Estetika praznine
Tadej Tor~
Estetika praznine 8.–29. 5. 2015
Tadej Tor~
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Ko tišina razpre zid
Razgrinjanje arhitekture praznega. Namen analize prostora Tadeja Tor~a (in posledi~no preobrazbe) ni v iskanju novega teritorija vizualni tvorbi, ampak poskus razkritja anatomije prvotnega prostora, ki leži v ozadju. Njegov koncept iz strahu pred izgubo individualnega ne iš~e drugega prostora, nove paradigme. Vrti se v krogu in v momentu vztrajnosti stopa po stopniš~u, ki vodi do edinih vrat – praznine. Ideja z analizo v polju vizualnega skoraj absurdno iš~e psihološka razmerja z razgrinjanjem arhitekture praznega. Umetnik želi razstaviti inventar golega prostora in poudariti obredne predmete potovanja, ki ne te~e linearno, temve~ krožno. Z vizualno estetiko iš~e poetiko praznine. O praznini so razpravljali že anti~ni filozofi vse od ~asa atomistov Demokrita, Epikurja in Lukrecija, ki so prvi trdili, da ima praznina strukturno funkcijo, da ima v strukturi vesolja svoje mesto ravno toliko, kot ga ima snov oziroma atomi; še ve~, pojasnjevala naj bi tudi odmike pri gibanju atomov, s ~imer so anti~ni filozofi na nenavaden na~in predvideli vprašanja sodobne fizike. Druga~nega mišljenja pa je bil Aristotel, ki je s svojo šolo za~etnik ontološke paradigme neobstoja praznine. Vendar je prav s svojo definicijo praznine kot prostora, v katerem ni ni~esar, združil koncepta prostora in ni~a, kar znova nakazuje že omenjeno dvozna~nost pojma praznine. Aristotelova definicija pa je bila v nasprotju s krš~anskim pojmovanjem praznine, saj je implicirala omejitev absolutne božje mo~i, obenem pa pod vprašaj postavljala koncept stvarjenja iz ni~, na katerem temelji krš~anska metafizika. Tudi v filozofiji 19. in 20. stoletja je bila praznina eden klju~nih konceptov. Demokritov model, ki temelji na dvojnosti elementov in praznine, postane spet aktualen pri Heglu, ki ga je razumel kot temeljni uvid, na katerem temelji dialekti~na teorija. Tudi mladi Karl Marx je v svoji doktorski disertaciji obdelal to temo, saj je primerjal Demokritovo in Epikurovo teorijo narave. Precej druga~e je ta pojem razumel Heidegger, ki je praznino kot bistvo re~i (das Ding ) postavil nasproti znanstveni misli, ki po njegovem mnenju operira z objekti in si praznine ne more zamisliti. In še: filozof, pisatelj in pesnik Alain Badiou praznine ne razume kot gole odsotnosti biti, ampak kot bit, prosto vseh predikatov. Pojem praznine obravnava tudi sodobna znanost, predvsem kvantna mehanika, skladno s katero fizi~ni vakuum ne more biti zares prazen. Po zaslugi kvantnega na~ela nedolo~enosti in ekvivalentnosti mase in energije v relativnostni teoriji se je vakuum namre~ iz pasivne praznine razvil v neskon~no kompleksno in dinami~no okolje. Tako na podro~ju kvantne fizike kot v nekaterih filozofskih teorijah se pojavlja novo dojemanje praznine. Praznina ni ve~ prazna, temve~ je sama notranje strukturirana.1 Prazen prostor. Vprašanje2 »Kaj, ~e sploh kaj, je praznina?« temelji na dvoumnosti pojma praznine, saj praznina ni ni~, temve~ jo je treba razumeti kot mesto, ki ni preprosto prazno, temve~ njegova praznina iz sebe generira nekaj: v zadnji instanci bit oziroma univerzum. Ali, kot je dejal fizik John Wheeler, »ni~ ni bolj bistvenega kot to, da prazen prostor ni prazen, je center najbolj divje fizike«. O tem pri~ata tudi dve temeljni znanstveni teoriji 20. stoletja: relativnostna teorija in kvantna teorija polja, ki sta bistveno predruga~ili naš pogled na vesolje oziroma na temeljno snov fizi~ne realnosti – na prazen prostor. Estetika praznine. Slikarstvo s tušem, liri~na oblika haikuja, ikebana, umetnost razporejanja cvetja in vrtov, to je le nekaj zelo o~itnih primerov umetnosti, v kateri je praznina navzo~a in deluje z ustvarjalnim dejanjem ter s primarno obliko oziroma se isto~asno realizira kot proces in kot estetski objekt. ^eprav Giangiorgio Pasqualotto, profesor estetike na Univerzi v Padovi (Italija), misli, da je estetika praznine problemati~en oziroma nejasen termin, v uvodu svoje knjige Estetica del vuoto/Estetika praznine (2007) poudarja, da se ni imel namena nasloniti na estetsko teorijo, ki bi praznino razumela kot princip ali objekt analize, temve~ je
želel preusmeri pozornost na niz izkušenj praznine, predvsem pa na dejstvo, da je lahko dosegljiva samo z meditacijo, s katero se praznina spremeni od golega koncepta v produktivno energijo. Da bi lahko pokazal, da je naslon tako na izkušnjo praznine kakor tudi na meditativne vaje, ki vodijo do nje, nujen, je prepri~an, da je treba najprej kreniti od analize taoisti~nih in budisti~nih besedil, v katerih je govor o meditaciji in o izkušnji praznine, nato pa se lotiti utrjevanja vpliva, ki ga imajo napotki iz teh besedil na zna~ilne primere umetniškega ustvarjanja in estetske izkušnje. Umetnost in meditacija. Tadej Tor~ se ne predaja filozofskim dognanjem zgodovine in se (tudi pri tem umetniškem projektu) ne zgleduje po vzhodnjaških kulturah, njegova meditacija so lastni monologi v centru izbrane samote v naravi. Ko se skloni k poti, gozdni poti sredi gore, le redko prehojeni z boso nogo. Ko se stisne k zemlji in jo z rokami previdno razgrebe, do prvega kamna. Jutro nato, ko izusti besedo sonce, zasije zvezda. Tedaj vzljubi tudi dan. In izbere predmet, ki ne piska. Za odprtino je zid in njegov monolog je brez odmeva. Ni ga iz ust, je konstrukt brez smisla. Logi~nost izgubi pomen. Zave se, da ni pomena, na katerega bi se naslonil in gradil lažno upanje. Zato utihne in tišina razpre zid. Ne poskuša ve~ piskati, vendar sliši zvok. Zvok, ki je hkrati notranji in zunanji. Je tu in tam. Povsod. Za edinimi vrati – praznine. Pot do vrat praznine. Umetnik želi, da so razstavljeni pravi predmeti. In kateri so pravi? Vsak dan gre pod goro in obiš~e mesto, kjer je gora odprta. Tam se razkrivajo korenine, zemlja in kamenje. Gomazijo in se pretakajo v starodavnem krogu, zapojejo brez glasu. »Si blizu njih z edinim glasom. Celo življenje iš~eš daritveno posodo, da bi jo daroval njim.« Urejen kaos, vse je tako, kot mora biti. In ko vonja te zmesi, mogo~e vidi, kaj lahko zgradi, da vstopi v to goro. »Moraš biti tih, izpraznjen, ker ti polnost, ki jo potrebuješ v dolini, ni~ ne pomaga, pozabiti moraš na vse, kar te navidezno dolo~a.« Tadeju Tor~u preve~ pomeni natan~na izpostavitev predmetov, da bi ravnal površno, pavšalno. In kako predstavi te svoje izbrane predmete? Lezejo iz središ~a, od tam, kjer ni nobenega predmeta, kjer ni veš~ine, s katero se gradi pomen. So krhki, nobenega glamurja, le drobna, to~kovna nihanja predmetnosti v prostoru. Izraš~anja in upadanja. Iz to~ke ni~ preko rasti v to~ko ni~. Tatjana Pregl Kobe
1 »Struktura praznine« je interdisciplinarno zastavljen projekt (2011–2014) Slovenske akademije znanosti in umetnosti (vodja projekta dr. Mladen Dolar), ki skuša povezati filozofsko refleksijo praznine (od anti~nih do sodobnih premislekov) s problematiko praznine v znanosti. Strokovnjaki obeh podro~ij se zavedajo, da filozofski in znanstveni jezik nista združljiva, tako da ne gre za nekakšen poskus sinteze. Izhajajo iz tega, da se lahko filozofska in znanstvena obravnava tega vprašanja vzajemno razjasnjujeta. 2 http://www.rtvslo.si/kultura/drugo/kaj-ce-sploh-kaj-je-praznina/303093 (ogledano 10. 4. 2015)
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When silence parts the wall
Revealing the architecture of the void. The intention of Tadej Tor~’s space analysis (and the consequential transformation) is not to search for new territories in visual formulation, but to reveal the anatomy of the original space that lies in the background. Out of fear of losing the individual his concept does not search for a different space, a different paradigm. It spins in circles and at the moment of inertia steps onto the staircase that leads to the only door – the one leading to the void. Through the analysis of the visual, the idea almost absurdly seeks psychological relations by revealing the architecture of the void. The artist wishes to exhibit the inventory of the bare space and expose the ritual objects of the non-linear, circular journey. He uses visual aesthetics to find the poetics of the void. The void has been discussed already by philosophers in antiquity, for instance the atomic theorists Democritus, Epicurus and Leucippus, who were the first to state that the void has a structural function, i.e. that it is equally important for the structure of the universe as matter or atoms; even more, they believed that the void explained the deviations in the movements of the atoms, through which the antiquity philosophers foresaw the questions posed by modern physics. Contrary to this, Aristotle and his school of ontological paradigm believed in the non-existence of the void. However, as he defined void as a space in which there is nothing, he merged the concepts of space and nothing, which once again indicates the previously mentioned ambiguity of the term void. Aristotle’s definition contradicted the Christian understanding of the void, for it implied that god’s power was limited, and questioned the concept of creationism from nothing, which represents the base for Christian metaphysics. The void was a key concept also in 19th and 20th century philosophy. Democritus’ model, which is based on the duality of the elements and the void, reemerges with Hegel, who understood it as a basic insight, a base for the dialectic theory. The young Karl Marx also addressed this theme in his doctoral dissertation, for he compared Democritus’ and Epicurus’ theory of nature. Heidegger understood this term differently, for he contrasted the void as the essence of things (das Ding ) with scientific thought, which in his opinion operates with objects and cannot consider the void. The philosopher, writer and poet Alain Badiou does not understand the void as a bare lack of existence, but as existence free of all predicates. The notion of the void is also addressed by contemporary science, especially quantum physics, according to which the physical vacuum is not truly empty. Thanks to the quantum principle of indeterminate and equal mass and energy found in the relativity theory, the vacuum has changed from a passive void into an endless complex and dynamic environment. Thus, a new understanding of void is beginning to emerge in the field of quantum physics and certain philosophical fields. The void is no longer empty, for it has an internal structure of its own.1 Empty space. The question2 »What, if anything, is the void?« is based on the ambiguity of the void, for the void is not nothing but should be understood as a space that is not simply empty, but generates something from its void : in the final instance existence or the universe. Or as the physicist John Wheeler said: »No point is more central than this, that empty space is not empty. It is the seat of the most violent physics.« This is also supported by two 20th century scientific theories - the theory of relativity and the quantum field theory, which have both drastically altered our view of the universe and the basic matter of physical reality – the empty space. The aesthetics of the void . Drawing with ink, a lyrical haiku, an ikebana, the art of arranging flowers and gardens - these are merely a few obvious examples of art in which the void is present and in which it functions through creativity and primary forms, i.e. is simultaneously
realised as a process and an aesthetic object. Even though Giangiorgio Pasqualotto, a professor of aesthetics at the University of Padua (Italy), believes that the aesthetics of the void is a problematic, unclear term, he, in his introduction to the book Estetica del vuoto / Aesthetics of the void (2007) emphasises, that he did not intend to lean upon the aesthetic theory which understands void as a principle or object of analysis, but he wished to redirect the attention to a series of experiences from the void, and especially to the fact that it can only be reached through meditation, with the aid of which the void changes from the bare concept into productive energy. In order to show that it is necessary to lean upon the experience of the void as well as on meditation exercises that lead to it, he states that one should start by analysing Taoist and Buddhist texts on meditation and the experience of the void, and then consolidate the influence of these instructions on art and the aesthetic experience. Art and meditation . Tadej Tor~ does not indulge in philosophical discoveries from the past and is not inspired by Eastern cultures (not even in this project); his meditations are his personal monologues in the centre of chosen loneliness in nature. He bends down to the path, a forest path in the middle of the mountain, rarely walked upon by bare feet. He curls up to the ground and carefully removes the soil with his hands, until he reaches the first stone. The morning after, as he utters the word sun, a star appears. This is when he becomes fond of the day. He picks up an object that does not whistle. Behind the opening stands a wall and his monologue is echoless. It does not emerge from the mouth, it is a meaningless construct. Logic loses its meaning. He realises that there is no meaning upon which he could lean and upon which he could build fake hope. He falls quiet and silence parts the wall. He no longer attempts to whistle, but he hears a sound. The sound comes from within and from the outside, at the same time. It is here and there. Everywhere. Behind the only doors – void. The path to the doors of the void . The artist wishes to exhibit the right objects. Which ones are the right ones? Every day he sets to the foothill of the mountain where he visits the place where the mountain opens and he can see roots, soil and stones. They crawl and flow in an ancient circle, they sing without a voice. »You are close to them with the only voice. You search for a sacrificial bowl for your entire life, just so you could give it to them.« Organised chaos, everything is exactly as it should be. When he smells these mixtures, he might be able to see what he could build in order to step into this mountain. »You have to be quiet, empty, for the fullness that is necessary in the valley is of no use to you here, you need to forget about everything that defines you.« Tadej Tor~ believes that precise exposure of objects is much too important to leave it to chance. How does he present the selected objects? They crawl from the centre, from where there are no objects, where there are no skills that would build the meaning. They are fragile, with no glamour, small, point fluctuations in space. Erupting and declining. From point zero through the point of growth back to point zero. Tatjana Pregl Kobe 1 »The structure of the void« is an interdisciplinary project (2011–2014) carried out by the Slovenian Academy of Sciences and Arts (the project is headed by dr. Mladen Dolar), which attempts to connect the philosophical reflection of the void (from antiquity to today) with the problem of the void as addressed by science. Experts in both fields are fully aware that the two languages, coming from the philosophical and the scientific side, are incommensurate, thus the project does not cater for an easy synthesis. They believe that philosophical and scientific attempts to address this issue can lead to the point of mutual clarification. 2 http://www.rtvslo.si/kultura/drugo/kaj-ce-sploh-kaj-je-praznina/303093 (viewed on 10. 4. 2015)
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Predmet {t. 4, 2015 / Object No. 4, 2015
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Prvotna pokrajina, njena izvirna mo~, ki izvira iz usodnega se~iš~a, izbranega ~asa in to~ke prostora, nosi edini mogo~ rob. Rob, preko katerega se v neštetih pogledovanjih pogled lahko prelije v drug prostor. V notranji prostor pokrajine. Prva pokrajina je iz snovi tvoje vsakdanjosti, zunaj hrupa in drame, polja drugih podob. Je pot dolgega ~asa, pogledov v ista ob~utja. In je isto zrcalo, v katerem ogleduješ na isti na~in ustvarjen svet. V pokrajino, ki je edina, stopiš s podobami, želiš jih odložiti in spremeniti pokrajino. Vendar je ne spremeniš in podobe se rušijo, saj ostajaš isti v isti pokrajini. Tako v sebi, na za~etku tebe ležijo kupi ruševin, ki ti povzro~ajo tesnobo. Tvoja soba postaja polna, ne najdeš stola, na katerem bi lahko sedel. Zato želiš oditi, zapustiti svoj prostor in zapreti vrata za seboj. Vendar tega ne storiš, saj bi za trenutek, ko bi odšel, moral vedeti, kam iti. Ker nimaš druge sobe, se zaveš brezizhodnosti. Spoznaš možnost dejanskosti. Ostaneš v sobi in jo pospraviš. Spoznaš vsak koš~ek ruševine, njen nesmisel. Ko se dotikaš in se vsebina spreminja v pepel, spoznaš trpkost in njeno zdravilno mo~. Ko po~istiš sobo, bi lahko sedel na stol. Soba je prazna, prazen je stol. Svetloba pokrajine se zrcali skozi okno. Prvotno polni prostor. Tedaj lahko odideš v to isto pokrajino. Ti si ta pokrajina. The primary landscape with its original power that emerges from the crucial intersection, the chosen point in time and space, carries the only possible edge. The edge over which the gaze can transcend into a different space through a thousand glances. Into the inner space of the landscape. The first landscape emerges from our everyday, outside of the noise and drama, a field of other images. It is a path of long times, insights into the same feelings. It is also the same mirror in which you view the world which was created in the same way. You step into the only possible landscape carrying images, you wish to set them down and change the landscape. However, you do not change it, the images fall and you remain the same within the same landscape. Thus piles of rubble that cause you anxiety lie within you, at your very beginning. Your room is starting to overflow, it is impossible to find an empty chair to sit on. Because of this you want to leave, leave your space and close the door behind you. However, you do not do this, for the moment you would leave you would need to know where you want to go. As you do not have another room you realise the dire situation in which you have found yourself in. You get to know the possibility of actuality. You stay in the room and tidy it up. You get to know every piece of rubble, its absurdity. As you touch the objects and they turn into dust, you get to know the bitterness and its healing powers. Once you have tidied the room you could sit down on a chair. The room is empty, and so is the chair. The light seeping from the landscape shines through the window. It fills the room. Now you can leave, into the same landscape. You are the landscape.
Odprtina / Opening
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Predmet {t. 2, 2015 / Object No. 2, 2015
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Predmet {t. 3, 2015 / Object No. 3, 2015
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Osnovno polje, 2015 / Primary field, 2015
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Vseeno je, kje si. V prostor vstopiš tu, skozi vrata, hodiš skozi in izstopiš tam, skozi ista vrata. Vedno znova se vra~aš na to pot, ker je edina. Na poti zgradiš iste poglede, ni~esar novega ni, podobe ostajajo nespremenjene. Zato zanje ohranjaš iste besede in iste pomene. ^eprav te njihova izvirna ~istost in iz nje izvirajo~a totalna preprostost spravlja na rob obupa. Slutiš, da se v njem skriva resni~na pomenljivost, ki te popelje na drugi breg, onkraj oblike. Na hodniku tako sre~uješ omare, katerih vrata so zastekljena. Skozi steklo opazuješ notranjost omar. Vse so enake, a ~isto vse želiš odpreti. Sprašuješ se, ali so zaklenjene, ali obstaja klju~ in kje naj ga iš~em. Tedaj opaziš, da so omare prazne. Zato odideš, ne sprašuješ se ve~. Vendar se znova vra~aš, ker je to edina pot. V~asih ostaneš tu pred vrati in ne greš na pot, da bi prišel do tam. Vrtiš se okoli sebe, dolgo se vrtiš. V dolo~enem trenutku spoznaš, da obstajajo stopnice, ki vodijo skozi tebe. Vendar se v sobi absurdno dotaknejo stropa. Ne moreš razumeti, zakaj. Še vedno se vrtiš okoli sebe. Okoli stopnic, ki vodijo skozi tebe. In tvoj um iš~e razrešitev, ampak rešitve ni. You don’t care where you are. You step into the space at this point, through the door, you walk through and exit there, through the same door. You return to the same path over and over again, for it is the only path. On the way you construct the same gazes, nothing is new, the images remain unchanged, which is why you keep the same words and meanings for them. Their original purity and the total simplicity that emerges from it drive you to the edge of despair. You expect that it hides the true meaning which will take you to the other shore, beyond form. In the hall you come across cupboards with glazed doors. You can see into the cupboards through the glass. Even though they are all the same you want to open them all. You wonder if they are locked, is there a key and where could it be. Then you notice that the cupboards are empty. This is why you leave, you no longer ask questions. But you keep returning, because this is the only path. Sometimes you stay here in front of the door and you don’t take the journey that would lead you there. You spin around your axis; you spin for a long time. At a certain moment you realise that stairs lead through you. Absurdly, they reach the ceiling of the room. You cannot understand why. You are still spinning around your axis. Around the stairs that lead through you. And your mind seeks a solution, but there is none to be found.
Horizontalna in vertikalna pot / Horizontal and vertical path
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Tutam, 2015 / Tatoom, 2015
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Predmet {t. 1, 2015 / Object No. 1, 2015
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Predmet {t. 5, 2015 / Object No. 5, 2015
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Izgubiš podobe, ki si jih želel najti na policah, in ne stopiš naprej. Ustaviš se. Ne storiš ni~. Vrednosti, ki si jih postavljal na stol, so le še osebni prah, ki leži na njem. Tako ni~esar ni, da bi se oprijel. Tvoja pokrajina je le še lupina, ker si tako dolgo hodil in se vrtel po isti poti. Sled posušenega adrenalina je mejnik pohlepu in strastem, ki so te vedno gnale po robu, a nikoli pahnile ~ez rob, v globino. Njihova jedra so namre~ iz strahu pred izgubo lastnega prostora. Risba na steni sobe izriše ~rto kroga. Tvoj monolog je to~ka, ki skozi prostor in ~as spreminja smer. Kdo je tisti, ki dolo~a pot vsak naslednji trenutek. Komu razlagaš pomene s svojimi besedami in se na koncu zlomiš nad tišino in samoto brez odgovora? Ko umolkneš in zamre tvoj govor –, pogled pade v globino. To~ka zdrsne z roba. Na poti padanja se drobi soba, tudi stopnice v sobi. Ostanejo le notranje, ki vodijo do edinih vrat – praznine. You lose the images that you wanted to see on the shelves and you do not step forward. You stop. You don’t do anything. The valuables that you have been placing on the chair have turned to personal dust that lies upon it. There is nothing you can grab hold of. By now your landscape is merely a shell, because you have been walking so long and kept spinning on the same path. The trace of dried out adrenalin is the milestone to the greed and passion that drove you along the edge, but never pushed you off, into the depths. Their cores fear of losing their space. A drawing on the wall in the room, a line of a circle. Your monologue changes direction through space and time. Who defines the path at every moment? Who do you explain the meanings to in your own words and in front of whom do you brake down because of the silence and loneliness when you don’t get a reply? When you become quiet and your speech fades away – the gaze descends into the depths. The point slips from the edge. While falling, the room and the stairs start crumbling. Only the inner stairs remain, the ones leading to the only door – to emptiness.
Tloris / Ground plan
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Tu-tam, 2012 / Here - there, 2012
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Naslov/Address Tadej Tor~ Gori~e, Srednja vas 3 4204 Golnik +386 40 821 738 tadejtorc78@gmail.com Rodil se je 22. februarja 1978 v Kranju. Študiral je na Šoli za risanje in slikanje, visoki strokovni šoli v Ljubljani ter leta 2005 diplomiral pri profesorju Daretu Birsi. Že med študijem je prejel pohvalo za ateljejsko delo (2004), leta 2005 pa priznanje za diplomsko nalogo z naslovom Risba in skulptura. Dvakrat je sodeloval na ekstemporah premogovnika Velenje in prejel veliko odkupno nagrado (2001) ter ~astno diplomo (2005). Cikel njegovih risb je objavljen v dveh pesniških zbirkah Tatjane Pregl Kobe: Porcelanaste sanje (2007) in Škrlatne ~ipke (2008). Od leta 2009 je ~lan Zveze društev likovnih umetnikov Slovenije in Društva likovnih umetnikov Gorenjske. Kot samostojni ustvarjalec se ukvarja tudi z restavriranjem. Živi in ustvarja v Gori~ah. Samostojne razstave: 2005 Galerija Vogel, Trži~ 2009 Mala galerija Kranj, Cerkev sv. Vida, Dravograd Galerija Krka, Novo mesto Galerija Instituta »Jožef Stefan«, Ljubljana 2010 Vodnikova doma~ija, Ljubljana 2011 Prostori Makedonskega kulturnega društva Kranj, Kranj 2015 Mestna knjižnica Kranj, »Risbe«, Kranj Skupinske razstave: 2010 Gruberjeva galerija na prostem, »Berljivo«, Ljubljana Mestna galerija Nova Gorica, »Berljivo«, Nova Gorica 2012 Mala galerija Kranj, Mednarodni festival likovnih umetnosti ZDSLU, Kranj Stalne postavitve: 2009 Renesan~ni dvorec, cikel skulptur v bronu, Begunje na Gorenjskem 2011 Poslovna stavba Zorn, »Piska~«, bron, Stegne, Ljubljana 2013 Poslovna stavba Zorn, »Ouroborus«, bron, Stegne, Ljubljana
Tadej Tor~ was born in Kranj on 22nd February 1978. He studied at ArthouseCollege of Visual Arts in Ljubljana where he graduated under professor Dare Birsa in 2005. During his studies he received a commendation for his studio work (2004), and in 2005 he received special recognition for his graduation thesis entitled Drawing and sculpture. He cooperated at the Velenje mine ex-tempore twice, the first time he was awarded the great purchase prize (2001) while the second time he received an honorary mention (2005). His drawings were published in two poetry books by Tatjana Pregl Kobe: Porcelanaste sanje (Porcelain dreams, 2007) and Škrlatne ~ipke (Purple lace, 2008). Since 2009 he is a member of the Union of Slovene Fine Arts Associations and the Fine Arts Association of the Gorenjska region. He also works as a freelance conservator-restorer. He lives and works in Gori~e. Solo exhibitions: 2005 Vogel gallery, Trži~ 2009 Small gallery Kranj, Church of Sv. Vid, Dravograd Krka gallery, Novo Mesto Gallery at the Jožef Stefan Institute, Ljubljana 2010 Vodnik manor house, Ljubljana 2011 Macedonian cultural centre Kranj, Kranj 2015 Municipal library Kranj, »Drawings«, Kranj Group exhibitions: 2010 Gruber’s outdoor gallery, »Readable«, Ljubljana The Municipal Gallery of Nova Gorica, »Readable«, Nova Gorica 2012 Small gallery Kranj, International festival of fine arts ZDSLU, Kranj Permanent exhibitions: 2009 Renaissance mansion, a series of bronze statues, Begunje na Gorenjskem 2011 Office building Zorn, »Whistler«, bronze, Stegne, Ljubljana 2013 Office building Zorn, »Ouroborus«, bronze, Stegne, Ljubljana
Projekt sta podprla: Rotary klub Ljubljana Emona in avtorjev podpornik dr. Otmar Zorn The project was supported by: Rotary klub Ljubljana Emona and dr. Otmar Zorn, patron of art
Izid kataloga je omogo~ila:
Katalog izdal/Published by: Javni zavod Kulturni dom Nova Gorica, Mestna galerija Nova Gorica – Zanj odgovarja/Responsible: Pavla Jarc – Urednica/Edited by: Mateja Polj{ak Furlan – Besedilo/Text: Tatjana Pregl Kobe – 3 skice/3 sketches: Tadej Tor~ – Lektor/Proofreader: dr. Jože Gasperi~ – Angleški prevod/English translation: Sun~an Stone – Fotografije/Photography: Tadej Tor~ – Oblikovanje/Layout: Tadej Tor~&Adenda d.o.o. – Tisk/Print: Tiskarna Present d. o. o. – Naklada/Number of copies: 300
Mestna galerija Nova Gorica Trg E. Kardelja 5 SI 5000 Nova Gorica T + 386 5 335 40 17 E mestnagalerija@kulturnidom-ng.si W www.mgng.net 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.