Mojca Zlokarnik: Nemo govorjenje/Silent Speaking by Kulturni dom Nova Gorica

Mojca Zlokarnik Nemo govorjenje Silent Speaking

Mojca Zlokarnik: Nemo govorjenje/Silent Speaking

slike in grafike/paintings and graphics 6.â&#x20AC;&#x201C;27. 1. 2017

Nevarna razmerja za hladna in brez~utna. Z geometrijskimi liki, ki jih je uporabljal, je izražal predvsem željo po miru in redu, ki ju v tem ~asu ni bilo. Vpliv njune inovativnosti sega vse do danes, na njunih izhodiš~ih so raziskovale barve in odnose med njimi številne generacije slikarjev. Vse, kar je inovativno, še danes sproža pri gledalcu poudarjeno pritrjevanje ali odklanjanje. A ko moderna umetnost gledalca vznemiri, pomaga le, da se v sliko poglobi. V svetu gledal~eve nepredvidljive domišljije so plastenja barv na slikah Mojce Zlokarnik v~asih strastno sozvene~a, drugje ustvarjajo~a nelagodna nasprotja, kar vsekakor poraja živahna razmerja. Slikarka se od tradicije popularne umetnosti iz druge polovice prejšnjega stoletja distancira s svojstveno funkcijo upodobljenih barv: v nasprotju s popartisti v ospredju ni predmet kot komercialen izdelek široke potrošnje, ampak ~iste, njej ljube barve. Barve postanejo nosilci zgodbe, nekakšna sidra, na katera pripenja vrsto odnosov med ljudmi ali z njimi povezanimi osebami in ~ustvi. Njene slike tako prodrejo v gledal~ev predstavni svet in ga nehote zapeljejo v komunikacijo z dotlej neznanim podro~jem. Slike Mojce Zlokarnik zahtevajo natan~en ro~en na~in ustvarjanja. Prav ta ustvarjalni proces je eden klju~nih poudarkov v sporo~ilnosti njenega slikarstva. Njene slike so zasnovane izjemno potrpežljivo, saj zahteva priprava na slikanje iskanje prave kombinacije barv v odnosih ene nasproti drugi, enega niza barvnih pasov nasproti drugemu nizu barvnih pasov ter ene slike s tako ustvarjenimi barvnimi pasovi do druge, na podoben na~in ustvarjene slike. ^eprav so njene slike vsaka zase samostojna celota, neodvisna od izhodiš~a, se med seboj povezujejo. Postavljene v prostor se likovno in simbolno umeš~ajo v novo pripoved, pripovedujejo nove zgodbe, oblikujejo nova razmerja. Seveda je primerjava z Laclosovim romanom Nevarna razmerja provokativna. Namenoma. Ampak tako, kot slikarka nadzorovano drzno sopostavlja barve drugo ob drugo in iš~e med njimi vedno nova razmerja, tako lahko tudi provokativni napotek k branju njenih podob med njimi in gledalcem ustvari nov odnos. Izzove k iskanju razkritja intenzivnih barvnih razmerjih. Ali umetnostnih zgodovinarjev k iskanju klju~ev za razlago teh podob. Besedilo, napisano samo nekaj let pred francosko revolucijo, je nastalo v obliki gosto stkanih intrigantnih pisem, v katerih vikont Sébastien de Valmont in markiza Isabelle de Merteuil cini~no, vendar tudi inteligentno na~rtujeta ljubezenske spletke. Tudi slike Mojce Zlokarnik so premišljeno stkane, seveda, ne iz besed, temve~ iz barv. Nizi živih barv kažejo slikarkino strastno razmerje z njimi. Govorijo o mo~i slike in hrepenenju ljudi po svetu doživetij, ki presega realnost. Govorijo tudi o današnjem ~asu, o živahnih trenjih mnenj, tako v zasebnem kot v javnem življenju. Snov njenega slikarstva je namre~ njeno življenje. S slikami in odnosom do izzivajo~ih barv ustvarja svoja (tudi nevarna) razmerja. Liri~na in strastna. Krotka in predrzna. Sozvene~a in odbojna. Skrivnostna in žare~a. Umirjena in divja. In nikoli dolgo~asna.

Davnega leta 1778 je Choderlos de Laclos (1741–1803) na otoku Ré, kjer naj bi vodil utrjevanje sosednjega otoka Aixa proti morebitnemu angleškemu napadu, zasnoval Nevarna razmerja. Še danes, ve~ kot dvesto let po nastanku, je ta skrivnosten roman besedilo, ki mu bralci in literarni zgodovinarji iš~ejo klju~e. Takrat je namre~ Laclos kot mlad ~astnik za las zgrešil sedemletno vojno in zato torej eno najve~jih mojstrovin svetovne književnosti dolgujemo zna~ilnostim mirnodobnega vojaškega življenja, ki ga s spoštljivim izrazom poimenujemo monotonija ali po doma~e kar dolg~as. Barvna razmerja v slikah Mojce Zlokarnik vsekakor kažejo, da tudi ona ne mara monotonosti. Nenehno jo vodi želja po odkrivanju medsebojnega u~inkovanja barvnih polj, njihovih nenehno spreminjajo~ih se razmerij – skladnosti in harmonije ter neskladja in nasprotij med njimi. V svojih slikarskih delih, grafikah in poslikanih objektih je razvila likovni slog, ki navkljub dolo~enim premikom skozi leta ostaja nezmotljivo njen: z zna~ilnim sopostavljanjem posami~nih barvnih pasov, s katerimi oblikuje navidezno strogo umerjene kompozicije, se na površini njenih slik razpira kaskada pogledov onkraj vidnega. Formalno gre za natan~no umerjena polja, na katera se barve selijo iz njenega življenja v samopodobo slikarstva. Sprva se zdi, da slike razen precizno nanesenih barvnih trakov ne prikazujejo ni~esar, da so manjša ali ve~ja paleta živih barv. Vendar tudi te navidezno abstraktne slike razkrivajo skrite, intimne prizore slikarkinega zasebnega vrta, simbolno napolnjenega z njenimi vtisi, ~ustvi in razpoloženji. Umetnost ni nikoli idealizirala posnemanja narave. Predvsem v slikarstvu je šlo za preoblikovanje in novo oblikovanje resni~nosti, ki se hrani iz nasprotij in iz vprašanja o veljavnosti splošnih dogovorov. Pisatelj in satirik Alexander Roda Roda (1872–1945) je s svojo trditvijo zadel bistvo: »Pri vsaki sporni dogmi je resni~no tudi njeno nasprotje.« Nov svetovni red se lahko ustvari le, ~e je zanimanje za prostore, ki so za ustaljenimi doktrinami, dovolj veliko, da lahko dojamemo in sprejmemo življenje kot ~utni izziv. Slikarka Mojca Zlokarnik se mojstrsko poigrava s kontrasti, tonskimi vrednostmi in barvnimi u~inki ter izkoriš~a pravila opti~ne iluzije. S tem platna spreminja v žive strukture. Kljub izbiri navidezno stroge kompozicije doseže dinami~ne u~inke in iluzije medsebojnih razmerij, ~eprav se živobarvni pasovi ne gibljejo, ne krožijo ali valovijo, temve~ natan~no omejeni v prostor svoje barve slonijo drug ob drugem. Novi mediji, nove tehnologije in novi komunikacijski sistemi so vnesli nove impulze za razmišljanje in ~utenje. Potrebi po sporo~anju naj bi zadostovala mo~ mišljenja in sposobnost ustvarjanja sistema ~loveškega izražanja iz ~rt, barv in ploskev, kar vedno znova odpira nove poti. Že davno je ruski slikar Kazimir Malevi~ (1878–1935) iskal osnovne likovne elemente, ki bi sporo~ali najbolj globoko mogo~o izraženo resni~nost. Bil je prvi, ki je že pred prvo svetovno vojno slikal z abstraktnim slogom in je nasprotno od kubistov dajal velik poudarek barvi. Vplival je tudi na nizozemskega slikarja Pieta Mondriana (1872– 1944), ki so ga zanimale predvsem zveze med barvami in oblikami v naravi. Uporabljal je preproste ravne ~rte in paleto z le nekaj barvnimi toni, njegova dela so v njegovem ~asu jemali

Tatjana Pregl Kobe 2

Iz cikla Nemo govorjenje, 2015, akril na platnu, 60 x 80 cm From the series Silent Speaking, 2015, acrylic on canvas, 60 x 80 cm

Dangerous Liaisons Choderlos de Laclos (1741-1803) came up with the idea for the novel Dangerous Liaisons in 1778, when he was stationed on the Isle of Rhé, from where he was leading the fortification works on the neighbouring Île-d’Aix which would protect from any eventual English invasion. Even today, over two hundred years after the novel was published, readers and literary historians seek for keys in this mysterious text. At the time, the young officer Laclos narrowly missed the seven year war, thus one of the masterpieces of world literature is a lucky result of the military life during peacetime, which we could also call monotony, or if we were less formal - boredom. The colour relations in Mojca Zlokarnik’s paintings clearly show that she does not favour monotony. She is guided by the desire to discover the reciprocal effects of colour surfaces, their constantly changing relations – coherence and harmony as well as inconsistencies and contradictions. In her paintings, graphic prints and painted objects she has developed a personal style, which remains unmistakably hers, regardless of the certain changes that occurred over the years: with characteristically juxtaposed colour strips, with which she designs strict and precise compositions, the surfaces of her paintings open up to a cascade of views beyond the visible. Formally, these are precisely measured surfaces upon which the colours move from her life into the painting. At first it seems that the paintings do not depict anything except for the precisely applied colour strips, it seems that we are looking at various sized palletes of lively colours. However, these seemingly abstract paintings reveal hidden, intimate scenes from the painter’s private garden, symbolically filled with her impressions, emotions and moods. Art never idealised the mimicry of nature. Especially painting was always focused on transformation and new formation of reality, which feeds upon contradictions and the question of validity of general agreements. The writer and satirist Alexander Roda Roda (1872-1945) defined this excellently with the sentence: »For each contested dogma its opposite also holds true.« The new world order can only be established if there is an interest in the spaces that are behind the established doctrines, and if this interest is large enough for life to be understood and accepted as a sensual challenge. Mojca Zlokarnik is a master of toying with contrasts, tones and colour effects at which she likes to exploit the rules of optical illusions. With this she transforms canvasses into living structures. Even though her compositions appear to be strict, she manages to achieve dynamic effects and illusions of reciprocal relations. She creates this even though the lively coloured strips do not move, circle or undulate, for the strips that lean upon each other are precisely limited by the space of their colour. New media, new technologies and new communication systems have introduced new impulses for thoughts and emotions. The power of thought and the capability of creating a human expression from lines, colours and surfaces (which always open up new paths) should be sufficient for the need to communicate. A long time ago the Russian painter Kazimir Malevich (1878 – 1935) searched for the basic art elements that would express the deepest possible reality. He was the first to paint in an abstract style, for he used it already before WWI, and contrary to the cubists he thought that colours deserved special attention. He also influenced the Dutch painter Piet Mondrian (1872 – 1944), who was especially interested in the connections between colours and forms in nature. He used simple straight lines and a palette with merely a few tones of colour, and at the time his works were considered cold and lacking in emotions.

With the geometrical shapes that he used, he expressed his desire for peace and order which was lacking at the time. The influence of their innovations can be felt even today, for they inspired numerous generations of painters to research colours and the relationships between them. Even today everything that is innovative triggers an emphasised acceptation or rejection within the viewer. But when the viewer is unsettled by modern art, the only thing that helps is to go deeper into the painting. In the world of the viewer’s unpredictable imagination the layering of colours on Mojca Zlokarnik’s paintings sometimes creates passionate harmonies and other times unsettling opposites, and this certainly leads to lively relations. The painter distances herself from the tradition of popular art from the second half of the 20th Century with a unique function of colours: in opposition to pop artists she does not place an object as a commercial product into the foreground, for she focuses on the pure colours that she loves so much. Colours carry the story; they become anchors upon which she attaches a series of relationships between people or people and emotions linked to these relationships. Her paintings penetrate into the viewer’s representative world and unwittingly seduce him into communicating with a field that was unknown until that moment. Mojca Zlokarnik’s paintings demand precise manual skills. This creative process represents one of the key emphases in the message delivered by her paintings. Her paintings are conceived with extreme patience, for the preparations demand the search for the right combination of colours within their relations. She places one series of colour strips next to another and one painting with such colour strips next to another painting that was created in a similar way. Even though each of her paintings is an entity in its own right, and as such independent from the very start, they are also all connected. Positioned into space they are visually and symbolically positioned into a new narration, they tell new stories and form new relationships. Of course the comparison with Laclos’s novel Dangerous Liaisons is provocative. This is intentionally so. In the same way as the artist juxtaposes the colours alongside each other with controlled boldness and searches for constantly new relations, the provocative instruction for the reading of her images creates a new relation between the paintings and the viewer. It provokes the search for intense colour relations, and forces art historians to search for the keys that would help explain these images. The text, written merely a few years before the French revolution, emerged in the form of densely woven intriguing letters in which viscount Sébastien de Valmont and the marquise Isabelle de Merteuil cynically, but also intelligently, planned love affairs. The paintings by Mojca Zlokarnik are also thoughtfully woven, of course not from words but from colours. The series of lively colours show the painter’s passionate relation with them. They speak about the power of the painting and desire of the people for a world of experiences that surpass reality. They also talk about today’s world, the lively friction of opinions, in private as well as public life. Her life provides her with the material for her paintings. With her paintings and her relation with the provocative colours she creates her (dangerous) liaisons. They are lyrical and passionate. Docile and bold. Harmonious and reflective. Mysterious and glowing. Tame and wild. And never boring. Tatjana Pregl Kobe

Iz cikla Nemo govorjenje, 2016, akril na platnu, 70 x 100 cm From the series Silent Speaking, 2016, acrylic on canvas, 70 x 100 cm

Iz cikla Nemo govorjenje, 2016, akril na platnu, 40 x 130 cm From the series Silent Speaking, 2016, acrylic on canvas, 40 x 130 cm

Iz cikla Nemo govorjenje, 2016, akril na platnu, 70 x 100 cm From the series Silent Speaking, 2016, acrylic on canvas, 70 x 100 cm

Iz cikla Nemo govorjenje, 2015, akril na platnu, 70 x 100 cm From the series Silent Speaking, 2015, acrylic on canvas, 70 x 100 cm

Iz cikla Nemo govorjenje, 2016, akril na platnu, 40 x 130 cm From the series Silent Speaking, 2016, acrylic on canvas, 40 x 130 cm

Iz cikla Nemo govorjenje, 2015, akril na platnu, 70 x 100 cm From the series Silent Speaking, 2015, acrylic on canvas, 70 x 100 cm

M.M.I; M.M.II; M.M.III; 2016, barvni linorez, 100 x 24 cm M.M.I; M.M.II; M.M.III; 2016, colour linocut, 100 x 24 cm

Foto/photo: Grega Mastnak

Mojca Zlokarnik Koširjeva 5 1000 Ljubljana mojca.zlokarnik@guest.arnes.si www.zlokarnik.si gsm: 040 764 205 Mojca Zlokarnik se je rodila 3. junija 1969 v Ljubljani. Kon~ala je dodiplomski (1993) in podiplomski (1995) študij slikarstva pri prof. Metki Krašovec in magistrirala iz grafike pri prof. Lojzetu Logarju (1998) na Akademiji za likovno umetnost v Ljubljani. Študijsko se je izpopolnjevala v Pragi, New Yorku, Parizu, Bolgariji, Nem~iji in na številnih manj formalnih potovanjih. Od leta 2001 do vklju~no 2015 je bila glavna in odgovorna urednica revije Likovne besede, zdaj je pomo~nica glavne in odgovorne urednice ter ~lanica uredniškega odbora. Od leta 2009 je sourednica zbirke Ljubljana osebno, alternativni vodi~. Razstavlja od leta 1991 in je do sedaj sodelovala na ve~ kot sto skupinskih razstavah v Sloveniji in tujini. Ustvarja na podro~ju slikarstva in umetniške grafike. Leta 2016 je bila nominirana za nagrado Queen Sonja Print Award, ki jo za ustvarjalne dosežke na podro~ju grafike podeljuje kraljica Sonja Norveška. Ima status samostojne ustvarjalke na podro~ju kulture. Živi in ustvarja v Ljubljani.

Izbor samostojnih razstav/Selected Personal Shows

2017 Nemo govorjenje/Silent Speaking, Mestna galerija Nova Gorica, Nova Gorica, Slovenija/Slovenia 2015 Tri barve/Three Colours, Galerija Krško, Krško, Slovenija/Slovenia Slike in grafike/Paintings and Prints, Galerija Lek, Ljubljana, Slovenija/ Slovenia 2013 Objekti strmenja/Gazing Objects, Galerija Murska Sobota, Murska Sobota, Slovenija/Slovenia 2011 Personae/Personae, Galerija Instituta “Jožef Stefan”, Ljubljana, Slovenija/Slovenia 2009 Žarenje/Glowing, Galerija Božidar Jakac, Kostanjevica na Krki, Slovenija/ Slovenia 2008 Mali Benares, Hloa/Small Benares, Chloe, Galerija Equrna, Ljubljana, Slovenija/Slovenia 2007 Mali Benares/Small Benares, Galerija Miklova hiša, Ribnica, Slovenija/ Slovenia 2006 Kunst Verein Ahlen, Ahlen, Nem~ija/Germany 2005 Plastenje podob/Image Layering (K. ^er~e, N. Šeruga), Poslovni center Hit paviljon, Nova Gorica, Slovenija/Slovenia Neslišno/Silently, Galerija Krško, Krško, Slovenija/Slovenia 2004 Kako ujeti materialnost, preden se razblini v ni~/How to grasp materiality before it dissolves into nothingness, Galerija Loža, Koper, Slovenija/Slovenia Galerija M, Celovec, Avstrija/Austria 2003 Podobe na papirju/Images on Paper, Peterokotni stolp, Ljubljanski grad, Ljubljana, Slovenija/Slovenia Kako ujeti materialnost, preden se razblini v ni~/How to grasp materiality before it dissolves into nothingness, Šiv~eva hiša, Radovljica, Slovenija/Slovenia 2000 Grafike/Prints, Galerija Meduza, Koper, Slovenija/Slovenia Papirnate slike/Paper Paintings, Galerija Equrna, Ljubljana, Slovenija/ Slovenia 1999 Galerija Knjižnice Cirila Kosma~a, Tolmin, Slovenija/Slovenia 1997 Slovenie + France, Galerie Du Bellay, (s C. Petit), Rouen, Francija/France Najti sebe v drugem/Finding oneself in another (s C. Petit), KUD France Prešeren, Ljubljana, Slovenija/Slovenia 1996 Hiša galerija, Maribor, Slovenija/Slovenia 1994 Kapelica - Galerija K4, Ljubljana, Slovenija/Slovenia 1993 Glejte, primite, pojejte jo – sliko/Look, hold it, eat it - the painting (z M. Licul in K. Toman), Galerija Equrna, Ljubljana, Slovenija/Slovenia Umetniške zbirke/Art Collection

Mojca Zlokarnik was born in Ljubljana on 3rd June 1969. She completed her graduate (1993) and postgraduate (1995) studies in Painting under prof. Metka Krašovec and received her MA in graphic prints under prof. Lojze Logar (1998) at the Academy of Fine Arts in Ljubljana. She continued to educate herself in Prague, New York, Paris, Bulgaria, Germany as well as during numerous less formal trips. Between the years 2001 and the end of 2015 she was the editor-in-chief at the magazine Likovne besede (Art Words), where she now remains in the role of the assistant editor-in-chief and where she is also a member of the editorial board. She has been a co-editor of the collection Ljubljana Personal, Alternative City Guide, since 2009. She started exhibiting in 1991 and so far she has participated in over one hundred group exhibitions in Slovenia and abroad. She works in the fields of painting and graphic prints. In 2016 she was nominated for the Queen Sonja Print Award, which is awarded by Queen Sonja of Norway for creative achievements in the field of graphic prints. Mojca Zlokarnik is a freelance artist registered with the Ministry of Culture. She lives and works in Ljubljana.

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: Tatjana Pregl Kobe – Prevod/ Translated by: Sun~an Stone – Fotografije/Photo: Arne Brejc – Oblikovanje/Design: Adenda d.o.o. – Tisk/Print: Tiskarna Present d. o. o. – Naklada/Number of copies: 300

Izid kataloga je omogo~ila/The publication was made possible by:

- Grafi~na zbirka Bogenšperk, Bogenšperk, Slovenija/Slovenia - Dolenjski muzej Novo mesto, Novo mesto, Slovenija/Slovenia - Galerija Murska Sobota, Murska Sobota, Slovenija/Slovenia - Mednarodni grafi~ni likovni center, Ljubljana, Slovenija/Slovenia - Umetniška zbirka Printing Center Helios, Solun, Gr~ija/Greece - Zakladi slovenske grafike 1955–2005, Slovenska Akademija znanosti in umetnosti, Ljubljana, Slovenija/Slovenia - Miejska Galeria Sztuki, Łódž, Poljska/Poland - Umetniška zbirka grafike Kloster Bentlage, Rheine, Nem~ija/Germany - Umetniška zbirka RIKO, Ribnica, Slovenija/Slovenia - International Artist’s Book Triennial Vilnius, Litva/Lithuania - Stalna zbirka originalnih del na papirju, Mestna galerija Ljubljana, Ljubljana, Slovenija/Slovenia - Associazione incisori Pugliesi, Lecce, Italija/Italy - Casino Velden, Vrba, Avstrija/Austria - Rannila Profil, Tallin, Estonija/Estonia - DLW, Aktiengesellschaft; Bietingheim-Bissingen, Nem~ija/Germany - Zbirka Talum, Kidri~evo, Slovenija/Slovenia - Umetniška zbirka Zavarovalnice Triglav, Ljubljana, Slovenija/Slovenia - Mednarodna zbirka sodobne grafike/International Collection of Contemporary Graphics, Civic Museum, Cremona, Italija/Itally

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.