Untitled Tisk na folijo / Print on foil, 300 x 900 cm, 2014

Mariusz Waras (1978, PL) 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 44

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 238x504 v Gydiniji ter arhivist – zbiralec poljske ulične umetnosti.

Deluje kot svobodni grafični umetnik, njegova dela pa so bila večkrat nagrajena.

Mariusz Waras (1978, PL) 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 238x504 hoarding gallery in Gdynia as well as an archivist – collector of Polish street art. He works as a freelance graphic artist, frequently awarded in various contests.

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ANA PEČAR (SI)

Kačja glava Snake’s Head Video, 18’, 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 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. 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, SI) je video- in intermedijska umetnica. Udejstvuje se kot organizatorka javnih dogodkov, preko katerih komunicira umetniške in kolektivne tokove. V zadnjem času se 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.

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 our 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. 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 46

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, SI) is a video and intermedia artist. She is active as an organizer of public events through which she communicates artistic and collective currents. 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.

MARKO JAKŠE (SI)

Rekonvalescenca Reconvalescence Olje na platno / oil on canvas, 200 x 300 cm, 2011

Srajca srečnega človeka Shirt of the Happy Man Jubolin in akril na juti / jubolin and acrylic on jute, 200 x 260 cm, 2014

Rekonvalescenca / Reconvalescence, olje na platno / oil on canvas, 200 x 300 cm, 2011

Jakše 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 47

Ostanki dneva/gneva / Remains of the day/ ire, mešana tehnika / mixed media, 299 x 544 cm, 2014

katerokoli stoletje, čeprav operira z arhetipi, slike prodorno govorijo o tukaj in zdaj, je popolnoma sodoben, subverziven.

Marko Jakše (1959, SI) je 1987 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.

Jakše 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. He 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.

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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.

MITJA FICKO (SI) & MARKO JAKŠE (SI)

Ostanki dneva/gneva Remains of the Day/Ire Mešana tehnika na tekstilu / Mixed media on textile, 299 x 544 cm, 2014 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.

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.

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Veliki sivi / Big Grey, les / wood, 215 x 65 x 40 cm, 2012

GÁBOR FÜLÖP (HU)

Veliki sivi Big Grey Les / Wood, 215 x 65 x 40 cm, 2012

Igrišče Playground Kiparska instalacija, les, pesek, dimenzije variirajo / Sculptural installation, wood, sand, dimensions variable, 2010–2012

Gábor Fülöp (1981) pri delu z lesom uporablja tradicionalne metode, vendar se zanaša na lastno interpretacijo o omejitvah in možnostih, ki jih ta žanr dopušča. Razvil je edinstven in zanj tipičen način, s katerim dokazuje svojo tehnično spretnost pri obravnavanju zapletenih kiparskih vprašanj. Osredotoča se na odnos živih bitij (organizmov) med seboj, kakor tudi do okolja. V tem kontekstu ustvarja surrealistične kiparske objekte in instalacije, ki črpajo iz narave, mitologije, znanstvene fantastike in elementov pop kulture ter so v nenehnem dialogu s svojim okoljem. Znotraj tega odnosa se tako oblikuje subtilna pripoved, ki je hkrati komentar različnih aspektov sodobne družbe in umetniške produkcije. Gábor Fülöp skozi svoja dela reflektira vloge in možnosti kiparstva oziroma rezbarjenja na sodobnoumetniški sceni, ne da bi se pri tem odmaknil od tradicije omenjenega žanra.

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Gábor Fülöp (1981) 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.

MATIJA BOBIČIĆ (SI)

Konjeniški portret Equestrian Portrait Mešana tehnika / Mixed media, 415 x 365 cm, 2014

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 (1987, SI) je predstavnik najmlajše generacije mariborskih slikarjev. Leta 2013 je imel prvo samostojno razstavo Razsnovljen v galeriji Rotovž v Mariboru. Sodeloval je na več skupinskih razstavah ter samostojnih projektih v Sloveniji in tujini.

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 52

Igrišče / Playground, kiparska instalacija, les, pesek, dimenzije variirajo / sculptural installation, wood, sand, dimensions variable, 2010–2012

are expressed as echoes of some distant memories, which are about to be 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, discomforting canvases – articulated in their formal language, yet skillfully eluding any direct, straightforward narration.

Matija Bobičić (1987, SI) is representative of the youngest generation of local painters. His first solo exhibition entitled Razsnovljen was in 2013 at the Rotovž Gallery in Maribor, since then he has participated in solo and group exhibitions in Slovenia and abroad.

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NIKA AUTOR (SI)

V deželi medvedov In the Land of the Bears Dokumentarec / Documentary, 72', 2012

Gradbeni sektor, ki je v Sloveniji zaposloval preko 70 tisoč tujih delavcev, je v letih 2010–11 propadel 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 na nacionalnih in mednarodnih razstaviščih in festivalih.

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 54

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 (1982, SI) 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.

MAGDA TÓTHOVÁ (SK)

Ta kraj se ne imenuje utopija The Word for This Place Is not Utopia Video instalacija v treh delih / Three-part video installation, 2012 (Where Is You Future, HD video, 8', Neologism, HD video, 14'30'', Kronikatopia, HD video, 5'30'')

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 spremenili oziroma pozitivno vplivali na njihovo situacijo. V tretjem delu se mladi junaki skrivajo med 55

post-industrijskimi ruševinami sveta, kjer so so se pogoji preživetja spremenili. Ostanejo sami s svojimi željami po spremembi. (Based on Stanislaw Ruksza) 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.

Tóthová je po Šoli za umetniško fotografijo F. Kubelke zaključila magistrski študij na Univerzi za uporabne umetnosti na Dunaju. Njena dela so bila razstavljena na samostojnih in skupinskih razstavah po vsej Evropi ter v ZDA.

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.

In Part Three, the young protagonists hide in the postindustrial ruins of the world, where the conditions of existence have altered. They remain alone with their desires for change. (Based on 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. Tothova received a MA from the University of Applied Arts Vienna and previously studied at the School for Artistic Photography Vienna (F. Kubelka). Her work has been presented in solo and group exhibitions throughout Europe and the USA.

STOJAN KNEŽEVIĆ (SI)

Suburbia Suburbia Olje na kartonu / Oil on cardboard, 2012, 165 x 180 cm

Avtorjeva barvno reducirana, minimalistična slikarska govorica 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. Kneževićevo 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.

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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.

MYKOLA RIDNYI (UA)

Trdnjava Fortress Video, 14', 2013/14

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.

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Mykola Ridnyi (1985, UA) živi in dela v Harkovu v Ukrajini. Leta 2008 je diplomiral iz kiparstva na Akademiji za umetnost in oblikovanje v Harkovu. Je član, soustanovitelj (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.

The video is based on documentary materials filmed during the events on Maidan Square in Kiev during December 2013 and 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 (1985, UA) lives and works in Kharkiv, Ukraine. He graduated from the Kharkiv State Academy of Design and Arts. In 2005 he became cofounder 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.

BOGDAN GIRBOVAN (RO)

Uniforme in liturgična oblačila Uniforms and Vestments Fotografije na fotografski foliji / Photography on photo foil, 80 x 65 cm, 2011–2012

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 58

določene institucionalne hierarhije, hkrati pa sporočajo njegov položaj in avtoriteto tudi zunanjemu svetu.

Bogdan Girbovan (1981, RO), fotograf in svobodni umetnik, 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.

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.

Bogdan Girbovan (1981, RO), photographer and freelance artist, 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.

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MUNDUS VADIT RETRO mednarodna skupinska razstava / international group exhibition 14. 11. 2014 — 31. 1. 2015 Lokacija / Location: KIBLA PORTAL, Valvasorjeva 40, Maribor, Slovenija

Organizacija in produkcija / Organisation and production: KID / ACE KIBLA, Maribor, Slovenija Zanjo / Represented by: Aleksandra Kostič Kuratorja / Curators: Aleksandra Kostič, Žiga Dobnikar Producenta: / Producers: Dejan Pestotnik, Lidija Pačnik Awais Vodja tehnične izvedbe / Head of technical implementation: Simon Sedmak Tehnična ekipa / Technical team: Simon Sedmak, Soundbiro – Dejan Ozimič, Jure Vekjet, Zlatko Djuričić, Darko Sel, Uroš Indihar Logistika / Logistic: Mirjana Predojevič Uredništvo / Editing: Aleksandra Kostič, Žiga Dobnikar Socialni mediji / Social media: Tanja Grosman Prevodi / Translation: Helena Fošnjar Lektura / Proof reading: Mirjana Predojevič, Cameron Bobro, Helena Fošnjar Svetovanje / Support: Snežana Štabi Vizualna podoba / Image: Boris Pramatarov Oblikovanje tiskanih in elektronskih medijev / Layout of electronic and printed media: Vid Andrej, Samo Lajtinger Natis razstavljenih fotografij / Prints of exhibited photographies: Atelje Sašo Gobec Informatorji / Informators: Mihaela Šuper, Romy Tavčar, Ines Nemec Video produkcija / Video production: Matej Kristovič Fotografska dokumentacija / Photo documentation: Avtorji / artists, Janez Klenovšek Edicija / Edition: TOX, leto 20, št. 50 / volume 20, No 50 ISBN 978-961-6304-37-5 Tisk / Print: REPRO POINT d. o. o.

Slovenija, 2015 Naklada / Print run: 500 izvodov / 500 copies

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Podpora / Support Nacionalni in EU viri financiranja National and EU financial funding

Partnerji / Partners

Podpora / Support: Ministrstvo za kulturo Republike Slovenije Ministry for culture of the Republic of Slovenia Mestna občina Maribor / Municipality of Maribor S pomočjo programa javnih del Zavoda Republike Slovenije za zaposlovanje / With support of Employment Service of Slovenia Izvedba tega projekta je sofinancirana s strani Evropske komisije.

Vsebina publikacije je izključno odgovornost avtorja in v nobenem primeru ne predstavlja stališč Evropske komisije.

This project has been funded with support from the European Commission.

This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor 73/76(4)(083.824) MUNDUS vadit retro : mednarodna skupinska razstava, 14. 11. 2014 - 31. 1. 2015, Kibla, Maribor / [uredništvo Aleksandra Kostić, Žiga Dobnikar ; prevodi Helena Fošnjar]. - Maribor : Kibla, 2015 500 izv.

ISBN 978-961-6304-37-5 1. Kostić, Aleksandra, 1966COBISS.SI-ID 81859585