Marko Tušek - Slike / Paintings 1997 2000

Marko Tušek

Slike / Paintings 1997 - 2000

A li imajo v naravi tudi navidez naključno razporejeni elementi svoj prefinjeni red? ▲ PANTERA NE 4B; 1998; les, papir, akril.../ wood, paper, acrylic...; 135x200x20 cm
Red, ki daje trajnost in omogoča slikarju čim manj negotovosti, je v slikarstvu obli-
ka. Vezana je na ponavljanje, čeprav ga ustvarjalni duh ne prenese. Iskanje vedno
novih poti, kombinacij, rezov, prelomov in pogledov v globino in širino, postavlja avtor-
ja nad omejeno obliko in ga hkrati umirja v sebi lastnem likovnem procesu ter tudi
vzpodbudi v iskanju novih (celo konstruktivističnih) rešitev.
Je slika tista, ki se lahko temu naravnemu redu približa? Ali lahko povzame in uredi na
prvi pogled naključno razporejene predmete (simbole), raztresene po prostoru, shran-
jene v spominih, ki jih slikar nosi s seboj? Marko Tušek poskuša zaobjeti prav to. Iztisniti
iz njih simbolne konotacije, izoblikovati trodimenzionalne prostore ali iluzije prostorov,
poiskati neko idealno, celo arkadično pokrajino, razporediti dimenzijo horizonta v gra-
jeni likovni prostor, naslikati tiste modre, sivo modre tone, ki v naravi trepetajo v nekih
posebnih trenutkih. Njegove slike se cepijo, so razporejene po steni, so polne nez-
nanih, celo skrivnostnih odprtin. V navideznem neredu gradijo prefinjen ritem zarez,
linij, so kot nekakšne zgodbe, polne spominov.
Marko Tušek sestavlja sliko, jo gradi iz naravnih materialov (les, kamen, glina, tkanina,
papir), vzetih iz okolja, v katerem se giblje. Njegove likovne kompozicije so trenutki
predstavljanega sveta, nastajajo iz doživljanja, ki se oblikuje v procesu nastajanja
slike v smiselni kontekst oziroma vsebino. Toda sam trenutek prehoda, premika iz
preteklosti (spomina) v sedanjost (nastajanje slike), je tisti trenutek v slikarju, ki ima
značaj čistega dogodka, v katerem znotraj sebe spoznava edinstvenost bivanja,
neponovljivost izbranih trenutkov.
Tuškove slike so materialno in pomensko večplastne. Površina slike sicer zakriva notran-
jost in šele v vizualni konkretizaciji dela, v odnosu slika (avtor) : gledalec se plasti vide-
zov postopno razkrivajo. A likovne plasti se v Tuškovih slikah nikoli eksplicitno ne razo-
denejo, ampak so na določen način, z vnaprej premišljeno in ustrezno snovno-idejno
kombinacijo, vedno v stanju učinkovite pripravljenosti. Takšna materialno - idejna poli-
fonija pa postavi pred nas sliko, ki kljub večplastni zgradbi učinkuje kot celovita, organ-
ska enota.
Ta, v bistvu notranja, pot delovanja (ustvarjalni proces) pa se lahko izmeri z ustvarjal-
nim razporejanjem, ki je čustvena reakcija na predmet, na doživljanje le-tega in iskan-
je njegovega smisla v določenem kontekstu. Rezultat je likovna vsebina (poudarja jo
ponavadi naslov, ki ga avtor vedno skrbno izbere), in prav tu je ustvarjalno razpore-
janje tisto, ki vse estetske trenutke natančno organsko in notranje predestinira. Tako vse-
bino zaobseže od začetka do konca, z vsemi njenimi elementi ter jo poenoti.

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Tuškova likovna dela lahko poimenujemo: kolaž, assemblage, kombinirana slika in formed in the process of creating the picture in the imaginary context or content.
celo ready made. Te opredelitve sicer okvirno povejo, na kakšen način so prekrite However, the very moment of transition, the shift from past (memory) to present (cre-
posamezne materialne situacije, barve in odnosi med njimi. Nakažejo pa tudi, kako ation of the picture) is that moment in the painter which has the character of pure
sploh pride do medsebojnega učinkovanja uporabljenih likovnih komponent ali v event, in which he recognises within himself the uniqueness of living, the unrepeatabil-
kakšnih odnosih deluje določena vsebinsko-esteska realizacija. Toda bolj kot takšne ity of chosen moments.
oznake, se mi zdi, da v njegovem delu izstopajo poleg temeljne slikarske usmeritve Tušek's pictures are multilayer in the sense of both material and content. The surface
tudi določeni kiparski poudarki. V teh slikah se meja med slikarstvom in kiparstvom of the picture hides an interior and only in the visual concretisation of the work, in the
zabrisuje. Oba umetniška medija se spretno medsebojno prepletata, dopolnjujeta in relation picture (author): viewer are the layers of view gradually revealed. But the artis-
tudi ločeno izstopata, glede na vsebino posamezne slike. Prav takšno povezovanje tic layers in Tušek's pictures are never explicitly not disclosed, but in a particular way,
slikarstva s kiparstvom pa odpira avtorju veliko možnosti za izražanje likovnih vsebin, with prior deliberation and an appropriate material-conceptual combination, are
ki jih bo v nadaljnjem delu gotovo še temeljito poglabljal. always in a state of effectiveness readiness. Such material - conceptual polyphony sets
before us a picture which, despite the multi-layer construction, is effective as a whole,
Sarival Sosič as an organic unity.
This, essentially internal way of working (creative process) can be gauged by the cre-
H ave apparently randomly distributed elements their own delicate order in nature, ative distribution which is a sensory reaction to the object, to the experience itself, a
too? An order which gives permanence and allows the painter as little uncertain- quest for its sense in a specific context. The result is the artistic content (the title, which
ty as possible is in the painting of form. It is bound to repetition, although the creative the author always chooses with care, normally stresses it), and precisely here the cre-
spirit does not transfer it Seeking ever new paths, combinations, cross sections, frac- ative distribution is that which exactly preordains all aesthetic moments, organically
tures and views deep and wide, sets the author above such forms and at the same time and internally. He embraces such a content from start to finish, with all its elements,
his own art process absorbs him and also encourages him in the search for new (even and unifies it.
constructivist) solutions. Tušek's works of art can be called collage, assemblage, combined painting or even
Is a picture that which can most approach this natural order? Or can it take and ready made. These classifications provide a framework, in some way they reveal indi-
arrange at first sight coincidentally distributed objects (symbols), scattered through vidual material situations, colours and relations among them. They also indicate how
space, retained in memory, which the painter carries within himself? Marko Tušek in general the intereffect of the components of art used is achieved or, in some rela-
attempts to capture just that. To squeeze from its symbolic connotations, to design a tions, how a specific content-aesthetic realisation operates. However, it seems to me
three dimensional space or illusion of space, to seek a new ideal, even Arcadian land- that more than such designations, in addition to the basic artistic orientation certain
scape, to distribute the dimensions of the horizon into a constructed space of art, to sculptural stresses stand out in his work. The boundary between painting and sculpture
depict those blue, silver blue shades which vibrate in nature at certain special is blurred in these pictures. The two artistic media are skilfully interwoven, supplement
moments. His pictures split, are distributed over a wall, are full of unknown, even hid- each other and also stand out separately, in relation to the content of an individual
den openings. Out of apparent disorder they build a delicate rhythm of cross sections, picture. Precisely such a linking of painting and sculpture opens to the author a great
lines, they are like some kind of story, full of memories. many possibilities for expressing artistic contents which will certainly be profoundly
Marko Tušek composes a picture, constructs it from natural materials (wood, stone, explored in further work.
clay, textile, paper), taken from the environment in which he moves. His art composi-
tions are moments of the representable world, emerging from the experience which is Sarival Sosič

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4 Kanion / Canion; 1997; les, pesek, keramika, papir, akril.../ wood, sand, ceramic, paper, acrylic...; 300x145x38 cm

ZENIT 1247; 1997; les, platno, papir, akril.../ wood, canvas, paper, acrylic...; 78x41x5 cm 5

6 Et in Arcádia Ego; 1998-99; les, papir, akril.../ wood, paper, acrylic...; 240x100x15 cm

Modreca / Two wise mans; 1999-2000; les, papir, akril.../ wood, paper, acrylic...; 365x206x26 cm 7

8 Najinih 10253 km / Ours 10253 km; 1998; les, papir, pesek, akril.../ wood, paper, sand, acrylic...; 70x50x4,5 cm

Bur II; 1997-98; les, papir, akril.../ wood, paper, acrylic...; 85x42x6 cm

Let CDG 104 / Flight CDG ;104 1998; les, papir, akril.../ wood, paper, acrylic...; 41x41x16 cm 9

Marko Tušek je bil rojen 23. avgusta 1964 v Kranju. V Samostojne razstave / One man exhibitions: - V letu 1993 sodeloval tudi na več skupinskih razstavah likovnega društva Kranj v
otroštvu si je ob očetu slikarju pridobil veselje do barve in 1986 - Kranj, galerija NOVA, videoambientalni projekt CEV (Tušek, Grobovšek) Mali galeriji
risbe in se tako že zgodaj seznanil z likovnimi zakonitostmi - 1989 - Kranj, MALA GALERIJA 1994 - Ljubljana, nova galerija Filipovega dvorca - skupaj z razstavo v galeriji ZDSLU ,
predvsem v kompoziciji, barvi in pojmovanju prostora. 1990 - Škofja Loka, GALERIJA IVAN GROHAR “Slovenija odprta za umetnost”
Navkljub živemu zanimanju za prenekatero drugo področje 1990 - Izola, galerija INSULA - Kranj, razstava ob otvoritvi nove poslovne zgradbe Zavarovalnice Triglav
ga je polje vizualnosti - v širšem smislu vse bolj privlačilo. 1992 - Ljubljana, BEŽIGRAJSKA GALERIJA - Sežana, KC “Srečko Kosovel, “Slovenija odprta za umetnost”
Vpisal se je na Srednjo šolo za oblikovanje in fotografijo v 1993 - Bled, hotel Astorija 1995 - Kranj, Mala galerija, Razstava zimskega mednarodnega srečanja na Krvavcu,
Ljubljani. Po odsluženem vojaškem roku v Banja Luki je začel 1996 - Ljubljana, galerija EQURNA prenos v Cerklje na Gorenjskem
obiskovati Akademijo za likovno umetnost v Ljubljani, kjer je 1997 - Kranj, Caffe galerija društva PUNGERT - Bologna, Galleria Civica d’Arte Moderna, FORMA ETERNA
leta 1988 že v četrtem letu študija diplomiral pri prof. - Ljubljana, galerija Smelt, MINI PRIX LUCAS ‘95
Emeriku Bernardu. Podiplomski študij je nadaljeval pri prof. - Kranj, galerija SAVA (galerija poslovne stavbe Sava Kranj) - Sinji vrh - “Slovenija odprta za umetnost '95” ( mednarodna delavnica)
Metki Krašovec. 1998 - Kranj, Gostišče Arvaj - skupaj s Tušek V. - Kranj, Letna razstava Likovnega društva Kranj
Vizualno področje pojmuje kot močno razvejano, a psi- 1999 - Ljubljana, INSTITUT JOŽEF STEFAN - skupaj s Tušek V. - Budimpešta, galerija STUDIO, “Čas kot struktura, metoda kot pomen”
hološko enotno polje, zato se ne odloča za zgolj eno od 2000 - Lubljana, BEŽIGRAJSKA GALERIJA - Trst, SOPRINTENDWNZA DI BAAAAS, “Arte Slovena Contemporanea”
vizualnih disciplin. Tako poleg slikarstva deluje tudi na - 2. BIENALE MESTA KRANJA, Mala galerija in Galerija v mestni hiši
področju grafičnega oblikovanja in fotografije, krajši čas pa Skupinske razstave / Group exhibitions: 1996 - Velenje, Idrija, Vipava, razstava srečanja “Slovenija odprta za umetnost ‘95”
se je ukvarjal tudi z videom, gledališko in filmsko scenografi- 1987 - Beograd, Bienale Jugoslovanske študentske risbe - Kranj, Risbe in slike na papirju v prostoru Alpe-Jadran
jo. Živi v Kranju. - Monfalcone, mednarodno srečanje in razstava “ARTE OPEN”
- Havana, Bienale Jugoslovanske študentske risbe - Kranj, Likovni umetniki za prešernovo mesto
Marko Tušek was born on 23rd of August 1964 in Kranj 1988 - Radlje ob Dravi, Salon ARS, “Generacija 87/88” 1997 - Washington, ART COLLECTION (Otvoritev zbirke International Finance Corporation
(Slovenia). His father, painter either, excited in the son’s early 1989 - Reka, Moderna galerija, 15. BIENALE MLADIH Washington), galerija - poslovna stavba IFC Washington
childhood a lively interest in colours and drawings. Thus, 1998 - Kranj, Mala galerija, Risbe in slike na papirju v prostoru Alpe Jadran
Marko Tušek learned in his early life the standards of the fine - Ljubljana, galerija Rihard Jakopič, “Likovni trenutek” - razstava članov ZDSLU - Kranj, Zadružni dom Primskovo, Razstava del članov Likovnega društva Kranj
arts, especially those of composition, colour and comprehen- - Murska Sobota, 9. JUGOSLOVANSKI BIENALE MALE PLASTIKE, prenos v Ljubljano, 1999 - Ljubljana, galerija Rihard Jakopič, MAJSKI SALON ‘99, “Slika”
sion of space. Despite his other interests, the field of visual Szombathely (Madžarska) in 2000 - 4. BIENALE MESTA KRANJA, Mala galerija in Galerija v mestni hiši
expression - in the broader sense of the word - attracted him 1990 Moskvo (galerija Tretjakov)
more and more. He went to the High School of Design and - Murska Sobota, “Gorenska, Goriška, Pomurje” Nagrade / Awards:
Photography in Ljubljana. After accomplishing military service - Kranj, “Gorenska, Goriška, Pomurje” - Nagrada MAJSKEGA SALONA ‘92, galerija Rihard Jakopič, razstava ZDSLU,
in Banja Luka (Bosnia and Herzegovina), he matriculated to - Nova Gorica, “Gorenska, Goriška, Pomurje” - 1. NAGRADA na EX-TEMPORE ‘92, Kranj,
the Academy of Fine Arts in Ljubljana where he graduated in - Ljubljana, galerija ŠKUC, “SLIKE ?” - PRIZNANJE LUCAS '93, na natečaju malega formata -“MINI PRIX LUCAS '93” -
the fourth year of study at prof. Emerik Bernard. He followed 1991 - Reka, Moderna galerija, 16. BIENALE MLADIH Vila Bled
postgraduate studies by prof. Metka Krašovec. 1992 - Ljubljana, galerija Rihard Jakopič, “MAJSKI SALON 92” - NAGRADA LUCAS 95, na bienalu male slike - “MINI PRIX LUCAS ‘95”
He considers the field of visual expression as extremely het- - Kranj, “EX-TEMPORE 92” SMELT, Ljubljana
erogeneous, yet psychologically united domain, this is why he - Piran, “EX-TEMPORE”
doesn’t decide solely for one among visual disciplines. - Ljubljana, Razstava Mreže za Meteljkovo v stari toplarni Naslov / Address:
Besides his painting he is engaged in graphic design and - Oderzo, PALAZZO FOSCOLO (Italija), “VILE E PALAZZI - MUSE DI PIETRA” Ul. Milene Korbar 8, 4000 Kranj, Slovenija, tel.: +386 (0)64 241-869,
photography, a short time he was engaged in video, film and (razstava postavljena na desetih razstaviščih) E-mail: [email protected]
theatre scene painting. He lives in Kranj. 1993 - Ljubljana, galerija Rihard Jakopič, “MAJSKI SALON 93”
- Vila Bled, razstava Mini Priex Lucas ‘93, (prenos v Ljubljano, Madrid, Torino,
10 Pordenone in Budimpešto)
- Ljubljana, Razstava Mreže za Meteljkovo ob zavzetju kasarne na Meteljkovi
- Begunje na Gorenjskem, galerija Avsenik, “Slovenija odprta za umetnost”
(likovna delavnica in razstava)
- 1. BIENALE MESTA KRANJA, Mala galerija in galerija v mestni hiši

Razstavljena dela / List of exhibits: of the exhibition and the compilation of the cata- Mestna galerija Ljubljana
1. Kanion / Canion; 1997; les, pesek, keramika, papir, logue, many thanks are due to: Mestni trg 5, 1000 Ljubljana, SLOVENIJA
akril.../ wood, sand, ceramic, paper, acrylic...; TISKARNA B&M POVŠE tel.: +386 61 24 11 770
300x145x38 cm; v lasti Ivice Arvaj /in property MESTNA OBČINA LJUBLJANA - ENOTA KULTURA fax: +386 61 24 11 782
of Ivica Arvaj MINISTRSTVO ZA KULTURO REPUBLIKE E-mail: [email protected]
SLOVENIJE
2. PANTERA NE 4B; 1998; les, papir, akril.../ wood, Enota: Bežigrajska galerija
paper, acrylic...; 135x200x20 cm; v lasti družine Špenko Zahvaljujemo se lastnikom slik: Ivici Arvaj, družini Dunajska 31, 1000 Ljubljana, SLOVENIJA
/in property of family Špenko Špenko in Tomu Zaplotniku, ker so prijazno tel.: +386 61 136 69 57
odstopili slike za to razstavo. fax: +386 61 136 69 58
3. Et in Arcádia Ego; 1998-99; les, papir, akril.../ wood,
paper, acrylic...; 240x100x15 cm; v lasti Toma Prireditelj / Organizer: Bežigrajska galerija
Zaplotnika /in property of Tomo Zaplotnik Bežigrajska galerija, Ljubljana, Slovenija Marko Tušek, Slike / Paintings 1997 - 2000,
Izdajtelj / Publisher: Razstava 5/2000, 26. april - 20. maj 2000
4. Modreca / Two wise mans; 1999-2000; les, papir, Mestna galerija, Ljubljana, Slovenija Exhibition 5/2000, 26th april - 20th Maj 2000
akril.../ wood, paper, acrylic...; 365x206x26 cm Za izdajatelja / For the Publisher: Aleksander Bassin
Urednik kataloga in kustos razstave / Editor of the
5. Let CDG 104 / Flight CDG ;104 1998; les, papir, akril.../ catalogue and curator of the Exhibition: Miloš Bašin
wood, paper, acrylic...; 41x41x16 cm Tekst / Text: Sarival Sosič
Angleški prevod / English translation: Martin Cregeen
6. Bur II; 1997-98; les, papir, akril.../ wood, paper, Fotografija / Photography: Marko Tušek
acrylic...; 85x42x6 cm Računalniška obdelava reprodukcij / Computer
reproduction prepare: Marko Tušek
7. Najinih 10253 km / Ours 10253 km; 1998; les, Oblikovanje / Design: Miloš Bašin, Marko Tušek
pesek, papir, akril.../ wood, sand, paper, acrylic...; Postavitev in izdelava filmov /Photocomposition:
70x50x4,5 cm Birografika Bori, Ljubljana; DATAMIX, Kranj
Tisk / Print: Tiskarna B & M Povše
8. ZENIT 1247; 1997; les, platno, papir, akril.../ wood, Naklada / Copies: 300
canvas, paper, acrylic...; 78x41x5 cm
Zgoraj desno / Up right: Megleno jutro / Fogy morn-
9. Megleno jutro / Fogy morning; 1998; les, akril.../ ing; 1998; les, akril.../ wood, acrylic...; 56x37x16 cm
wood, acrylic...; 56x37x16 cm
Na naslovnici / On the Cover: Modreca (detajl)/
10. 245; 1998; les, akril, kamni.../ wood, stones, Two wise mans (detail); 1999-2000; les, papir,
acrylic...; 92x52x10 cm akril.../ wood, paper, acrylic...; 365x206x26 cm

11. 320C; 1997; les, papir, akril.../ wood, paper,
acrylic...; 135x200x20 cm

Zahvala / Thanks:
Za izvedbo razstave in kataloga so pokazali posebno
razumevanje in naklonjenost: / For their special willig-
ness to assist and their understanding in the execution

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