Suzana Brborović: Observatorij

Suzana Brborović

OBSERVATORIJ

Suzana Brborović OBSERVATORIJ

OBSERVATORIJ

Suzana Brborović se v Mestni galeriji Nova Gorica predstavlja z nedavno ustvarjeno serijo slik večjih in srednje velikih formatov. Večletna znanka številnih skupinskih razstav v dotični instituciji letos prvič nastopa samostojno, razstavljena pa so dela, ki so nastala med leti 2020 in 2022. Ta v svojem jedru dovršeno ohranjajo za umetnico značilne strukturalistične arhitekturne elemente, potencirano geometrijo in gradnjo slike z odvzemanjem skrbno nanesenih plasti. S tega vidika umestitev dotičnih slik v apartno ovalno razstavišče predstavlja nenavaden kontrast med na prvi pogled nehvaležnim tlorisom galerije in nesporno strogostjo ter linearnostjo umetnin, ki primarno izžarevajo preciznost, ostrino, disciplino in strukturnost. Pa vendar, navidezno neskladje ustrezno pritiče pojavnosti novih del, katerih nabor označuje prelomnico v umetničini praksi, ki se z nezanemarljivimi spremembami odraža tako na oblikovni, kot tudi na vsebinski ravni. Lahko bi se tudi spogledovali z idejo, da je ravno novogoriška galerija, ki s svojo obliko in svodom spominja bodisi na orbito, observatorij ali vežo vesoljnega plovila, ravno prav dopadljiv in ustrezen prostor za avtoričino novo serijo, ki je odločno usmerjena kvišku in fokusirana na nebo.

Observatorij nam postreže z deli, katerih osrednja tema je upiranje pogleda v prostranstvo, v nebo in vesolje. Zelo obširno in nemalokrat nedoumljivo izhodišče se v tandemu z življenjskimi spremembami umetnice in gonjo po alteraciji načina dela manifestira v likovnem eksperimentiranju, drzni igrivosti in dopuščeni sproščenosti. Dasiravno nove vizualne težnje in vsebinske preobrazbe pri novonastalih delih niso najbolj očitne ali hipoma prepoznavne, je v njih zaznati zračnost, namignjeno imaginarno vsebino, domišljijsko distopijo in sanjave privide. Med očitnejše novitete spadajo fantastične podobe nočnega neba, ki jih zaznamuje mistična temačnost in globoke, v teksturah in odtenkih križajoče se črnine. Pridružujejo se jim prevetreni posnetki teleskopskih in astronomskih fotografij prepletenih ter likovno podkrepljenih z geometričnimi mrežami svetlejših barv, ki pretkano zabrišejo mejo med tehnološkimi izumitvami človeštva in transcendentalnimi pojavi fizike. Nalašč manj sugestivne in temu primerno manj očitne so navezave na specifična literarna ali umetnostnozgodovinska izhodišča, ki se na slikah uresničujejo bodisi v obliki forme, barvne palete ali umetelnosti, bodisi narekujejo ozračje, ambient, pogosto kar dobesedno atmosfero. Afirmirano arhitekturno in zgodovinsko proučevanje struktur so v tem oziru nadomestila specifična vsebinska zanimanja in razmišljanja o nedoločljivi, a hkrati izjemno potencialni bodočnosti.

Odmik od na videz začrtane umetniške prakse Suzane Brborović se na razstavi razodeva v dinamičnem razmerju med organskimi novostmi in zapuščinsko stalnico. Mestoma ostaja zvesta preteklosti, spet drugje oziraje v prihodnost razbija meje lastnega udobja in navad. Glavni atributi kot so geometrijske strukture, črte in arhitektura ostajajo, a posvojijo značilnosti igrivega, celo ležernega. Umetniško delo postane manj grafično, bolj abstraktno in sproščeno. Zopet nas na primer spremljajo umetnici ljubi heksagoni, ki kot izredno prikladen in čvrst mnogokotnik spomnijo tako na čebelje satovje, progresivno urbanistično načrtovanje in berlinske antenske kupole, kot tudi na geodezične paviljone za glamping ali rejv, famozno preprogo iz najuspešnejše Kingove ekranizacije ali priljubljeno igro Naseljenci otoka Catan Na slikah so le ti ilustrirani kot nekakšni sestavljeni zasloni, ki na princip Trumanovega šova omogočajo personalizirane poglede v nebo. Če se je v prejšnjih serijah umetnica navezovala denimo na zapuščene ruševine in reminiscence nemške industrializacije, se pri novih delih konkretneje naslanja na tehnološki napredek in znanstvenofantastični žanr. Tega zaznamujejo z vesoljem povezane zadevščine, infrastrukture in tehnologija, ki poleg vprašanja o lastnem obstoju in percepciji univerzuma razgrinjajo enigmatično razpotje med tehnološko utopijo ali fatalno pogubo.

Kritičnost in bržkone morbidnost se pri premiernem ogledu del zazdi kot zgolj oddaljena, ne pretirano grozeča sugestija. Navzoča so na prvi pogled vsebinsko nezahtevna in krotka dela, katerih glavna krepost ostaja likovnost in nesporna osredotočenost na sliko kot medij. Prvobitni cilj ustvariti estetsko zanimive slike, pri katerih umetnica zagonetno vsebino in zgodbo kompenzira z uporabo specifičnih barv, oblik in občutki lebdenja, se uresniči v podobah, ki presenetijo z brezhibno tehnično izvedbo, očesu zanimivo kompozicijo in zmožnostjo prisojanja absurdnih referenc. Ena izmed teh je slika z naslovom Imagine a tree, ki z izbrano barvno paleto, umeščenimi elementi in kompozicijo deluje kot odvod enega bolj priljubljenih t.i. mikro-žanrov svojevrstne vizualne estetike popularizirane na spletu imenovane vaporwave. Žanr, ki je vzniknil v prvem desetletju enaindvajsetega stoletja zaznamujejo ponavljajoči se elementi palm posajenih v obliki drevoreda, mreža ali cesta, ki se vleče v horizont, sončni zahodi, v nebo dvigajoči se nebotičniki, fragmenti slavnih antičnih plastik, okenca in logotipi prepoznavnih programskih oprem, oblaki in indicirani deli tehnoloških naprav ali prevoznih sredstev. Vse skupaj preveva kombinacija vijoličnih, rožnatih, oranžnih in turkiznih odtenkov, čeznje pa se veže neonski filter in izrazita mrežasta tekstura ali šahovnica. Omenjenemu subkulturnemu žanru pritiče tudi vsebinski normativ, ki na

2021, akril na platnu / acrylic on canvas, 140 x 120 cm

satiričen način opozarja na ambivalentno sožitje nostalgije, popularne kulture in tehnologije z namečkom potrošništva, oglaševanja in kapitalizma. Če kaj od naštetega drži za slike Suzane Brborović, sta to zagotovo ambivalenca in kaos vsevprek, ki se na platnu sestavi v smiselno, estetsko zadovoljujočo se celoto. Elementi kot so barviti oblaki, zametki sončnih zahodov in odmevi ustvarjanja v klasičnem Slikarju iz devetdesetih se sicer pojavijo tudi na nekaterih drugih slikah, a so v vizualnem smislu primarni umetničinemu slogu in likovni genezi, kjer gledalec vsaj z vsebino ostaja načrtno neobremenjen.

Korektno tolmačenje učinkov slik na gledalca in njihovo delovanje v razstavnem prostoru je vkljub moči pisane besede prej izjema kot pravilo. Bržkone resnična je misel, da še tako kompleksen opis in odlična reprodukcija slikam ne delata nikakršne usluge. Ogled slik v živo omogoča edinstveno izkustvo trodimenzionalnosti in zaznavo vseh tekstur, barv, drobnih detajlov, kontur ter različno debelih nanosov barve. V stvarnosti in materialnosti so v živo videti drugače, občutno zahtevnejše in še bolj impresivne. Na nekaterih delih se zazdi, da se pod površino videnega skriva še pet drugih umetnin. Avtorica namreč posamezno sliko gradi na zelo kompleksen način premišljenega plastenja barv, uporablja lepilne trakove, poslužuje se računalniških programov, kolažiranja, izrezovanja in projiciranja. Tvarino na platnu, ki jo nalašč zakomplicira in kar se da nakopiči, nato postopoma odvzema in sliko vzvratno razplasti. Z nepogrešljivimi orodji kot sta selotejp in ostro rezilo tako ustvarja zelo precizne, tehnično delikatne slike, sam postopek pa je dolgotrajen in garaški, terja dobro mero koncentracije, dobro vizijo in odločnost. Ta postopek ustvarjanja pogosto prinaša naknadna vizualna odkritja in presenečenja ter ustvari nove dialoge med plastmi, ki zavoljo dovršene in uravnotežene slike terjajo dodatno prilagajanje, predvsem pa čas. Posamezna slika zato lahko nastaja tudi več let, v procesu izpopolnjevanja pa kakšno delo tudi propade in se izrodi. Ne preseneča, da so se ob spremenljivih pogojih dela zavoljo širše produkcije sprejele odločitve, ki uresničujejo težnjo po svežem pristopu in malenkostni razbremenjenosti. Jasni premiki k očitno svobodnejši, neobremenjeni in abstraktni potezi so se zgodili že pri seriji poimenovani Doodles, ki je bila ob koncu leta 2020 predstavljena v ljubljanski galeriji Škuc. Serija, ki je bila v določenih pogledih narejena v koprodukciji z neobremenjenim enoletnikom, je predrugačila umetničin način dela in ji dopustila biti bolj igriva, sproščena, celo manj sadistična. Zmes omenjenih pristopov privede do dotiče razstave, ki uteleša ravno pravšnje razmerje med razpuščenim in strukturalnim.

Ni skrivnost, da so na likovnem področju uveljavljene in dodobra prepoznane slike Suzane Brborović od gledalca venomer terjale nekoliko več pozornosti in zbranega motrenja. Slike so v svoji pojavnosti in reševanju prostorskih problemov tako intenzivne, da nagovarjajo tako neuklonljivega naravoslovca, kot tudi zasanjanega svobodomisleca. Razstava Observatorij združuje umetničin nadzorovan pogled, spreminjajoče se fascinacije in združevanje likovnih pristopov. Postreže z intimnim kolažem urbanističnih osnov, geometrije, popularne kulture, ponotranjene estetike, nadgrajenih arhitekturnih pejsažev in prostranega vesolja. Njeno srčiko bi lahko zaokrožili na podlagi motrenja slednjih dveh idej. Lastno bivanje in razumevanje obstoja namreč pogosto osmišljamo skozi prostor in arhitekturo. Druga stvar skozi katero to počnemo je preklemano vesolje, ki ostaja nesporna inspiracija, hkrati pa vzbuja nevzdržen strah in paranojo. Suzana Brborović spretno žonglira z obema. Na slikah oživlja na eni strani nedoumljiv kontrast med redom, izračunljivostjo, natančnostjo, na drugi pa nezanemarljiv kaos, fluidnost, spremenljivost in nepredstavljivost vesolja. Pogled v nebo, ki ironično indicira ozir v preteklost, je tako premetena metafora za načrtno upodobljeno neskladje, ki v delih nastopa kot nerazločljiva ukana, zavajajoča ali zremo v fantastično prihodnost ali prikrito sedanjost.

Maša Žekš Connection building

2021, akril na platnu / acrylic on canvas, 180 x 160 cm

OBSERVATORY

Suzana Brborović is showcasing her recently created series of large and medium format paintings at the Nova Gorica City Gallery. Having been included in many of the gallery’s group exhibitions over the years, she is exhibiting solo for the first time here, presenting works she created between 2020 and 2022. At their core, the works impeccably retain the artist’s signature structuralist architectural elements, accentuated geometry, and the construction of images by the removal of carefully stratified layers. In this sense, the placement of the paintings into the separate, oval exhibition space represents a remarkable contrast between the seemingly ill-suited layout of the gallery and the undisputed strictness and linearity of the paintings, which primarily exude precision, sharpness, discipline, and structure. And yet, the ostensible disparity dovetails with the appearance of the new works, which mark a turning point in the artist’s practice, reflected in the not insubstantial changes in both form and content. One might even be tempted to say that the gallery in Nova Gorica, whose shape and arch are reminiscent of either an orbit, an observatory, or the hallway of a spacecraft, is just the right kind of appealing and suitable space for the artist’s new series, which is firmly upward looking and focused on the sky.

Observatory delivers works whose central theme is gazing into the expanse, into the sky and the universe. In tandem with changes in the artist’s life, and driven by the desire to alter how she works, this very expansive and infrequently unfathomable premise manifests itself in artistic experimentation, bold playfulness, and an indulgent sense of relaxation. Even though the new visual desires and transformation of content are not very obvious or immediately recognisable in the newly created works, they evince a sense of airiness, implied imaginary content, a fantastic dystopia, and dreamy apparitions. Among the most obvious novelties are fantastic images of the night sky characterised by a mystical darkness and overlapping textures and hues of deep blacks. They are joined by crisp shots of telescopic and astronomic photographs intertwined and visually supported by geometric grids in lighter colours that cunningly blur the boundary between humankind’s technological inventions and the transcendental phenomena of physics. Intentionally less suggestive and consequently less obvious are the references to specific premises from literature or art history, which are either embodied in the paintings as forms, colour palettes, or artistry, or that dictate the vibe, ambient, and often quite literally the atmosphere. In this sense, the established architectural and historical study of structures has been replaced by specific interests and reflections on a vague yet extraordinarily potent future.

Brborović’s departure from her seemingly established artistic practice is revealed in the exhibition as a dynamic relationship between organic novelties and inherited mainstays. Sometimes she remains faithful to the past, at other times, glancing into the future, she shatters the boundaries of her own comfort and habits. The principal attributes, such as geometric structures, lines, and architecture, remain, but they take on playful, even laid back, characteristics. The artwork becomes less graphic, more abstract, and more relaxed. For example, we are once again faced with the artist’s much beloved hexagons, an exceptionally versatile and firm polygon that recalls not just honeycombs, progressive urban planning, and the antenna domes of Berlin, but also geodesic glamping or rave domes, the hotel carpet from the most well-known film based on a Stephen King novel, or the popular board game Settlers of Catan. In the paintings, the hexagons are illustrated as some sort of composite screens that provide a personalised glance into the sky akin to the principle used in The Truman Show. While in her previous series the artist, for example, evoked abandoned ruins and remnants of German industrialisation, in her new works she leans more substantially on technological progress and science fiction, a genre characterised by objects, infrastructure, and technology related to space that not only raise the issue of one’s own existence and perception of the universe, but also disclose the enigmatic crossroads between technological utopia and fatal perdition.

The first time one sees the paintings, critique and morbidity seem more like a remote than truly imminent suggestion. The works initially come across as undemanding and meek, their main virtue being their visual impact and an undeniable focus on painting as the medium. The original goal of creating aesthetically interesting paintings in which the artist compensates for the perplexing substance and story with the use of specific colours, forms, and a sense of levitation is materialised in images that astonish with impeccable technical delivery, visually arresting composition, and the ability to elicit absurd references. One such painting is Imagine a Tree, whose selected colour palette, positioning of elements, and composition appear like an offshoot of vaporwave, a micro genre popularised online that has an idiosyncratic visual aesthetic. A genre originating in the 2000s, it is characterised by repetitive elements of palm-lined avenues, a grid or road stretching into the horizon, sunsets, towering skyscrapers, fragments of famous ancient statues, the windows and logos of well-known software, clouds, and implied parts of technological devices or modes of transportation. All of this is suffused with a combination of violet, pink, orange, and turquoise hues, overlaid by a neon filter and a distinct grid or chessboard structure. Inherent in this subculture genre

Three bodies 2021, akril na platnu / acrylic on canvas, 140 x 120 cm

is a content norm that satirically highlights the ambivalent coexistence of nostalgia, popular culture, and technology, with a pinch of consumerism, advertising, and capitalism thrown in for good measure. Out of all this, Brborović’s paintings reflect at a minimum ambivalence and prevalent chaos, which slot together into a sensible, aesthetically self-satisfied whole on canvas. Elements such as colourful clouds, hints of sunsets, and echoes of the classic 1990s software Paint do appear in some other paintings as well, but in visual terms they are primary to the artist’s style and artistic genesis, leaving the viewer deliberately unencumbered by content.

An interpretation of the effects of paintings on the spectator and their impact on the exhibition space that does the paintings justice is an exception rather than the rule despite the power of the written word. What some say is probably true – that no matter how complex the description and how excellent the reproduction, they are a disservice to the actual paintings. Seeing these paintings in person provides a unique experience of threedimensionality as one perceives all the textures, colours, minute details, contours, and different thicknesses of the layers of paint. In real life and in their tangibility, the paintings look different, much more demanding, and much more impressive. Some of the works appear as if five more works are concealed beneath the surface of the visible. This is because the author constructs the painting using a very complex method involving the deliberate layering of paint, and use of adhesive tape, software, collage, cut-outs, and projections. The material on the canvas, which she intentionally makes as complicated and bulky as possible, is then gradually removed so that the layers of the image are peeled off in reverse order. Using indispensable tools such as adhesive tape and sharp blades, she creates very precise, technically delicate paintings in a procedure that is protracted, laborious, and demands a significant measure of focus, vision, and determination. This procedure often results in subsequent visual discoveries and surprises, creating new dialogues between layers that demand additional adaptation, and especially time, because the paintings are impeccable and balanced. An individual painting can take many years to create, and during this process of refinement some works may deteriorate and degenerate. It is no surprise, then, that given the changes in the artist’s work conditions and her desire to increase her output, she has made decisions that satisfy the need for a fresh approach and a slight reduction in her workload. Clear shifts towards freer, more relaxed, and abstract strokes were already apparent in the series Doodles, which she presented at Ljubljana’s Škuc Gallery at the end of 2020. This series, which one might say was created in co-production with a one-year-old child, transformed the artist’s method of work and allowed her to be more playful, relaxed, and less sadistic even. And it is a mixture of the two approaches that has resulted in the current exhibition, a showcase that embodies just the right relationship between the disorderly and the structured.

It is no secret that Brborović’s paintings, well established and widely recognised on the visual arts scene, have always demanded a bit more attention and concentration from the spectator. They are so intense in their embodiment and in how they address spatial issues that they will pique the interest of the stern engineer and the dreamy freethinker alike. Observatory blends the artist’s controlled gaze, changing fascinations, and mixing of visual approaches. It serves up an intimate collage of urban planning, geometry, popular culture, internalised aesthetics, award-winning architectural designs, and the vastness of the universe. The latter two ideas in particular form the core of the exhibition: we often make sense of our own being and understanding through spatial dimensions and architecture, and the other thing we do this through is the cursed universe, which remains an indisputable inspiration even as it inspires unbearable fear and paranoia. Suzana Brborović aptly juggles both. Her paintings bring to life the inexplicable contrast between order, calculability, and precision, and the not insignificant chaos, fluidity, changeability, and unfathomability of space. Gazing at the sky – which is ironically a gaze into the past – is thus a cunning metaphor for a deliberately used discrepancy that appears in the works as an abstruse trick misleading us into not knowing whether we are looking at a fantastic future or a concealed present.

Maša Žekš

All dogs go to heaven 2021, akril na platnu / acrylic on canvas, 170 x 140 cm

Imagine a tree

2021, akril na platnu / acrylic on canvas, 140 x 170 cm

Repetition

2021, akril na platnu / acrylic on canvas, 140 x 180 cm

Chaotic era

2022, akril na platnu / acrylic on canvas, 170 x 280 cm

Cotton candy

A cloud in the night sky 2020, akril na platnu / acrylic on canvas, 140 x 140 cm

Space train

2021, akril na platnu / acrylic on canvas, 140 x 190 cm

The floor is lava

2020, akril na platnu / acrylic on canvas, 140 x 280 cm

Suzana Brborović

Suzana Brborović je bila rojena leta 1988 v Kranju. Po končanem študiju na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani leta 2013 je v obdobju 2014–16 študirala slikarstvo v okviru magistrskega programa (Meisterschüler) na Akademiji za vizualno umetnost v Leipzigu. Leta 2011 je prejela nagrado Essl, leto kasneje študentsko Prešernovo nagrado in leta 2019 priznanje Riharda Jakopiča za posebne projekte in dosežke na področju likovne umetnosti za mlajše umetnike. Prejela je tudi priznanje pomembnih umetniških del na področju slikarstva. Njena dela so vključena v zbirke, kot so Albertina, Bayer Kultur, Moderna galerija in Riko. Živi in dela med Kranjem in Leipzigom.

Suzana Brborović was born in Kranj in 1988. After finishing her studies at the Academy of Fine Arts and Design of the University of Ljubljana in 2013, she did a postgraduate programme (Meisterschüler) in painting at the Academy of Visual Arts Leipzig from 2014 to 2016. In 2011 she received the Essl Award, a year later a student Prešeren Award, and in 2019 a Rihard Jakopič Recognition for special projects and achievements in fine arts for younger artists. Her work has been widely recognised and included in collections such as the Albertina in Austria, Bayer Kultur in Germany, and the Moderna Galerija and Riko collections in Slovenia. She lives and works in Kranj and Leipzig.

SAMOSTOJNE RAZSTAVE / SOLO EXHIBITIONS

2023 OBSERVATORIJ, Mestna galerija Nova Gorica

2022 STIKI, Bežigrajska galerija 2, Ljubljana

2021 THIS APPEARANCE IN THE AIR IS CALLED A MIRAGE, v sodelovanju s Petrom Cvikom in Galerija Equrna, Ljubljana THERE IS SOMETHING CAUGHT IN HERE, v sodelovanju z Lucijanom Prelogom, Kibela, Maribor

2020 THE COLOUR OF OVERTHINKING, v sodelovanju z Lucijanom Prelogom, Galerija ŠKUC, Ljubljana

2019 BONES, Galerija Kommunalka, Leipzig

2018 CENTRALIZACIJA, Kino Šiška, Ljubljana

MATRIKA, v sodelovanju z Urošem Weinbergerjem, Galerija DLUL, Ljubljana MULTILAYERED. ENCOUNTERS IN LEIPZIG, v sodelovanju s slovaškim umetnikom Petrom Cvikom, Galerie Sechzig, Feldkirch GRENZEN ÜBERSCHREITEN, Galerie ABTART, Stuttgart ART-Karlsruhe ‘18 – samostojna predstavitev z galerijo ABTART Stuttgart

2017 MADE IN GERMANY, Galerija Equrna, Ljubljana

FLAGS AND FLAKS, Archiv Massiv, Baumwollspinnerei Leipzig

2016 IDEALS AND SECTIONS, Galerie Anette Műller, Dűsseldorf

2014 ENCLOSURE, Bükü, Leipzig

TROJNI PRESEK, Projekt Prepih, Muzej za sodobno umetnost Metelkova, Ljubljana

MEJA ZASIČENJA, Galerija Alkatraz, Ljubljana

ID grad.: BB/SB 14 – n. 3/3, v sodelovanju z Borisom Bejo, Galerija Božidar Jakac, Kostanjevica na Krki

2013 DISTORZIJA, Galerija Meduza, Koper

DELA, v sodelovanju z Borisom Bejo, Galerija Equrna, Ljubljana

DELO V UMETNOSTI, v sodelovanju z Borisom Bejo, Galerija Mestna hiša, Brno

O MESTU, Galerija Gimnazije Franceta Prešerna, Kranj

2012 OD TEMELJEV DO STREHE, Galerija Simulaker, Novo mesto

ODSEV ZAMIKA, Bežigrajska galerija I, Ljubljana

SKUPINSKE RAZSTAVE / GROUP EXHIBITIONS

2022 MEDTEM, Galerija Equrna, Ljubljana

MOMENTAL-MENTE, Moderna galerija, Ljubljana

VRAČANJE POGLEDA, Cukrarna, Ljubljana

TENDENCE V ABSTRAKCIJI, Galerija S, Ljubljanski grad, Ljubljana

2021 SLIKARSTVO ZDAJ!, Galerija Monfort, Portorož

URBANI PEJSAŽ, RAZUMETI NATURO,10. Mednarodni festival likovnih umetnosti Kranj, Gorenjski muzej

ŽIVIMO V VZNEMIRLJIVIH ČASIH, prostori Evropskega parlamenta, Bruselj

AIR4, Galerija Ravnikar, Ljubljana

STRUKTURA, Art Stays Festival, Galerija FO.VI, Ptuj

DREI, Galerija UG Halle14 Baumwollspinnerei, Leipzig

SLIKARSTVO ZDAJ!, Mestna galerija Nova Gorica

2019 ČAS BREZ NEDOLŽNOSTI, Moderna galerija, Ljubljana

SODOBNO SLOVENSKO SLIKARSTVO: Tretja generacija, Pilonova galerija, Ajdovščina ZAMOLČANE PRISOTNOSTI / IZ LIKOVNE ZBIRKE RIKO, Galerija Miklova hiša, Ribnica

NAPETA SEDANJOST, Kibla Portal, Maribor

DVE GENERACIJI: SLIKARSTVO IN POEZIJA, Mestna galerija Nova Gorica

AT THE CAR DEALER, Nacht der Kunst, Leipzig

2018 PRRRRRRR, Mestna galerija Ljubljana

AIR4, Galerija Ravnikar, Ljubljana

ALL:MIX, Galerie FF15, Leipzig

NACH DEM BILD IST VOR DEM BILD, Kunstverein Freunde Aktueller Kunste e.V., Zwickau

2017 MOVING FUTURE, 10 let Karin Abt-Straubinger Fundacije, Baumwollspinnerei, Leipzig

BIG IS BEAUTIFUL / Velika krajina v slovenskem slikarstvu, ART STAYS Festival, Ptuj

THE NEXT CONVERSATION, Galerie ABTART, Stuttgart

IMAGO MUNDI – MEDITERRANEAN ROUTES, Cantieri Culturali Alla Zisa-Zac-Zisa Zona Arti Conteporanee, Palermo

2016 I THOUGHT YOU’RE JUST A POOR DEVIL, Komunalka, Leipzig

ARHITEKTURA DUŠE, TELESA IN SRCA, Mestna galerija Nova Gorica

KLASSE OTTERSBACH, Bayer Kultur, Leverkusen

ALUO LXX.PRETEKLOST, SEDANJOST, PRIHODNOST, Jakopičeva galerija, Ljubljana

2015 TRANSMISSION, Galerija Triumph, Moskva

10. obletnica, Baumwollspinnerei Rundgang, Leipzig

INVENT & STAY, A room that…, Baumwollspinnerei Leipzig, Leipzig

NO FUTURE NO PAST, Institut für Zukunft, Leipzig

POGLED 7, Mestna galerija Nova Gorica

POGLED 7, Galerija sodobnih umetnosti, Celje

2014 SODOBNO SLOVENSKO SLIKARSTVO - Prve generacije po letu Nič, od Joni Zakonjšek do Suzane Brborović, Galerija CD, Ljubljana U35, Sokolski dom, Škofja Loka

POGLED 7, Galerija Božidar Jakac – Lamutov likovni salon, Kostanjevica na Krki

2013 LIKE IT!, Essl Muzej, Dunaj

SLOVENIJA OBLJUBLJENA DEŽELA, Galerija Studentski centar, Zagreb (PRE)ŽIVETI S KREATIVNIMI PRAKSAMI, Galerija Miklova hiša, Ribnica

START POINT SLO 2013, Galerija Miklova hiša, Ribnica

EX-TEMPORE PTUJ, Galerija Magistrat, Ptuj

2012 FIGURAMA, Letališče Prage, Praga

VEČERNI AKT, Galerija Kresija, Ljubljana

2011 ESSL ART AWARD CEE 2011, Winners exhibition, Essl Museum, Dunaj

VEČERNI AKT, Kulturni center, Zagorje

EX-TEMPORE PIRAN, Skladišče Monfort, Portorož

SPOMIN (ALI NEKAJ PODOBNEGA), Galerija Miklova hiša, Ribnica

ART STAYS OPEN ‘11, 9. mednarodni festival sodobne umetnosti, Miheličeva galerija, Ptuj

ESSL ART AWARD CEE 2011, Nominees Night, Moderna galerija, Ljubljana

RESNIČNE LAŽI SLIKARSTVA, Galerija Kresija, Ljubljana

ART-EXPO, Art fair, Arezzo

VEČERNI AKT, Galerija Loterija Slovenija, Ljubljana

2010 EX-TEMPORE PIRAN, Skladišče Monfort, Portorož

TRIANGEL, graphic workshop and exhibition, Rheine, Münster

15. BIENALE STUDENTSKE GRAFIKE, Dom kulture “Studentski grad”, Beograd VIDEOMATCH ’10, Kinodvor, Ljubljana

NAGRADE IN ŠTIPENDIJE / AWARDS AND SCHOLARSHIPS

2010 Nagrada za posebne umetniške dosežke

2010 Odkupna nagrada Ex-tempore Piran

2011 Posebna nagrada Ex-tempore Piran

2011 Prva nagrada za Slovenijo Essl Art Award CEE ‘11

2012 Akademska Prešernova nagrada

2014–2016 Štipendija Ministrstva za kulturo za podiplomski študij v tujini

2019 Jakopičevo priznanje

2019 Priznanje pomembnih umetniških del (ALUO)

2020 Štipendija Denkzeit, dežela Saška (DE)

ZBIRKE / COLLECTIONS

Moderna galerija Ljubljana Albertina

Bayer Kultur

Galerija Božidarja Jakca Mestna galerija Nova Gorica Loterija Slovenije Muzej in galerije mesta Ljubljanje Ministrstvo za zunanje zadeve RS Imago Mundi Riko

Platnica / The cover:

This must be the place

2022, akril na platnu / acrylic on canvas, 170 x 280 cm

Razstavo in izid kataloga je finančno omogočila / The exhibition and catalogue have been financially supported by:

Katalog izdal/Catalogue issued by: Kulturni dom Nova Gorica (Zanj/Represented by: Pavla Jarc) - Urednica/Editor: Mateja Poljšak Furlan - Avtor besedila/Texts written by: Maša Žekš - Prevod/Translation: Sebastijan R. Maček - Lektoriranje/English language revision: Dean Joseph DeVos - Fotografije / Photos: Christian Bär, Marko Tušek - Oblikovanje in prelom/Catalogue design & DTP: Vid Simoniti - Tisk/Print: Tiskarna Present d.o.o. - Kraj izida/Place of publication: Nova Gorica - Leto izida/Publication year: 2023Naklada/Nr. of copies: 300

MESTNA OBČINA NOVA GORICA