Lučka Šparovec: Alternacije / Alternations by Kulturni dom Nova Gorica

Lu~ka Ĺ parovec: Alternacije / Alternations

Lu~ka Ĺ parovec: Alternacije / Alternations 6.â&#x20AC;&#x201C;26. 4. 2018

V slikarstvu Lu~ke Šparovec so na izjemno subtilen na~in artikulirana razmerja med linijami in barvnimi površinami, ki se kažejo kot avtonomne vizualne entitete, generirane skozi dialog med prostorom in ~asom. Onstran prikrite mimeti~nosti, ki bi nakazovala morebitno abstrahiranje pertinen~nih ozna~evalcev iz naravnih predlog kot potencialnega vira navdiha, umetnica stremi k optimalni usklajenosti vseh podobotvornih elementov. ^eprav so bile v njenem ciklusu risb s konca minulega desetletja še prisotne aluzije na predmetni svet, so jih v procesu stilizacije motivov zamenjali odmiki v domišljijsko predstavnost, osvobojeno navezanosti na figuralna izhodiš~a. Ta tip risbe je slikarka postopoma za~ela integrirati v barvno polje po inverznem principu – v prevladujo~i slikarski praksi namre~ barva dopolnjuje risbo, jo »oklepa« kot zavezujo~a forma, medtem ko se v podobah Lu~ke Šparovec to obi~ajno razmerje preobrne in zaživi kot do potankosti premišljeno sožitje dveh upodobitvenih procesov, ki sta v dialekti~nem odnosu (kot teza in antiteza), ne da bi se odrekli svoji istovetnosti in integriteti. Na ve~ini tokrat razstavljenih slik se barva kaže kot poenotena površina v skrbno izbranih odtenkih, v~asih dopolnjena s poljubno oblikovanim segmentom druga~ne tonalitete, tako da pri gledal~evi zaznavi prevlada vtis monokromne zasnove ne glede na intenziteto risarskega posega vanjo. Monokromija je sicer ena najbolj zagonetnih konstituant slikarskega diskurza, saj preraš~a antagonizem med formo in vsebino, med izvedbo in njeno ikonografsko podstatjo ter izena~uje materialne in estetske komponente podobe. Ob tem velja opozoriti še na dejstvo, da nanosi barve niso nikoli mehani~ni, ampak premišljeni do potankosti, nemalokrat je njihov kon~ni u~inek posledica plastenja, prekrivanja slojev do željenih tonskih vrednosti. Pri tem ostaja prostor barve neskon~no odprt, dojemljiv za polifonijo kromatskih nagovorov, ki jih je mo~ vklju~iti v vsako izbrano zasnovo. Res je sicer, da vse barve obstajajo že v naravi, toda naša predstavnost jih takrat, ko konkretnega odtenka ne vidimo, sprejema generi~no, kot zgolj eno izbrano nianso, s katero si barvo vsak zase lahko v subjektivni projekciji predstavlja. Kakor vemo, razli~ne kulture pripisujejo posameznim barvam razli~ne, v~asih diametralno nasprotne simbolne pomene, toda v modernisti~ni izkušnji je to manj pomembno. Slike Lu~ke Šparovec nastajajo iz te predpostavke, njihov semanti~ni šum se sproš~a brez navezanosti na vnaprejšnje vzorce pomenjenja, namesto njih pa umetnica gradi na konceptu ~ustvene resonance, ki jo sproži zaznava. Prvinsko videnje, ki ni pogojeno s kulturnimi konvencijami dolo~enega okolja in preobilico informacij, s katerimi smo v sodobni družbi preplavljeni, namre~ lahko aktivira druge mehanizme ~utnega dojemanja, ki delujejo neodvisno od dominantnih estetskih norm in sežejo v sfero subjektivnih psihi~nih dispozitivov, ki se v ustvarjalnem procesu spremenijo v ikoni~ne znake z bolj ali manj razberljivim pomenom. S tega vidika se tudi risba kaže kot »razmišljanje z oblikami«, kar seveda sugerira povezave z govorico, toda njena logika je druga~na, subtilnejša, manj normativna, pomene vzpostavlja z linijo, njenim ritmom in njenim gibanjem. Risba gradi prostor, ki ni iz resni~nosti, ampak je realiteta po sebi, proces, ki se samoreflektira. Vzbuja željo po videnju, po spoznanju skozi razmišljanje, ki presega fizi~ne in tehnološke danosti (danes risbo lahko generiramo tudi numeri~no in na ta na~in vzpostavimo vseprisotnost gibanja).

Walter Benjamin je med razli~nimi poskusi definiranja risbe to likovno zvrst utemeljeval na predpostavki beline. Po njegovi predpostavki naj bi risba, ki prekrije celotno površino nosilca, prenehala biti risba in bi postala slika. Tovrsten modus operandi prepoznavamo tudi v opusu Lu~ke Šparovec, ki pristopa h gradnji podobe v smislu puš~anja sledi, pri ~emer linija dominira v razmerju do drugih možnih posegov, medtem ko je pretežni del slikovne ploskve risarsko nevtralen. Grafi~no beleženje pretoka ~asa se dogaja na sti~iš~u fizi~nega in mentalnega prostora, stran od predmetne predstavnosti in asociativnosti konturnega tipa. Risanje je po svoji ontološki definiciji intimno razmerje s tem, kar nas obdaja, in hkrati že vsebuje željo, da ta odnos delimo, je pot, ki ji umetnikov pogled sledi, in ne cilj, h kateremu stremi. V tem smislu gre pravzaprav za fenomenologijo ~rte, za njen avtohtoni in avtoreferen~ni status onstran ozna~ujo~e funkcije, za likovno prvino, enakovredno katerikoli drugi sestavini podobe. Na slikah Lu~ke Šparovec imajo ~rtni sestavi, integrirani v barvno površino, dejansko konstitutivno funkcijo v artikulaciji podobotvornega diskurza, vzpostavljenega skozi dialog med barvo in risbo na bistveno druga~en na~in kot v klasi~ni figuralni sliki, kjer je bil disegno pogoj za iskanje kromatskih harmonij in kontrapunktov. Kopernikanski obrat, ki ga je v svojih številnih razli~icah izpeljal visoki modernizem, se po nizu figuralnih ekskurzov v postmodernem obdobju zdaj vra~a k svojemu ontološkemu bistvu, k avtonomiji izraznih sredstev, ki so obenem nosilci pomena v istovetnosti ozna~evalca in ozna~enca. Pri Šparov~evi se to udejanja po na~elu kontinuirane invencije diskurzivnih taktik, s katerimi ohranja dialog med ploskvijo in linijami, pri ~emer je ploskev stati~na barvna entiteta, preplet linij pa njen dinami~ni protipol. Kon~ni smoter tega ustvarjalnega procesa je preseganje razlike med konceptom in zaznavo, saj gledalec dojame rezultat slikarkinega dela kot nedeljivo celoto, ki ne izreka ni~esar drugega razen same sebe. Slikovna ploskev je lovilec pogleda, ki nima referenta v nobenem predmetu ali ideološki podmeni, ampak s svojo ~utno-nazorno prisotnostjo aktivira gledal~ev ~ustveni potencial na podoben na~in kot glasba s sinhronijo in diahronijo akordov, ki se zlijejo v natan~no strukturirano kompozicijo. Navidezna arbitrarnost risarskih intervencij v barvno površino je v resnici globoko premišljena in ves ~as nadzorovana miselna in ~ustvena operacija, s katero umetnica »prevaja« svoje intimne zastavke v optimizirane vizualne izjave, katerih sugestivnost se udejanja z ritmizirano repeticijo gest in njihovega preigravanja razli~nih umeš~anj v prostor. Nizanje gestualnih oziroma ~rtnih enot v zdaj bolj, zdaj manj zapletene sestave nefiguralnega tipa aludira na izmuzljivost upodabljanja pojmovnih kategorij v njihovi ob~osti, ~eprav je njihova percepcija izklju~no subjektivna. Neskon~nost sintagmatskih variacij pa je v tem kontekstu dejavnik spreminjanja nevidnega v vidno, optimizacije ob~utenja tistega, kar se nam v predmetnem, empiri~nem svetu tako vztrajno izmika. Brane Kovi~

Balon, 2017, me{ana tehnika na platnu, 140 x 120 cm Balloon, 2017, mixed technique on canvas, 140 x 120 cm

In Lu~ka Šparovec’s artwork, the relations between lines and colour surfaces are articulated in an extremely subtle way, acting as autonomous visual entities generated through dialogue between space and time. Beyond the concealed mimesis, which may suggest a possible abstraction of pertinent signifiers found in natural templates as potential source of inspiration, the artist tries to achieve an optimal harmony between all elements in the image. Although her drawings from the past decade still contain allusions to the physical world, they have now undergone a process of stylization and have thus deviated into an imaginary representation free from bonds with figurative origins. The artist has gradually integrated this type of drawings into a colour field using the inverse principle. In painting practice, colour traditionally completes the drawing – it “encloses” it like a binding form. Lu~ka Šparovec turns this conventional correlation upside down and establishes a well-thought symbiosis of two image-making processes in a dialectic relation (like thesis and antithesis), without renouncing their identity and integrity. On most of the exhibited paintings the colour appears on a flat surface in carefully selected tones, sometimes confronted with randomly shaped segment in a different tone. However, the viewer mostly perceives it as monochromatic concept regardless of the intensity of the artist’s intervention thereto. The monochrome is one of the most arcane constituents of painterly discourse since it transcends the antagonism between form and content, between execution and its iconographic origin. It evens out material and aesthetic components of the image. It is important, however, to note that colour is never applied in a mechanical way but is rather finely thoughtout. Generally, the final result is a consequence of layering, overcovering layers to get to the desired tonalities. The space for colour remains thus eternally open, susceptible to polyphony of chromatic suasions which can be incorporated into any chosen design. It is, of course, true that all colours already exist in nature, but when we do not see a certain hue we perceive it generically, merely as a nuance that each individual recalls in a subjective projection. As we know, different cultures attribute different, sometimes diametrically contrasting symbolic meanings to each colour. However, in the modernist experience this is of lesser significance. Lu~ka Šparovec creates paintings following this principle. The semantic hush they release is not attached to any expected pattern of interpretation. Instead, the artist builds on the concept of emotional resonance triggered by perception. The primal impression, detached from cultural conventions of an environment and information overload so typical of modern society, can activate other sensory perception mechanisms working independently from any dominant aesthetic norms and touch the area of subjective psychological dispositions. In creative process, the latter are transformed into iconic signs with more or less understandable meaning. From this point of view, the drawings appear as “thinking with forms”, suggesting the correlation to the language. Nevertheless, her logic is different, subtler, less normative, meanings are evolved with lines, their rhythm and movement. The drawing creates a space which is not of this world, but a reality of its own, an auto-reflective process. It evokes the desire to see, to understand through reasoning what exceeds the physical and technological circumstances (today, we can generate a drawing numerically and thus create an omnipresent movement).

Walter Benjamin, in one of his attempts to define drawing, based his definition of this visual art on the notion of white. He believed a drawing that covers the entire surface is not a drawing anymore – it becomes a painting. This modus operandi can be spotted in Lu~ka Šparovec’s work. Her approach to creating an image is based on leaving traces, the line being in dominant position compared to other possible interventions, while most of the picture plane remains neutral. The graphic tracing of the time flow takes place where physical and mental space meet, away from material perceptions and contour-type associations. Drawing, according to its ontological definition, represents an intimate relation with our surroundings and, at the same time, it includes the desire to share this attitude. For the artist, it is a path to follow not a goal to pursue. In this sense, we have to deal with the phenomenology of the line, its primary and self-referential status beyond its denoting function; it is a visual element equivalent to any other component of the image. In the paintings of Lu~ka Šparovec the linear structures integrated into the colour surface have in fact a constituent function in the articulation of the image-making discourse established through the dialogue between colour and drawing. This process is very different from the classic figuration where disegno was the condition required to find chromatic harmony and counterpoints. The Copernican revolution realized by high modernism in various formal solutions is now coming back after a series of postmodern figurative deviations to its ontological essence, to the autonomy of means of expression that, at the same time, represent the meaning unifying the signifier and the signified. The artist has achieved this by following the principle of continued invention of discourse tactics used to maintain the dialogue between surface and lines, where the surface is a static colour entity and the lines its dynamic antipode. The final intention of this creative process is to transcend the distinction between concept and perception as the viewer has to perceive the painter’s creation as an indivisible whole speaking only about itself. The picture plane is an eye-catcher with no reference to any object or ideological assumption, its detectable presence activates the viewer’s emotional potential in a similar way music affects us with synchrony and diachrony of chords resulting in precisely structured composition. The drawing interventions onto colour surfaces are only apparently arbitrary; in fact, they are a deeply thought-out and always controlled mental and emotional operation used by the artist to “translate” her intimate thoughts into optimized visual statements, materialising their suggestiveness with rhythmical repetitive gestures and their different settings in space. Gestural or linear units in more or less complicated non- figurative sequences allude to the elusiveness of representing the conceptual categories in their generality, even though their perception is strictly subjective. In this context, the infinite syntagmatic variations change the invisible into visible, optimise the perception of what time and time again so insistently eludes us in this material, empirical world. Brane Kovi~

Flamingo, 2016, me{ana tehnika na platnu, 120 x 120 cm Flamingo, 2016, mixed technique on canvas, 120 x 120 cm

I see you, 2017, akril in tu{ na platnu, 140 x 120 cm I see you, 2017, acrylic and ink on canvas, 140 x 120 cm

Blisk, 2017, rapidograf na blago, 166 x 158 cm Lightning, 2017, rapidograph on treasure, 166 x 158 cm

Å t. 10, 2015, akril na platnu, 170 cm x 220 cm No. 10, 2015, acrylic on canvas, 170 cm x 220 cm

V srcu, 2018, me{ana tehnika na platnu, 100 x 160 cm In the heart, 2018, mixed technique on canvas, 100 x 160 cm

Ko posije sonce, 2018, me{ana tehnika na platnu, 120 x 140 cm When the sun shines, 2018, mixed technique on canvas, 120 x 140 cm

Ledenik, 2017, me{ana tehnika na platnu, 50 x 70 cm Glacier, 2017, mixed technique on canvas, 50 x 70 cm

Å t. 6, 2015, akril na platnu, 150 cm x 120 cm No. 6, 2015, acrylic on canvas, 150 cm x 120 cm

Riba in podmornica, 2018, me{ana tehnika na platnu, 100 x 160 cm Fish and submarine, 2018, mixed technique on canvas, 100 x 160 cm

Jak, 2017, me{ana tehnika na platnu, 50 x 70 cm Yak, 2017, mixed technique on canvas, 50 x 70 cm

Fliper, 2018, akril in rapidograf na platnu, 50 x 70 cm Pinball, 2018, acrylic and rapidographer on canvas, 50 x 70 cm

Fliper 2, 2018, akril in rapidograf na platnu, 50 x 70 cm Pinball 2, 2018, acrylic and rapidographer on canvas, 50 x 70 cm

Blue Velvet, 2016, gobelin, 23 cm x 37 cm, iz serije Command + Control + F Blue Velvet, 2016, gobelin, 23 cm x 37 cm, from series Command + Control + F Skype, 2017, gobelin, 23 cm x 37 cm, iz serije Command + Control + F Skype, 2017, gobelin, 23 cm x 37 cm, from series Command + Control + F

Middle Earth, 2017, Ĺžica in svin~nik na platnu, 240 x 160 cm Middle Earth, 2017, wire and pencil on canvas, 240 x 160 cm

Foto Franci Virant

Izbor samostojnih razstav / Selected solo exhibitions 2018 Alternacije, Mestna galerija Nova Gorica, Nova Gorica 2017 Grafike, objekti, slike, Galerija Šiv~eva hiša, Muzeji radovljiške ob~ine, Radovljica Lu~ka Šparovec, Galerija mestne hiše in Stebriš~na dvorana, Gorenjski muzej, Kranj Risba, barva, prostor, Galerija Kosova graš~ina, Gornjesavski muzej Jesenice, Jesenice 2015 In the Garden, Ob~inski urad tržne Ob~ine Železna Kapla-Bela, Avstrija Svet, Muzej in galerije mesta Ljubljane, Bežigrajska galerija 1, Ljubljana 2013 Apeiron, Galerija Kosova graš~ina, Gornjesavski muzej Jesenice, Jesenice

Lu~ka Šparovec je bila rojena leta 1984 v Kranju. Slikarstvo je študirala od leta 2005 do 2010 na Šoli za risanje in slikanje – visoki strokovni šoli v Ljubljani, kjer je diplomirala z odliko. Magistrski študij slikarstva zaklju~uje na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani pri profesorju Zmagu Lenárdi~u in dr. Juretu Mikužu. Razstavljala je v Kanadi, Angliji, Rusiji, Avstriji, Italiji, na Slovaškem, v Tur~iji, Izraelu in na Balkanu. Ukvarja se z risbo, slikarstvom in objekti. Je ~lanica Društva likovnih umetnikov Ljubljana in Likovnega društva Kranj – ZDSLU. Lu~ka Šparovec je dobitnica študijskih priznanj in študentske Prešernove nagrade za slikarstvo Akademije za likovno umetnost in oblikovanje Univerze v Ljubljani. Živi in ustvarja na Bledu.

2012 RIS-ARS-KO, Elementarnost kot likovna fascinacija, Galerija Alga, Izola

Lu~ka Šparovec was born in 1984 in Kranj. Studied painting at the College of Visual Arts in Ljubljana (2005-2010) and graduated with honours. Currently pursuing her master’s degree with professor Zmago Lenárdi} and Jure Mikuž, Ph.D., at the Academy of Fine Arts and Design, University of Ljubljana. Exhibited in Canada, England, Russia, Austria, Italy, Slovakia, Turkey, Israel and the Balkans. Her artworks include drawings, paintings and objects. Member of the Ljubljana Fine Artists Society” and Kranj Fine Arts Society. Has been awarded student recognitions and Prešeren Award for students 0f the Academy of Fine Arts and Design, University of Ljubljana. Lives and works in Bled.

2016 Mariborski umetnostni sejem, Kibla portal, Maribor 3. Internationales Künstlersymposium Feuer ‒ Fire, Galerie am Schlossbergtor, Voitsberg, Avstrija 51. Mednarodni Ex tempore Piran, Prostor za sodobno umetnost Monfort Majski salon, Narodni muzej Slovenije, Ljubljana Intersections, Office in Tel Aviv Gallery, Tel Aviv, Izrael Boundless, Galerija Most, Moskva, Rusija

2011 Mikroskopije krajin, Muzej Ob~ine Šen~ur, Šen~ur Mundus, Galerija Tir, Nova Gorica Izbor skupinskih razstav / Selected group exhibitions 2017 Mariborski umetnostni sejem, Art Metropolis, artKIT, Kibla, Maribor

2015 20. obletnica Slikarske kolonije Primož Trubar Moravske Toplice, Galerija Murska Sobota, Murska Sobota 46°29’11”N, 14°35’46”O – SÜDPOL 10.2, Galerija Vprega/Galerie Vorspann, Železna Kapla/Bad Eisenkappel, Avstrija Art Embassy Rebublic of Slovakia 2012–2015, bratislavski grad, Bratislava, Slovaška Sodobna pokrajina, Mednarodni festival likovnih umetnosti ZDSLU Kranj 2015, Kranj Iz stalne zbirke Tržiškega muzeja, Trži~ani in s Trži~em povezani, Paviljon NOB, Trži~ Bienale Castra, Mednarodni bienale akvarela Ajdovš~ina, Pilonova galerija, Ajdovš~ina XVIII. Mednarodna likovna kolonija, Viteška dvorana, Ljubljana Night4Art, Schlossberg Griffen, Avstrija Slovenija odprta za umetnost, Galerija A. Kosi~, Gorica, Italija  Slovenija odprta za umetnost, Galerija Šiv~eva hiša, Radovljica Boundless, The Hive Gallery, Shrewsbury, Shropshire, Anglija Sinirsiz/Boundless, Galerija Bohem, Istanbul, Tur~ija

Slovenija odprta za umetnost, Mestni muzej Idrija, razstaviš~e Nikolaja Pirnata, Idrija 4. Tisnikarjeva likovna kolonija Kope, Mestna galerija Slovenj Gradec 32. Likovna kolonija Riviera, Galerija Zuccato, Pore~, Hrvaška 2014 Slovenija odprta za umetnost, Kosovelov dom Sežana – Velika galerija Ivana Varla, Sežana Mali format 2014, Mala galerija Kranj, Galerija likovnega društva Kranj, Kranj 46°29’11”N, 14°35’46”O – SÜDPOL 9.0, Galerija Vprega/Galerie Vorspann, Železna Kapla/Bad Eisenkappel, Avstrija Slovenija odprta za umetnost, Lokarjeva galerija, Ajdovš~ina Slikarska kolonija Primož Trubar, Pokrajinska in študijska knjižnica Murska Sobota, Murska Sobota Kolaž in Asemblaž, 3. Mednarodni festival likovnih umetnosti Kranj – ZDSLU 2014, Kranj Majski salon 2014 – Voda, dvorana Galerija, Gospodarsko razstaviš~e, Ljubljana 2013 Razstava del 6. likovne kolonije Slovenske vojske, Ministrstvo za obrambo, Ljubljana Mali format 2013, Mala galerija Kranj, Galerija likovnega društva Kranj, Kranj International Mail art Exhibition and Swap, Richmond Art Gallery, Richmond, British Columbia, Kanada ^rno-belo, Mednarodni festival likovnih umetnosti Kranj – ZDSLU, Sre~anje 2013, Kranj VI. Mednarodna likovna kolonija Dren, Likovni salon, Nu Center za kulturo “Marko ^epenkov”, Prilep, Makedonija 2012 Vll. Mednarodni simpozij umetniške keramike, Muzej Ob~ine Šen~ur, Šen~ur World Art Print Annual, Mini Print 2012, Lessedra Gallery & Contemporary Art Projects, Sofia, Bolgarija 2011 2nd Lessedra International Painting & Mixed Media Competition, Lessedra Gallery & Contemporary Art Projects, Sofija, Bolgarija International Mail art Exhibition and Swap, Galerija Richmond Art, Richmond, British Columbia, Kanada Drawing Connections, Siena Art Institute, Siena, Italija

Slikarske kolonije in simpoziji / Workshops and symposia 2016 3rd International Artsymposium in Voitsberg 2016, Avstrija 6th Alpen-Adria Kunstsymposium, Avstrija Art Circle 2016, International Fine Arts workshop, Art Embassy Russian Federation, Dornberk 2015 Mednarodna likovna kolonija Lastva-Trebinje 2015, Trebinje, Bosna in Hercegovina XVIII. Mednarodna likovna kolonija / 63. Ljubljana Festival, Ljubljana MMM Art / Art embassy Republic of Slovakia 2015, Zaloš~e 2014 4. Tisnikarjeva likovna kolonija, Kope, Slovenj Gradec Slikarska kolonija Primož Trubar, Moravske Toplice 32. Mednarodna likovna kolonija Riviera / Pore~, Hrvaška Mednarodna likovna kolonija – Slovenija odprta za umetnost 2014, Sinji vrh 2013 VI. Mednarodna likovna kolonija Dren, Makedonija 2012 7. Mednarodni simpozij umetniške keramike V-Oglje 2012, Voglje Nagrade / Awards 2016 Študentska Prešernova nagrada za slikarstvo, Akademija za likovno umetnost in oblikovanje, Univerza v Ljubljani, mentor izr. prof. Zmago Lenárdi~ Študijska priznanja / Study awards Študijsko priznanje za Risarska dela, v študijskem letu 2008/09, Visoka šola za risanje in slikanje, Ljubljana Študijsko priznanje za sliko Veliki akt z modrim prstom, 2008, Visoka šola za risanje in slikanje, Ljubljana Študijsko priznanje za uspešno ateljejsko delo v študijskem letu 2005/06, Visoka šola za risanje in slikanje, Ljubljana

2010 Vabljeni mladi 2010, Galerija Media Nox, Maribor 2009 Skupina S.K.U.P., Galerija Krka, Ljubljana Barvne refleksije, Univerza v Ljubljani, deželni dvorec, Ljubljana Vabljeni mladi 2009, Galerija DLUM, Maribor

Lu~ka Šparovec Kolodvorska cesta 46 4260 Bled T +386 70 667 380, +386 40 226 163 E lucka.sparovec@gmail.com

Razstavo in izid kataloga je omogo~ila / The exhibition and the publication of the catalogue were made possible by:

Katalog izdal / Catalogue issued by: Javni zavod Kulturni dom Nova Gorica, Mestna galerija Nova Gorica – Zanj odgovarja / Represented by: Pavla Jarc – Urednica / Edited by: Mateja Polj{ak Furlan – Besedilo / Text: Brane Kovi~ – Lektura / Text-checking and proof-reading: Alenka Mirkac – Prevod / Translated by: Urška Š~uka Burši} – Fotografije / Photo: Primož Korošec – Oblikovanje / Design: Adenda d.o.o. – Tisk / Print: Tiskarna Present d. o. o. – Naklada / Number of copies: 300

Mestna galerija Nova Gorica Trg E. Kardelja 5 SI 5000 Nova Gorica T + 386 5 335 40 17 E mestnagalerija@kulturnidom-ng.si W www.mgng.net www.facebook.com/groups/Mestna.galerija.Nova.Gorica Urnik: od ponedeljka do petka od 9. do 13. ure in od 15. do 19. ure. Ob sobotah od 9. do 12. ure. Ob nedeljah in praznikih zaprto.