Pe t e r Ab r a m
Peter Abr am Pregledna razstava
Mestna galerija Nova Gorica 8.–29. april 2016 Galerija in Stebriščna dvorana v Mestni hiši, Kranj 2. marec–9. april 2017 Muzeji radovljiške občine, Radovljica 13. april–14. maj 2017 Galerija Ljubljanski grad, Ljubljana jesen 2017
Peter Abram je ustvarjalne vzgibe za oblikovanje skulptur, slik in del na papirju tesno prepletel z življenjskim utripom, z notranjim ritmom, z razgrinjanjem osebnih izkustev in doživljanja vsakdanje resničnosti. Risanje ali slikanje je vselej intimno odslikavanje motiva in svojevrstna pot navznoter. Likovni proces je tesno povezan z odkrivanjem notranjih impulzov in z iskanjem ravnovesja. Abramove risbe, grafike, slike in kamnite skulpture so nastale kot umetnikov intimni dialog s samim sabo. Omenjeni vsebinski poudarki so pomembnejši od ekspanzivne, s sodobnim medijskim trenutkom uglašene likovne realizacije, zato Peter Abram praviloma posega po tradicionalnih načinih likovnega izražanja, njegove razstave pa so vselej skrbno načrtovane.
Peter Abram k nekaterim motivom vrača tudi v daljšem časovnem obdobju. Namesto o kronološkem zaporedju oziroma o nizanju motivov v časovnem redu bi lahko govorili o razvojni kontinuiteti Abramovega ikonografskega univerzuma, ki kljub različnim likovnim postopkom tvori neločljivo celoto. Ustvarjalni postopek, ki ga je izbral Peter Abram, je seveda težko ubesediti. Morda bi lahko dejali, da obliko, ki jo vidi človeško oko, umetnik zaznava intuitivno in jo ponotranji – na podlagi vtisa se porodi čustvo, nezavedna misel, ki vodi roko in sooblikuje ustvarjalni proces. Likovnik na ta način vselej zajema iz lastne izkušnje, ki se je zgostila in odrazila ali morda kar utelesila v likovnem delu. Ustvarjalni utrip je vselej povezan z avtorjevo življenjsko ubranostjo in s kontemplativnim pristopom. V enaki meri kot beleženje formalnih značilnosti motivov, ki je značilno za studiozno akademsko risanje, od katerega se je Peter Abram zavestno odmaknil, so pomembni avtorjevi mentalni procesi na zavedni in nezavedni ravni. Avtorjeva izkušnja se lahko prenaša tudi na dojemljive gledalce, ki v Abramovih delih – seveda v skladu z lastno življenjsko ubranostjo – lahko intuitivno začutijo poetičnost, pomirjujočo noto, likovno in sporočilno nevsiljivost, bistveno simboliko ali možnost meditacije. Tudi vedute, figuralni in drugi motivi, naslikani v oljni tehniki na platnu, niso mimetični posnetki ali približki videnega. Prej bi lahko govorili o motivih kot ogledalih notranjih občutij in odrazih avtorjeve težnje po harmonični ubranosti. Pri slikarstvu ga je posebej pritegnilo razmerje med motivom, likovnim poljem in svetlobo. Z izjemno barvno občutljivostjo, s pretehtano gradnjo barvnih razmerij, z nekaj temeljnimi, skrbno izbranimi in položenimi potezami čopiča na površino belega ali rahlo obarvanega platna slika motive, za katere ne vemo, ali so prevzeti iz zunanje resničnosti ali so plod avtorjevih domišljijskih predstav. Bolj kot narativna širina motivov ali njihova spretna stilizacija in estetizacija avtorja zanima emocionalni naboj motivov. Zdi se, da komajda so se motivi izoblikovali iz barvnih madežev, že začenjajo izginjati v intenzivni svetlobi. Svetloba, ki razkroji materialni temelj motiva, je uporabljena v metaforičnem smislu.
Tovrsten način likovnega izpovedovanja je mogoč samo z uporabo zgoščene likovne govorice. Pri risbah je to izrazna črta, pri akvarelu subtilna poteza čopiča, ki začrta konture in sledi bistvenim značilnostim motiva. Risba s svinčnikom je praviloma rahla. Z njo Peter Abram zajame temeljne oblike motiva, oblike telesa pa lahko na primer ponazori tudi s koprenastim skupkom črt. Podoben pristop srečamo pri akvarelih. Podobnost z motivom je ohranjena, vendar so nežne, prosojne barve in povzemajoče poteze čopiča, ki nikoli ne zasedejo večine slikovne površine, povezane v novo, harmonično celoto. Na prvi pogled preprosta slikarska gesta ali zaris s svinčnikom sta rezultat velike koncentracije in zapletenega ustvarjalnega sistema, pri katerem ni mogoče popuščanje bližnjicam. Zato se
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na prvi pogled zdelo. Tudi pri kiparstvu je prisotna težnja po iskanju duhovnih vsebin v likovnosti, tj. vsega, kar presega fizično pojavnost. Eden od umetnikovih namenov je: vdahniti kamnu življenje, sporočilnost, ki presega njegovo materialnost. Na težnjo po likovni sublimaciji nas opozarja skrbna obdelava kiparske površine, ki pa še vedno ostaja sestavni del rustikalnega, na prvi pogled neobdelanega kosa »kamna«. Videz kamnitih skulptur je preprost, prvinski. Ravnotežje med na prvi pogled neokrnjenim, grobo obklesanim naravnim kamnom in skrbno izklesanim motivom ni vezano samo na golo človeško figuro. Na ohranjeni stik z naravo kot izvorom navdiha nas opozarjajo stilizirane rastline. Na kipih intimnega formata zasledimo tudi imaginarna znamenja, magične znake, simbole, ideograme. Te plastike bi lahko označili za nadčasovne arhetipe. Nekateri kipi nas spominjajo na podobe predklasičnih božanstev, na arhaične toteme, ki so se po nekem naključju fragmentarno ohranili do našega časa. Vedeti moramo, da se umetnik poglablja tudi v duhovnost in religijo. Simbolika kiparskih del učinkuje univerzalno, a je najbrž pogojena z duhovnim in materialnim izročilom Krasa. Z izborom kamna kot likovnega gradiva in nekaterimi abstraktnimi motivi se je Peter Abram spoštljivo poklonil tudi kraški tradiciji oblikovanja kamnoseških in drugih izdelkov in nasploh kraški skromnosti, preprostosti in žilavosti. Čeprav gre za dela manjšega formata zaradi motivike in njene interpretacije kipi Petra Abrama praviloma učinkujejo monumentalno. Likovni opus Petra Abrama je po formalni plati raznolik, po vsebinski plati pa iskren in avtentičen. Likovnik je vselej ostal zvest samemu sebi, saj njegova likovna dela v polni meri odražajo avtorjevo percepcijo sveta, odnos do sveta in bivanja. Nikoli ni podlegel namigom o konjukturnosti aktualnejših oziroma agresivnejših in medijsko prepoznavnejših likovnih praks in procesov sodobne umetnosti, ki dopuščajo zunajumetnostne učinke. V več kot treh desetletjih kontinuiranega ustvarjalnega dela smo lahko bili priča premišljenemu likovnemu razvoju, ki je kljub različnim vsebinskim in interpretativnim poudarkom ohranil intimen značaj. Damir Globočnik
Pri izdelavi grafik je Peter Abram posegel po dveh na prvi pogled malone nasprotnih tehničnih postopkih – po lesorezu in računalniški grafiki. Postopek je samo pripomoček, potreben za oblikovanje tankočutnih, ponotranjenih oblik in drobnih likovnih simbolov, ki jih umetnik lahko uporabi tudi pri likovni opremi knjig. Pri lesorezu ob odtiskovanju barve z lesene matrice uporablja tudi reliefni tisk. Motivi so vselej položeni v središče lista. Grafike so praviloma odtisnjene v majhnih nakladah. Peter Abram, ki je dokazal mojstrsko obvladovanje zakonitosti različnih načinov slikarskega izraza, se enako intenzivno in poglobljeno posveča kiparstvu, ki se temeljito razlikuje od hipnega risarskega zapisa, odtiskovanja grafik ali slikanja kompozicij, sestavljenih iz bistvenih, tankočutnih potez. Za izdelavo kipov iz marmorja ali braškega kamna je potrebno vešče in dolgotrajno ročno delo (klesanje, brušenje, poliranje), ki lahko zaradi te lastnosti dobi tudi meditativen značaj. Vendar je med Abramovim slikarstvom, risbo in kiparstvom več povezav, kot bi se morda 3
Brez naslova, risba s svinÄ?nikom, papir, 26 x 21 cm 4
Peter Abram’s creative pulse in making sculptures, pictures and works on paper stems from his pulse of life and inner rhythms by disclosing his personal experience and his take on day-to-day reality. Drawing or painting is always an intimate act of illustration and a peculiar inward journey. Visual expression is strictly related to the discovery of inner motives and a search for balance. Abram’s drawings, paintings and stone sculptures are born out of the artist’s intimate dialogue with himself. Emphasising content is far more important than creating expansive visual works that are in tune with the ever expansive media moments and therefore Peter Abram prefers resorting to traditional visual expression with carefully planned exhibitions.
jects on a straightforward time line, we can talk about a developing continuum of Abram’s iconographic universe, which forms a consistent unity in spite of the wide range of methods he uses. The creative procedure chosen by Peter Abram is rather difficult to be put to words. We could say that the form, as seen by the human eye, is intuitively perceived and internalised by the artist and the consequent impression generates a feeling or a subconscious thought that leads the artist’s hand and contributes to the process of creation. Thus, the artist always draws from his intimate experience, which is condensed and expressed or even embodied in the piece of art. The creative pulse is always linked to the artist’s way of living and his contemplative approach. Peter Abram has firmly decided to abandon the academic approach of recording the formal features of subjects and is focusing on his own conscious and subconscious mental processes. The author’s experience can therefore be conveyed to sensitive viewers, who are able to intuitively feel the poetic and soothing notes in his works of art, their non invasive communicative force, their substantive symbolic value combined with an invitation to meditate. His vedutas, figures and other subjects painted with oil on canvas are not faithful or approximations to what is usually seen. His subjects are better compared to mirrors of his internal feelings and expressions of the author’s desire for harmonious order. What particularly seems to attract the artist is the relation between the subject, the visual space and light. His extraordinary sense of colour, the carefully built colour relations and the few selectively chosen and thoughtfully applied brush strokes on the white or delicately coloured foundation sets the subject in a way that it is hard for us to decide whether they have been taken from the external reality or the author’s imagination. The artist is more interested in the emotional charge of the subject than in their narrative width or his own ability to depict them. The subjects seem to fade in intense light as soon as they take shape out of the primordial stains of colour. The light, which apparently disintegrates the material foundations of the subject, is used in a metaphoric way. In his graphics, Peter Abram is resorting to two technical approaches that seem to contradict each other at
Visual expression of this kind can only be created by using a dense visual language. In drawings, force shows in expressive lines, in watercolour by subtle brush strokes tracing the contours and following the subject’s defining traits. Pencil strokes are usually delicate and Peter Abram uses them to catch the subject’s main shapes, while body forms can, for example, be created by a fine web of lines. His approach to watercolour is not much dissimilar. Although preserving the features of the subject, tender, translucent colours and summary traits of the brush not covering the entire surface contribute to conjuring up a new and harmonious piece. A seemingly simple trait of brush or pencil is a result of a considerable amount of concentration and a complex creation method allowing no shortcuts. It is exactly for this reason that Peter Abram is often returning to some subjects over longer periods of time. Instead of chronological order or a sequence of sub-
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spire life and meaning to a piece of stone and thus go beyond its material nature. Visual sublimation can be sensed in the careful elaboration of the sculptures’ surface, which nevertheless remains a constitutive part of the rustic and seemingly raw piece of stone. His stone sculptures appear simple and primordial. The balance between the seemingly untouched, roughly carved natural stone and the carefully engraved subject is not strictly related to nude human figures. Stylised plants also remind us of his oneness with nature as a source of inspiration. There are imaginary signs, magic symbols and ideograms to be discovered on his smallish sculptures. They might be called trans-chronological archetypes. Some of the sculptures remind us of pre-classical images of gods, archaic totems that have been preserved by chance and in fragments up until our times. We have to know that the artist is very interested in spirituality and religion. The symbolic appeal of his sculptures may be universal, but most probably conditioned by the spiritual and material heritage of the Karst. Choosing stone as a material for his artwork, alongside with a few abstract subjects, Peter Abram has rendered an artistic hommage to the Karst stonecarving tradition and to the traditional modesty, simplicity and sturdiness of the locals. In spite of their modest size, Peter Abram’s sculptures usually appear monumental works, probably due to the subjects and the interpretation given to them. The visual works of Peter Abram may be varied from a formal point of view, but they are substantively sincere and authentic. The artist has always wanted to remain true to himself and his works fully exude the author’s perception of the world, as well as his approach to the universe and to existence in general. He did not allow himself to be lured away by more topical or more aggressive visual practices and processes of modern art that might enjoy the limelight from time to time and generate effects beyond art itself. In his more than three decades of continuous creative endeavours, we have had the privilege of witnessing a well-pondered artistic development, which managed to maintain a sense of intimacy in spite of a variety of substantive accents. Damir Globočnik
first sight - woodcut and computer graphics. The technical procedure, however, is only a tool used for creating delicate and intimate shapes, small visual symbols, which the artist may also use for decorating books. In addition to printing colour pictures using a wood block, he also relies to embossing. The subjects are always placed in the centre of the sheet. His graphics are usually printed in limited edition. Peter Abram, who has proven to master the laws of a range of graphical techniques, has been equally spending efforts to sculpting, which is substantially different from the momentary actions of drawing, printing and painting of compositions made up of a few essential and delicate strokes. Carving sculptures from marble or stone from the Island of Brač requires skilled and continuous work (carving, grinding and polishing) which, as an activity, can become meditative in itself. Abram’s painting and drawing, however, are much more connected to his sculpting as it may appear. His sculpting also bears his quest for spirituality in arts, a search for everything that transcends mere physical appearance. One of the artist’s purposes is to in6
SPREGLEDATI ALI SPREGLEDATI
tetih obrazih in podobah prebuja in ohranja isto, trajno in neminljivo. Tisto, kar je skrito za vsakega posebej, ob misli na drugega in celoto, tukaj pod kamnom, v mahu, v ptici in v človeku. Le kako bi jih človek, z mislijo na jasno nočno nebo, lahko nehal naštevati? Pozabljene in od govoričenja oslabele besede, kot so peška, dlan, polž, plod, brst, okno, prag, obraz, cvet, telo …, ponovno postajajo znamenja, glasovi oživljene abecede. Abecede kot prve besede. Besede, s katero se pletejo simboli, da bi poklicali k sebi vse razlomljeno in pozabljeno. Mostovi, ki zorijo v večnosti. Umetnik se ne pusti zmesti preobilju sedanjosti, ki bi jo lahko opisali kot veliko, prezrelo jabolko, v katerem se pretirana zrelost in sladkost spreminjata v vse hitrejše vretje in gnitje. Na prvi pogled se zato zdi, da ignorira aktualna družbena dogajanja. Marsikdo bo pomislil, da Peter Abram ni angažiran ustvarjalec. Sam pa menim, da nam s svojim redkim vztrajanjem in iskanjem tiste niti, na katero so umetniki mnogih stoletij nanizali ogrlico svojih najboljših del, daje tisto, kar v tem času najbolj potrebujemo. Občutek za bistveno in za osebno doživetje tega, kar je bistveno. Za tisto, kar bo v nas samih preživelo. Za dušno seme, kot bi rekli naši predniki. S svojimi deli nam posreduje lepoto in harmonijo, ki je prisotna v preprostih predmetih, mineralih, rastlinah, živalih in človeku, kadar smo jih pripravljeni uzreti v mirnosti in, kot bi rekel Peter Abram, brez interesa. Sam imam umetnika priložnost spremljati v procesu nastajanja arhitekture. Naj gre za posamezne elemente, kot je steber, miza, lestenec, ognjišče, tlak ali stopnišče, majhno brv čez potok, ali večje naloge, kot so pročelja stavb, most v središču Ljubljane ali mestni vodnjak, povsod je v ospredju prizadevanje za mero, naravo gradiva in živo govorico oblik. Danes smo arhitekti že skoraj pozabili, da je govorica oblik oblika mišljenja. Z namero in pozornostjo daje umetnik mislim priložnost, da se zjasnijo, da s pomočjo umetniške veščine najde njihova svetloba podobo in izraz v materiji, v oblikah, v katerih lahko potem oživljajo prostor in v nas prebujajo čut za doživljanje plemenite radosti. Doživetja plemenite radosti pa so tista redka, ki nam v resnici lajšajo in krajšajo trpljenje lastne smrti. Pa vendar. Ali niso njegove podobe podobe na poti tistega, ki je vsaj za trenutek pripravljen zapustiti ta svet? Nemogoč si, Peter Abram. Opoldne, na vrhuncu se-
Rad bi izrazil svojo šibkost in nevednost glede tega, kako naj vas, obiskovalce razstave, na najbolj primeren način povabim k tistemu, za kar si, ko smo soočeni z umetniškim delom, lahko prizadevamo le sami in svobodno. Življenjske okoliščine postajajo vse težje in nas bodo slej ko prej izbezale na plano, ampak umetnost, kot je Abramova, ima moč, da se to zgodi še pravočasno na poetičen in umetniški način. Z opisovanjem nelahkega boja umetnika in lastne nemoči vas zato hrabrim, da izkoristite priložnost ter pred umetnikova dela ne stopite samo ocenjujoče, »kaj pa je ta naredil oz. kako je naredil«, temveč kot aktivni ustvarjalci svojega lastnega notranjega doživetja. Naj vam bo to doživetje merilo kvalitete del Petra Abrama. Iz lastne izkušnje zaupam v njihovo moč in živost in si želim, da bi prišlo do vašega neposrednega srečanja z njimi. Ko pustimo, da se nam stvarnost približa brez obsodbe, se lahko začnemo spreminjati skozi lastno misel. Sproži se notranji dialog z na videz mrtvo stvarjo, kot je kip, risba, akvarel. Opozarjam vas na živo besedo, ki je v vsakem od nas. Beseda spregledati, podedovani dragulj slovenskega jezika, zelo natančno opisuje nenavadno in nasprotujočo si naravo gledanja in doživljanja resnice. S to besedo vas želim spomniti na dragocene trenutke spoznanja, ki pridejo po iskrenem naporu; ko se po tistem, ko stokrat spregledamo in ne vidimo, potem pa nenadoma spregledamo in vidimo, v resnici ne spremeni nič, še črka besede, ki to opisuje, ne, a se za tistega, ki spregleda, hkrati vse in dokončno spremeni. Spoznanje je nepovratno, podobno kot ko se naučimo plavati ali dihati. Vse obstoječe dobi nov pomen, novo svežino, prerodi se v globlji resničnosti. Človek je s svobodno voljo sam akter svojega prerojenja, umetniška dela pa imajo moč, da ga prebudijo za resnico misli, ki, čakajoč kot seme v zemlji, spijo v njem. Ustvarjalec nam prinaša in odpira knjige. Molče razgrinja podobo za podobo in pusti, da se na njegovi preprosti delovni mizi skozi stoletja, vse do tega trenutka, srečujejo predniki. S tišino in mirom uči gledati. Z roko potrpežljivosti vodi pogled. Počasi se raztaplja očesna skorja in v duši se prebuja občutek in zavest o tistem, kar s pravo namero, skozi poskušanje, opuščanje in predajanje, v neš7
jemskega dne, nas siliš, da izženemo trgovce iz svojega templja, vabiš nas, da v svojih srcih poiščemo zavetje pred vetrovi minljivosti. Nemočna so tvoja dela, kot ugasle svetilke v razsvetljenem svetu so, ki zaman čakajo na drobno iskro svojega najditelja. Kdo bi v teh bučnih, nenasitnih časih tvegal samoto in pozabljenje in se jim priklonil s svojo žalostjo in upanjem? Kdo bi želel vanje posvetiti z dobroto in svobodno mislijo? Kdo bi tvegal prezir, da bi osamljene pastirje večnosti napojil s svojo žejo in veseljem? Ne vem. Ne bi rad začel jecljati. Želel bi le, da drug drugega spodbudimo za prebujenje v temo. V resnično noč in moč življenja. Zberita pogum, draga obiskovalka in dragi obiskovalec, spomnita se in stopita v temo, na pozabljeno pot ugasnjenih svetilk. Spomnita se Indije. Spomnita se Zaratustre in Egipta. Sokratovega slovesa. Spomnita se Dionizijevega srečanja na Areopagu pod Akropolo. Spomnita se sedanjosti. Naj se podobe umetniških del vtisnejo v vaju kot kal semena na polju večnosti. Ker kaj je večnost drugega kot oranje sveta? Branje, česanje in striženje Zemlje? Negovanje ljubezni. Trdo zaslužena malica brezčasja? Ali ni naša stiska, naša osamljenost in naša bolečina tudi žarek resnice, ki vrača upanje? Prva kapljica olja? Po Platonu je vse bistveno že od nekdaj v človeku. Če hoče torej človek spoznati samega sebe, se mora hoteti in znati spomniti. Včasih se ni lahko spomniti, včasih se ne moremo, včasih se nočemo. Banalni tok vsakodnevnosti kot plima jutranjega prebujenja odnaša sledi naših sanj. Hiter in gost je, tako da ves čas ostajamo le na površini. Če se želimo potopiti in raziskati globine naše resničnosti, moramo zajeti sapo in izginiti, umreti za ta površinski, navidezni svet. Danes, ko smo preplavljeni z oglasnimi sporočili in tehnično virtualnostjo, je to morda celo lažje razumeti kot v preteklosti. A ni zato prav nič lažje storiti. Kot popotniki si lahko zamislimo kažipot, ki kaže v številne nasprotne smeri, na njem pa, čisto v sredini, piše »Sem, semle, semkaj«. Stvar torej ni tako zelo enostavna, in čeprav nam je umetnik trudoma utrl dobro polovico poti, ne moremo samo priti in nekaj vzeti. To bi bila kraja nečesa, česar ni mogoče ukrasti, umetniška dela bi obnemela in molčala. Da bi se svetilke lahko prižgale, so potrebne kapljice naše namere in pozornosti. Belina, kristalna struktura kamna in
zgolj nežni barvni nadih umetnikovih del nam sporočajo, da smo soočeni z nečim naseljivim. Z nečim, kar nas vabi v dopolnitev, ki je hkrati dopolnitev nas samih. Vabi nas v spremenjenje. Kot grški templji, ki so bili včasih pisani, danes pa so za vse nas beli. Sami jih moramo pobarvati, sami zakuriti ogenj ali se politi z vodo. Negovati svetlobo, ki je v belini. Mislim, da lahko, po soočenju z eno tako razstavo, prideš domov in se začneš rahlo drugače vesti. Malce drugače (si) voščiš lahko noč. Ira Zorko, arhitekt
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TO LOOK OR TO SEE
a deeper reality. A human being with his free will is the sole agent of his own rebirthing, but works of art have the power to awaken him to the truth of thoughts that lie within him, sleeping, waiting like a grain of seed in the soil. The artist brings us books and opens them for us. Silently, on the artist’s simple working desk, image after image is unveiled, allowing them to meet with their ancestors, through the centuries, up to this very moment. Through silence and tranquillity, the artist teaches us how to look. With the hand of patience, he directs our vision. Slowly the eye’s crust begins to dissolve, and a feeling, an awareness, is awakened in the soul about that which, through the right purpose, through listening, abandoning and succumbing, brings about and preserves what is the same in all things: the permanent, the perennial. That which remains hidden for each and every one of us when thinking about the Other and the Whole; here, under a stone, in moss, in a bird, in a man. How could one, when thinking about the clear nocturnal sky, ever stop listing them? Those forgotten words, weakened because of so much small talk, become symbols again, the voices of a resurrected alphabet. The pip, the palm, the snail, the fruit, the bud, the window, the threshold, the face, the flower, the body... The alphabet as the first word. The word that spins the symbols to recall everything that is broken and forgotten. Bridges, maturing in eternity. The artist does not let himself be confused by the opulence of the present, which might be described as a large, overripe apple, in which the excessive ripeness and sweetness are changing in the ever accelerating process of fermentation and decay. On first glance, it may therefore seem that the artist is ignoring current social affairs. Many may think that Peter Abram is not an engaged artist. In my view, however, he is one of those rare artists who search for that very thread on which artists of all centuries have strung together their best works of art, thus giving us the very thing we need today. The feeling for the essential, and for the personal experience of the essential, for that very thing that will survive within us, for the seed of the soul, as our elderly would say. Through his works, Peter Abram conveys to us the harmony and beauty that manifest themselves in simple objects, in minerals, plants,
At the very beginning, I would like to express my feeling of powerlessness and ignorance about how to appropriately invite you, visitors of the exhibition, to achieve that which one can strive for only freely and on one’s own when faced with a work of art. The circumstances of life are becoming increasingly difficult, and will sooner or later make us leave our shelters, but art such as that created by Peter Abram has the power to draw us out while the time is still right, in a poetic, artistic way. By describing this none too easy struggle of the artist and my own helplessness, I am therefore trying to encourage you to take the opportunity and step before the works of the artist not only with a critical eye examining “what he has done and how he has done it”, but as active creators of your own inner experience. Let this experience be the measure of quality for the works by Peter Abram. My own experience tells me that I can trust the power and intrinsic life of these works, and my only wish is for there to arise a living encounter between you and them. When one allows reality to come nearer, without being judgemental, a transformation begins to occur, through our own mind; an inner dialogue is triggered with a seemingly inanimate object, such as a sculpture, a sketch, a watercolour. I am trying to draw your attention to the living word that inhabits each and every one of us. The single Slovenian word spregledati, which in English can be translated as either “to begin to see” or “to overlook”, is an inherited jewel of the Slovenian language that describes very accurately the unusual and paradoxical properties of the act of looking and the experience of reality. With this word, I would like to remind you of the precious moments of insight that occur only after selfless effort has been invested, when, after overlooking something a hundred times, not really seeing it, we suddenly look again and begin to see that same thing in earnest; nothing changes on the outside, not even the letters of the word in Slovenian, and yet for the person looking everything is essentially and fundamentally different. The insight is irreversible, just like when we learn to swim or breathe. Everything that exists acquires a new meaning, a new freshness, reborn in 9
animals and human beings, when we are ready to observe in stillness and, as Peter Abram would put it, without an interest. I consider myself privileged to be able to follow the artist in the process of architectural design, as well. Regardless of whether the design concerns individual elements such as a pillar, a table, a chandelier, a fireplace, a pavement or staircase, a small footbridge over a spring, or larger tasks such as the design of façades, a bridge in the centre of Ljubljana or a city fountain, striving for the right measure, for the nature of the material and for the living language of the forms, is always at the forefront. Nowadays, we architects have almost forgotten that the language of forms is a form of thinking. With the right intent and attention, the artist gives thoughts a chance to become clearer, so that through artistic skill their light finds an image and expression in matter, in forms. Thus embodied, they can then liven up the space and lead to us a feeling for the experience of noble joy. And it is that very noble joy that can truly reduce and alleviate the suffering of our own death. And yet… Are not his images the images on the path of one who is ready to abandon this world, albeit for a moment? You are impossible, Peter Abram. At noon, at the peak of the fair, you are forcing us to banish the merchants from our temple, you are inviting us to find in our hearts a shelter against the winds of ephemerality. Powerless, that is how your works are, like switched-off lamps in an already illuminated world, waiting in vain for the tiny spark of their finder. Who would risk, in these noisy, insatiable times, loneliness and oblivion, only to bow before them with his own sadness and hope? Who would risk contempt, only to offer the lonely shepherds of eternity his own thirst and joy? I do not know. I do not want to begin to stutter. I only wish that we could awaken each other to the darkness, to the true night and might of life. So gather your courage, Ladies and Gentlemen, remember and step into the darkness, on the forgotten path of spent lamps. Remember India. Remember Zoroaster and Egypt. The farewell of Socrates. Remember the encounter of Dionysus on the Areopagus under the Acropolis. Remember the present. May the images of works of art
become instilled in you as a germ of the seed on the field of eternity. For what is eternity other than the ploughing of the world? The reading, combing and trimming of the Earth? The nurturing of love? The well-deserved repast of timelessness? Is not our distress, our loneliness and our pain, also a ray of truth that brings back hope? The first drop of oil? According to Plato, the essential has always been in the man, since time immemorial. If a man wishes to truly know himself, he must long to and know how to remember. Sometimes it is not easy to remember, sometimes one cannot, or does not want to remember. The mundane current of everyday life washes away the traces of our dreams like the high tide of morning awakening. It is quick and dense, so we always remain only on its surface. If we wish to delve in and explore the depths of our reality, we need to take a deep breath and disappear, die for this superficial, fictitious world. Nowadays, when we are overwhelmed with commercials and technical virtuality, this may even be easier to understand than in the past. But that makes it no easier task. As travellers, we may imagine a signpost, pointing in different directions, bearing in its very centre the message: “This way”. So the whole matter is not so simple, and even though the artist has strived to bring us half way through, one cannot simply come and take something away. This would be theft, we would be stealing something that cannot be stolen, and the works of art would remain silent and still. To make the lamps shine again we need droplets of our intent and our attention. The whiteness, the crystalline structure of the stone and only a gentle hint of colour are telling us that we are facing something inhabitable, something that keeps inviting us to complement it, thus complementing ourselves. It is inviting us to change. Just like Greek temples that used to be painted, but now are white for all of us. We need to paint them ourselves, we need to light the fire or pour water over ourselves, to nurture the light that lies in the white. I think that after being faced with one such exhibition, one may come home and begin to behave slightly differently. One says good night ever so slightly differently. Ira Zorko, architect 10
Aquarius, les, 35 x 12 x 12 cm
Prehajanja, kamen, 59 x 18 x 9 cm 12
Jaldaboath, kamen, 67 x 28 x 16 cm 13
Brez naslova, kamen, 33 x 25 x 15 cm 14
Triptolem, kamen, 30 x 11 x 11 cm 15
Brez naslova, risba s tušem, papir, 30 x 21 cm 16
Ženska figura, kamen, 33 x 10 x 10 cm 17
Krona, kamen, 20 x 24,5 x 6,5 cm
Brez naslova, risba s tušem, papir, 30 x 21 cm 20
Mladost, kamen, 31 x 40 x 16 cm
Cvet, kamen, 11 x 44 x 44 cm
Stela, kamen, 46 x 36 x 11 cm
Drevo, kamen, 30 x 10 x 10 cm
Brez naslova, risba s tušem, papir, 21 x 30 cm 25
Impresija v heksagramu, kamen, 11 x 25 x 25 cm
Portret, les, 20 x 6 x 10 cm
Nunet, kamen, 70 x 13 x 20 cm
Brez naslova, risba s tušem, papir, 21 x 30 cm 29
Plasti, kamen, 22 x 12 x 12 cm
Brez naslova, risba s tušem, papir, 30 x 21 cm 31
Roka, kamen, 27 x 17 x 10 cm
Brez naslova, kamen, 25 x 17 x 11 cm
Mir, kamen, 29 x 12 x 21 cm
Brez naslova, risba s tušem, papir, 30 x 21 cm 35
Vrata, lesorez, papir, 25 x 17 cm 38
Jutro, lesorez, papir, 25 x 35 cm 39
Tiho탑itje, lesorez, papir, 25 x 35 cm 40
Ro탑e, lesorez, papir, 45 x 35 cm 41
Griči, risba s svinčnikom, papir, 24 x 35 cm Griči, akvarel, papir, 22,5 x 35 cm 44
Most, risba s svinÄ?nikom, papir, 28 x 35 cm Most, akvarel, papir, 21 x 35,5 cm 45
Figura, olje na platnu, 80 x 60 cm 46
Figura, risba s svinÄ?nikom, papir, 35 x 24 cm 47
Nejasne stvari, olje na platnu, 40 x 50 cm 48
Brez naslova, risba s svinÄ?nikom, papir, 24 x 35 cm 49
ÄŒajnik, olje na platnu, 25 x 30 cm 50
Gora, olje na platnu, 50 x 60 cm 51
Vzpetina, olje na platnu, 24 x 31 cm 52
Brez naslova, risba s svinÄ?nikom, papir, 24 x 35 cm 53
Samostojne razstave / Personal exhibitions
Peter Abram (1956), slikar, kipar, ilustrator in likovni pedagog, spada med tiste ustvarjalce, ki za svojo likovno pripoved uporabljajo najraje le malo potez in le nekaj barvnih odtenkov. Belina ima v risbah, lesorezih, oljih vedno svojo govorico, prav tako prvobitna struktura kamna v kiparskih delih. Njegove zgodbe so redko opisi zunanjega sveta ali resničnih ljudi. Pred nami se nakazuje svet miselnih praoblik, v katerega običajno vstopamo le v trenutkih zbranosti in posebnega razpoloženja. Slutnja nečesa bolj harmoničnega in bolj varnega, kot lahko izkusimo v vsakdanjih odnosih. Približevanje stanjem, ki jih doživljamo onkraj bojevanja, onkraj minljivosti. Šolal se je na Akademiji lepih umetnosti v Benetkah in nadaljeval podiplomski študij na ljubljanski likovni akademiji. Za njim je preko 50 samostojnih in 40 skupinskih razstav ter zbirka likovno opremljenih knjig, med katerimi je najbolj znana večkrat ponatisnjena uspešnica pisatelja Jeana Gionoja Mož, ki je sadil drevesa, ki jo je Peter Abram opremil z barvnimi lesorezi. V motiviki iz narave ostaja najbolj zvest Krasu, v simbolih in portretih pa starodavnim izročilom. Izraziti tisto, kar je brezčasno in brezkrajno, je izziv v vseh letih njegovega ustvarjanja. Svoje likovno področje poglablja z raziskovanjem izvornih vzgibov, iz katerih nastajajo oblike pojavnega sveta, na čemer temeljijo tudi načela geometrije, starodavnih arhitekturnih znanj in odnosa do okolja, soodvisnosti med človekom in stvarstvom. Živi in ustvarja v vasici Pedrovo nad Branikom.
1983 - Galerija Meblo, Nova Gorica 1984 - Klub kulturnih in znanstvenih delavcev in Informacijski center za družboslovje, Ljubljana / Mala galerija, Sežana 1988 - Cankarjev dom (Likovno delo meseca), Ljubljana 1990 - Likovna vitrina, Nova Gorica / Mala galerija Sežana 1992 - Pilonova galerija Ajdovščina / Galerija Rika Debenjaka, Kanal 1993 - Galerija Jazbec, Tupelče pri Štanjelu 1994 - Ars Sacra, Maribor / Galerija Šivčeva hiša, Radovljica / Stebriščna dvorana v Mestni hiši, Kranj 1997 - Gotska kapelica ob prireditvi Vilenica ‘97, Lokev 1998 - Domačija družine Kerkoč, Batuje / Razstavišče Stolp na vratih, Štanjel / Galerija Commerce, Ljubljana / Galerija Artes, Nova Gorica / Ljubljana, Galerija ISKRA-Sistemi 1999 - Kulturni dom, Branik / Galerija Jazbec, Tupelče pri Štanjelu / Galerija Artes, Nova Gorica / Razstavišče Stolp na vratih, Štanjel / Zavod sv. Stanislava, Ljubljana 2000 - Galerija Šivčeva hiša, Radovljica / Galerija Hotela Lek, Kranjska gora / Galerija Mestne knjižnice Maribor 2001 - Galerija Društva likovnih umetnikov, Kranj / Galerija ZDSLU, Ljubljana / Razstavišče poslovne stavbe Elektro Kranj 2002 - Knjižnica Komen / Kvadratni stolp Štanjel 2003 - Etnografski muzej, Ljubljana / Galerija Instituta "Jožef Stefan", Ljubljana / Knjigarna Novak, Ljubljana / Razstavišče v Kurnikovi hiši, Tržič 2004 - Knjižnica Srečka Kosovela Sežana, ob 100-letnici rojstva Srečka Kosovela / Galerija Celica, Ljubljana 2005 - Galerija Krka, Novo mesto / Filozofska fakulteta, Ljubljana 2006 - Galerija Mercator, Ljubljana / Knjigarna Celjske Mohorjeve družbe, Ljubljana / Lavričeva knjižnica Ajdovščina / Kosovelov dom Sežana / Koroški pokrajinski muzej, Slovenj Gradec 2007 - Goriška knjižnica Franceta Bevka, Nova Gorica 2010 - Galerija Insula, Izola 2012 - Galerija Rika Debenjaka, Kanal / Lutkovno gledališče Maribor / Vogelni stolp, Kojsko 2016 - Mestna galerija Nova Gorica, Nova Gorica 2017 - Galerija in Stebriščna dvorana v Mestni hiši, Kranj / Muzeji radovljiške občine, Radovljica / Galerija Ljubljanski grad, Ljubljana
Peter Abram (1956), painter, sculptor, illustrator and art teacher from the Karst Region is one of the artists that rely on a few traits and a modest range of shades of colour. White spaces convey their own meanings in drawings, woodcuts and oil paintings, as well as the primitive texture of stone in his sculptures. His stories are seldom descriptions of the external world or actual people. What we see is rather a world of cognitive archetypes, which we only access in moments of consciousness and specific emotions: a sense of something more harmonious and safer than can be experienced in day-to-day dealings. His art talks about approaching states that we feel beyond fighting and transiency. Peter Abram studied at the Accademia di Belle Arti in Venice and continued his post-graduate education at the Academy of Fine Arts and Design of Ljubljana. He holds over 50 individual and 40 collective exhibitions on record, alongside a series of book illustrations, including the famous and continuously re-printed Jean Giono’s The Man Who Planted Trees, which Peter Abram embellished with colour woodcuts. In depicting nature, he remains committed to his native Karst in symbols, portraits and heirloom. His main challenge along all the years of creation continues to be to express everything that is timeless and beyond all boundaries. Peter Abram continues to deepen his sense of creative arts by exploring the primordial forces that are creating the forms of the manifest and dictating the principles of geometry, ancient architecture and man’s approach to nature, as well as the intertwined faith of man and creation. Peter Abram lives and works in the village of Pedrovo above Branik. www.peterabram.si
Skupinske razstave / Group exhibitions 1980 - Assessorato alla pubblicita istruzione centro civico Piazza Ferreto, Mestre pri Benetkah 1983 - Galerija Osnovne šole Solkan / Galerija Mestni muzej Idrija / Galerija Knjižnice Cirila Kosmača Tolmin / Galerija Meblo, Nova Gorica 1999 - Skupinska razstava Društva likovnih umetnikov severne Primorske na Gradu Vogarsko / Prvi mednarodni kraški bienale prave grafike Komen / Bienale ilustracij, Cankarjev dom Ljubljana / Exlibris 99, Škofja Loka (1. nagrada) 2000 - 4. bienale mesta Kranja (Priznanje strokovne žirije) / Majski salon 2000, Jakopičevo razstavišče Ljubljana / Goriški muzej Kromberk 2001 - Ekstempore Gorica (nagrada žirije) / 1. mednarodni ekstempore galerije Avsenik, Begunje na gorenjskem / Forma viva Tržič (javna skulptura) / Projekt Slovenija odprta za umetnost, Sinji Vrh 2002 - Bienale ilustracij, Cankarjev dom Ljubljana / Potujoča razstava Umetniki za Karitas
Sponzor spletne strani:
54
2003 - Stalna razstava Zbirka ilustracij v Šivčevi hiši, Radovljica 2004 - Štanjel, Koper, Ljubljanski grad: ESPRIMA 2004, Mednarodna likovna delavnica 2006 - Sežana, Dunaj, Bratislava, Milano: Globine, razstava mednarodne likovne kolonije / Galerija ZDSLU Ljubljana / Galerija HIT Nova Gorica: Slika brez besede, likovna razstava sekcije ilustratorjev / Majski salon 2006, Slovenska Bistrica 2007 - Galerija Elektra, Kranj 2008 - Mestna galerija Nova Gorica: Odprtost barvnega sveta / Mestna galerija Ljubljana: Iz Mercatorjeve likovne zbirke / Nabrežina Italija, Kreativna prepletanja - razstava obmejnih likovnih ustvarjalcev / Galerija ZDSLU Ljubljana, Galerija Milotić Pula, Mestna galerija Nova Gorica: Odprtost barvnega sveta, skupinska razstava Društva likovnih umetnikov Severne Primorske 2010 - Mestna hiša, Celovec, razstava Društva likovnih umetnikov Severne Primorske 2011 - Mednarodna likovna kolinija Vipavski Križ 2012 - Mednarodna likovna kolinija Vipavski Križ / Lokarjeva galerija Ajdovščina, razstava Društva likovnih umetnikov Severne Primorske
1998: 1999: 2000: 2001: 2002: 2003: 2004:
Kristal Vilenica 98, kamnita skulptura / Nagrada Vilenica 98, akvarel. Kristal Vilenica 99, kamnita skulptura. Kristal Vilenica 2000: kamnita skulptura / Nagrada Vilenica 2000, lesorez / Nagrada za najbolj urejeno okolje v podjetjih, GZS Nova Gorica, kamnita skulptura. Kristal Vilenica 2001, kamnita skulptura. Kristal Vilenica 2001, kamnita skulptura. Vilenica 2003, miniaturne skulpture kamen - glina “Spomin zemlje”. Nagrada Ambassador of Culture Central Europian Initiative, kamnita skulptura / Vilenica v letih od 2004 do 2013, kamnita skulptura.
Bibliografija likovnih kritik in drugih besedil o likovnem delu Petra Abrama / Bibliography of art reviews and other articles about Peter Abram’s art Prof. FRANCCALINI. Besedilo v katalogu k skupinski razstavi v Centro civico Piazza Ferretto - Mestre, 1980. KOVIČ, Brane. Besedilo v katalogu k razstavi v Mali Galeriji Sežana, 1984. VUK, Marko. Tihožitje s steklenico, besedilo za Likovno delo meseca, Cankarjev dom, maj 1988. Dr. KERMAUNER, Taras. Slikarstvo Petra Reharja, Kristjanova obzorja, februar 1998. Dr. KERMAUNER, Taras. Besedilo v katalogu k razstavi v Mali galeriji Sežana, ZKO Sežana, december 1990. MESESNEL, Janez. Besedilo v katalogu k razstavi v Pilonovi galeriji Ajdovščina, 1992. PREGL KOBE, Tatjana. Besedilo v katalogu k razstavi v Galeriji Rika Debenjaka, Kanal, Goriški muzej, 1992. ABRAM, Polona. Besedilo v katalogu k razstavi v Gostilni Jazbec, Tupaliče, 1993. PREGL KOBE, Tatjana, ABRAM, Polona. Besedilo k razstavi v Galeriji ARS SACRA, Maribor, februar 1994. AVGUŠTIN, Maruša. Besedilo v katalogu k razstavi v Šivčevi hiši Radovljica, Muzeji radovljiške občine, maj 1994. GLOBOČNIK, Damir. Besedilo v katalogu k razstavi v Gorenjskem muzeju Kranj, Gorenjski muzej, januar 1995. ABRAM, Polona. Besedilo k razstavi ilustracij Kosovelovih pesmi v Gotski kapelici v Lokvi, ob Vilenici 1997, ZKO Sežana, 1997. ROŽIČ, Janko. Besedilo v katalogu k razstavam v Galeriji Commerce – Ljubljana, Razstavišču Stolp na vratih, Štanjel in Galeriji Artes, Nova Gorica, 1998. AVGUŠTIN, Maruša. Primorski portreti: Preprosto in pristno v ustvarjalnosti Petra Abrama, Primorska srečanja, št. 204, 1998. ROŽIČ, Janko, AVGUŠTIN, Maruša. Besedilo k razstavi v Galeriji Iskra Sistemi, Ljubljana, 1999. LEBAR, Marija. V Knjižnici Ivana Tavčarja Škofja Loka se po dveh letih ponovno srečujemo z ekslibrisom, besedilo k skupinski razstavi Ekslibrisi ‘99, Knjižnica Ivana Tavčarja, Škofja Loka, 1999. BOLTAR, Barbara. Narava notranjosti, besedilo k razstavi v Galeriji Šivčeva hiša – Radovljica in galeriji Hotela Lek Kranjska Gora, Muzeji radovljiške občine, Radovljica, marec 2000. AVGUŠTIN, Maruša. Besedilo k skupinski razstavi v Galeriji v Mestni hiši, Likovno društvo Kranj, 2000. KRIVEC DRAGAN, Judita. Haiku v podobi, besedilo v katalogu k razstavi v ZDSLU, Ljubljana, 2001. AVGUŠTIN, Maruša. Besedilo v katalogu k Formi vivi v Tržiču, Občina Tržič, 2001. AVGUŠTIN, Maruša. Besedilo v katalogu k razstavi v Knjižnici Komen in Kvadratnem stolpu v Štanjelu, september 2002.
Ilustracije in opreme knjig / Book illustrations - KOSOVEL, Srečko. Otrok s sončnico. Runolist / ZKO Ilirska Bistrica in Sežana 1997 (ob Vilenici 1997). Ilustracije v kamnu in oprema. - KERMAUNER, Taras. Gradnikova pot k Bogu. ZKO Nova Gorica 1997. Grafična mapa z akvareli. - GIONO, Jean. Mož, ki je sadil drevesa. Založništvo Abram, Branik 1998. Lesorezi, oprema knjige in grafična mapa. - Revija Primorska srečanja, št. 204, 1998. Likovna priloga. - SVETINA, Janez. Duhovna govorica pravljic. Založništvo Abram, Branik 1999. Lesorezi, oprema knjige in grafična mapa. - ŽERJAL, Aldo. Glasbajala. Pomurska založba, Murska Sobota 2000. Oblikovanje naslovnice. - TOMŠIČ, Marijan. Prah vesolja. Cankarjeva založba, 2000. Oblikovanje naslovnice. - Zgodba o Savitri. Pripoved vidca Markandeje iz Mahabharate (Prevod PACHEINER-KLANDER, Vlasta). Založništvo Abram 2002. Ilustracije in oblikovanje. - KOSOVEL, Srečko. Sonce na Krasu. Založništvo Abram, Branik 2004. Ilustracije v kamnu in oprema. - MUCK, Kristijan. Sinji klici. Založništvo Abram, Branik 2006. Ilustracije in oblikovanje. - KONC LORENZUTTI, Nataša. Bela, bela lilija, Celjska Mohorjeva družba 2006. Lesorez za naslovnico. - KONC LORENZUTTI, Nataša. Jezik molka, Celjska Mohorjeva družba 2009. Oblikovanje naslovnice. - BOGDANOVIĆ, Dušan. Prayers (glasbeni CD, 2013). Oblikovanje naslovnice. - Celostna podoba za festival Dnevi stare glasbe 2011‒2016. - SORČ, Ervin. Listki z upognjene veje 2014. Ilustracije in oblikovanje. - THOMAASENN, Maryot. Pogovori. Mohorjeva družba 2015. Ilustracije. Oblikovanje nagrad / Award designs 1997: Nagrada Vilenica 97, kamnita skulptura / Nagrada za najbolj urejeno okolje v podjetjih, GZS Nova Gorica, kamnita skulptura. 55
PREGL KOBE, Tatjana. Besedilo k razstavi v Etnografskem muzeju, januar 2003. PREGL KOBE, Tatjana. Umetnost, ki šepeta z barvno harmonijo. Katalog k razstavi v Institutu "Jožef Stefan", Ljubljana, jan. 2003. BOLTAR, Barbara, AVGUŠTIN Maruša. Besedili v katalogu k Stalni zbirki ilustracij v Galeriji Šivčeva hiša, Radovljica, 2003. NEMEC, Nelida. Besedilo v katalogu k Mednarodni likovni delavnici – Esprima 04, Štanjel, 2004. PREGL KOBE Tatjana. Besedilo k razstavi v Galeriji Krka Novo mesto, 2005. NEMEC, Nelida. V kamen, risbo, sliko in lesorez zapisana misel.
CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana
Katalog k razstavi v Galeriji Mercator, Ljubljana, 2006. ABRAM, Polona. Besedilo za zloženko, razstava v Kosovelovem domu Sežana, oktober 2006. KOŠAN, Marko. Besedilo v katalogu, razstava v Koroškem pokrajinskem muzeju, december 2006. MEHMEDOVIČ, Dejan. Besedilo v katalogu ob razstavi v Galeriji Insula, Izola, 2010. PREGL KOBE, Tatjana. Postaje umetnikovih duhovnih poti, besedilo v katalogu ob razstavi v Galeriji Rika Debenjaka, Kanal, 2012.
Izid kataloga sta omogočila:
730(497.4):929Abram P. ABRAM, Peter Peter Abram : pregledna razstava / [besedila Damir Globočnik, Ira Zorko ; prevod v angleščino Peter Szabo, Helena Biffio ; fotografije Foto atelje Pavšič Zavadlav]. - Nova Gorica : Javni zavod Kulturni dom, 2016 284150016
Sponzor razstave:
Katalog založil in izdal: Javni zavod Kulturni dom Nova Gorica, Mestna galerija Nova Gorica, zanj odgovarja: Pavla Jarc in Gorenjski muzej, zanj odgovarja: Marjana Žibert – Urednica: Mateja Poljšak Furlan – Besedila: Damir Globočnik in Ira Zorko – Prevod: Peter Szabo, Helena Biffio – Lektor angleškega prevoda: Neville Hall – Fotografije: Fotoatelje Pavšič Zavadlav – Oblikovanje: Peter Abram & Adenda d.o.o. – Tisk: Tiskarna Present d. o. o. – Naklada: 800