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Zloženka k razstavi v Galeriji Mestne hiše in Prešernove hiše v Kranju, 2008. Razstav je bila organizirana skupaj z razstavo v Galeriji Prešernovih nagrajencev Kranj, v sodelovanju Gorenjskega muzeja in Galerije Prešernovih nagrajencev Kranj. Besedilo. dr. Damir Globočnik.

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Published by marko.tusek68, 2020-04-07 16:54:20

Janez Lenassi - Simpozijska skulptura, javna dela, spomeniki

Zloženka k razstavi v Galeriji Mestne hiše in Prešernove hiše v Kranju, 2008. Razstav je bila organizirana skupaj z razstavo v Galeriji Prešernovih nagrajencev Kranj, v sodelovanju Gorenjskega muzeja in Galerije Prešernovih nagrajencev Kranj. Besedilo. dr. Damir Globočnik.

Keywords: Janez Lenassi,2008,Gorenjski Muzej,dr. Damir Globočnik,Galerija Prešernovih nagrajencev Kranj

Simpozijska skulptura,
javna dela, spomeniki

Predstavitev originalnih strani
monografije Janeza Lenassija


Janez Lenassi:

Monumentalna skulptura

kiparskem opusu Janeza Lenassija lahko sledimo jasno izraženi kontinuiteti umet-
nostne misli, ki se navezuje na različne pobude zahodnoevropskega modernističnega
kiparstva. Zgodnja figurativna mala plastika v bronu in terakoti, s katero se je
predstavil tudi na prvi samostojni razstavi leta 1957 v Prešernovi hiši v Kranju, se
je postopoma prelila v "abstraktne" kiparske oblike. Ena osrednjih prelomnic je bilo
Lenassijevo sodelovanje na kiparskem simpoziju v kraju St. Margarethen na avstrij-
skem Gradiščanskem leta 1959: v tamkajšnjem kamnolomu se je soočil s skulpturo
monumentalnih mer in klesanjem v kamen, ki je postal njegovo primarno kiparsko
izrazilo. Leta 1961 je bil skupaj s kiparjem Jakobom Savinškom med pobudniki med-
narodnega kiparskega simpozija Forma viva v Seči pri Portorožu in Kostanjevici na
Krki. Po zaslugi skorajda vsakoletne udeležbe na različnih kiparskih srečanjih in
vrste naročil za spomenike in javne plastike je Janez Lenassi postal eden osrednjih
slovenskih avtorjev monumentalne javne, spomeniške in simpozijske skulpture.

Med najpomembnejše značilnosti Lenassijeve monumentalne in ateljejske plastike manj-
ših dimenzij spadajo: občutek za kiparski volumen in notranje napetosti v kiparskem
gradivu, jasna in pregledna, vselej monumentalna kompozicijska zasnova, sinteza
kiparskih in arhitekturnih elementov, simbioza skulpture z okoljem ter posluh za
posebnosti materiala.

Janez Lenassi je za prve spomeniške skulpture izbral beton oziroma armirani železo-
beton (Spomenik letalcu Edvardu Rusjanu v Novi Gorici, 1960, Spomenik padlim
borcem, Mirna, Spomenik padlim v Ilirski Bistrici, oba 1965) ali železo (Spomenik par-
tizanskim železničarjem, 1962, Vogar nad Bohinjem), vendar pa velja zlasti za mojstra
obdelave in oblikovanja kamna vseh vrst. S preselitvijo v kamniti Mediteran je vez s
kamnom postala še bolj trdna. Udeleževal se je mednarodnih kiparskih delavnic in
natečajev, ki so nudili možnost kiparskega dela v kamnu. Atelje na prostem je postal
eno osrednjih prizorišč njegovega kiparskega delovanja.

Stilizacija figuralnih motivov pri prvih poakademijskih delih je kmalu odstopila svoje
mesto simbolični redukciji in poenostavljanju oblik. Kljub težnji po geometrijski ure-
jenosti Lenassi nikoli ni prekinil vezi s predmetnim svetom. V asociativnih oblih in
geometrijsko strožjih kiparskih formah lahko začutimo antropomorfno in biomorfno
izhodišče ali zasledimo odmeve tém (par, družina, skupnost), ki so opredeljevale
začetek Lenassijeve ustvarjalne poti. Mehko zaobljene oblike ponazarjajo žensko,

zgoraj in na naslovnici: Spomenik padlim, beton, 7,5 x 9 x 7,5 m, Ilirska Bistrica 1965


skrajno levo: Kamen življenja, granit, 1978, Žale (Ljubljana)
levo: Dvojica, temnosivi apnenec, 260 x 120 x 80 cm, 1961,
Kirchheim (nemčija)

Fontana, kraški apnenec, 120 x 100 x 150 cm, 1986, Trst (Sesljan)

geometrijsko poenostavljene ostrorobe oblike pa moško komponento. Dvopolnost se
povezuje v harmonično soodvisnost (mdr. skulptura Srečanje, nastala na simpoziju
St. Margarethen, 1959, Dvojica, 1961, Kirchheim). V gladko kamnito površino
vrezana znamenja (črta, križ, zanka, spirala) imajo delno arhetipski značaj. Značilna
trikotna zanka je lahko znak ženskega ali moškega principa (Antipoda, 1987,
Kaiserslautern), povezovalno vlogo ima tudi znamenje v obliki prostorskega križa.
Eno osrednjih ustvarjalnih izhodišč Janeza Lenassija je postal dialog z naravo in njeni-
mi večnimi zakonitostmi. Kamnite skulpture vselej razkrivajo pečat svojega izvora.
Lenassijevi kiparski posegi so podpirali bogastvo naravnih oblik, površinsko teksturo
kamna, barvitost, njegovo strukturo, žilavost, zrnatost. V razčlenjevanju zunanje
površine kamnite gmote je razvidna notranja gradnja. Skulpture izpričujejo občutljiv
in prvinski odnos do plemenitega kiparskega gradiva. Praviloma je ohranjena sklen-
jenost kamnitega bloka, ki ga je Lenassi včasih samo delno obeležil s svojo oblikoval-
sko voljo (npr. Prerez, 1968, Vermont). Meje med neobdelanim kamnom in hoteno
kiparsko intervencijo so zabrisane. Zdi se, da je kipar z navidezno malenkostnimi posegi v
kamniti sklad želel popraviti delo narave (Žrtvenik, 1978, Saarbruecken, V gibanju,
1993, Larvik). Dialog z oblikami naravnega okolja, ki jih je Janez Lenassi transformi-
ral v kiparske oblike, se nadaljuje z razpostavljanjem skulptur v pejsažu.
Lenassi je v svoj likovni svet pritegnil tudi morje in veter-burjo. Spiralni zavoj
školjke je ponazoritev vala in njegova zgostitev v simbol ali znak (prva morska skulp-
tura večjih dimenzij Jugo, 1972, Mediteranski kiparski simpozij Labin, Dubrava).
Fluidno gibanje morja je zajel z mehko oblikovanimi valovnicami - valovitimi žlebiči in
brazdami različnih dimenzij, s katerimi je prekril površino plastik (npr. Narava in
civilizacija, 1982, Hymettus, Atene). Voda je tako rekoč postala "kiparsko gradivo",


ki oživlja kamen (Spomenik partizanom pomorščakom, 1977, Portorož, Kamen življen-
ja, 1978, Nove Žale, Izvir, 1984, Hachioi, Tokio). Pogosto je uporabil obliko vase
iztekajoče spiralne valovnice, ki jo je povezal z odtekajočo vodo. V kamnitem skladu
mu je uspelo zajeti nemirni trenutek v gibanju vodne gladine (Pliskavka, 1988,
obrežje jezera Wannsee, Berlin). Ponazoril je tudi brbotanje vode na površini kamna,
ki jo oživlja v vse smeri razpršena svetloba (Fontana, 1986, Sesljan pri Trstu).
Janez Lenassi je skulpture klesal iz kamnitih blokov ter iz več blokov sestavljal domisel-
no pretehtane celote (Spomenik NOB, 1973, Ormož, Kompozicija pred šolskim centrom,
1982, Postojna, Omizje, 1991, Portorož). S pretehtano razpostavitvijo kamnitih kubusov
ali krožnih segmentov je zaobjel širši prostorski volumen. Pri slednjem postopku, ki
zahteva sintezo kiparskih elementov in arhitekturnega koncepta, je očitno kiparjevo
arhitektonsko nagnjenje. V racionalnem redu, ki ga je narekovala umetnikova imagi-
nacija, so se posamezni deli povezali v uravnotežen likovni organizem.

Damir Globočnik

spodaj z leve: osnutka za skulpturo Srečanje in že izdelana skulptura na prizorišču simpozija v St. Margarethenu leta 1959
(skulptura Srečanje, peščenjak, 210 x 90 x 90 cm, 1959. Danes je skulptura postavljena v Donavskem parku na Dunaju.)
spodaj desno: Meditativni kamen, peščenec, 300 x 110 x 95 cm, 1966, St. Margarethen (Avstrija)


Janez Lenassi

Monumental sculpture

n the sculpture opus by Janez Lenassi, the clearly expressed continuity of the art idea
can be traced which is relating to different initiatives of West European modernist
sculpture. The early figurative small sculpture in bronze and terra cotta which he
presented at his first one-man exhibition in Prešeren's house in Kranj in 1957 has grad-
ually transformed into "abstract" sculptural forms. One of the basic turning-points
was Lenassi's participation at the sculpture symposium in St. Margarethen in
Burgenland, Austria, in 1959: in the local quarry he came face to face with the sculp-
ture of monumental measures and with the carving of stone, which was to become his
primary means of plastic expression. In 1961 he was, together with the sculptor Jakob
Savinšek, among the initiators of the international sculpture symposium Forma viva at
Seča near Portorož and in Kostanjevica na Krki/upon Krka. Due to his almost annual
participation at various sculpture symposiums, and a number of orders for statues and
public monuments, Janez Lenassi became one of the main Slovene authors of the monu-
mental public, memorial and symposium sculpture.

Among the most important characteristics of Lenassi's monumental sculpture, as well
as of his studio sculpture of smaller dimensions, belong the following: the feeling for
sculpture volume and for the inner tensions within the sculpture material, the clear
and understandable, always monumental composition scheme, the synthesis of sculp-
tural and architectural elements, the symbiosis of sculpture with its surroundings,
and the comprehension of material's particularities.

For his first monument sculptures, Janez Lenassi chose concrete or ferroconcrete
(Monument to Airman Edvard Rusjan in Nova Gorica, 1960, Monument to Fallen
Combatants, Mirna, Monument to the Fallen, Ilirska Bistrica, both 1965), or iron
(Monument to partisan railmen, 1962, Vogar above Bohinj); however, he is best known as the
master of carving and shaping all kinds of stone. Upon his moving to the stony


Mediterranean, his bond with the stone became even firmer. He was taking part in interna-
tional sculpture workshops and competitions which provided the possibility of working
and sculpturing in stone. The open air studio became one of the central scenes of his work.

The stylization of figural motifs from his first post-academy works soon gave way to
symbolic reduction and simplification of forms. Despite the tendencies for geometrical
order, Lenassi never broke his ties with the world of objects. In the associative rounds
as in the geometrically stricter sculptural forms, the anthropomorphic and biomorphic
origins can be sensed, or echoes of themes traced (a couple, a family, a community) that
had been defining the beginnings of Lenassi's creative career. The softly rounded shapes
represent the female, and the geometrically simplified, sharp-edged forms the male com-
ponent. The two poles are combined in harmonical interdependence (among others the
sculptures Encounter, created at the symposium at St. Margarethen, 1959, and Couple,
1961, Kirchheim). Signs carved into the smooth stone surface (line, cross, loop, spiral)
have a partly archetypal character. The characteristic triangular loop can be the sym-
bol of the female or the male principle (Antipodes, 1987, Kaiserslautern), the connect-
ing role can also be attributed to the mark in the shape of a space cross.

One of the central creative starting-points for Janez Lenassi became his dialogue with
Nature and its eternal laws. The stone sculptures always reveal the seal of their origin.
Lenassi's sculptural interventions were supporting the richess of natural forms, the sur-
face texture of stone, its colouring, its structure, its toughness, its grain-like quality.
The dismembering of the outer surface of a stone block reveals its inner structure. The
sculptures express the sensitive and primeval attitude towards the noble sculpture mate-
rial. The wholeness of the stone block is as a rule preserved, at times Lenassi merely par-
tially marked it by his creative will power (e. g. Section, 1968, Vermont). The boundaries
between the unworked stone and the intentional sculptural intervention are blurred. It
appears as though the sculptor, with seemingly petty interventions in the stone block,
attempted to correct the nature's creation (Sacrificial Altar, 1978, Saarbruecken, In
Motion, 1993, Larvik). The dialogue with the shapes from the natural surroundings, which
were transformed by Lenassi into sculptural shapes, was continued by the placing of
sculptures into landscapes. He included the sea and the wind - the north wind into his


artistic world. The spiral shape of a shell illustrates a wave and its transformation into
a symbol or a sign (the first sea sculpture of larger dimensions, South Wind, 1972, The
Mediterranean Sculpture Symposium Labin, Dubrava). The fluidic sea motion was cap-
tured by the softly shaped wavy lines - channels and furrows of various dimensions - with
which he covered the sculptures' surfaces (e. g. Nature and Civilization, 1982, Hymettus,
Athens). Water almost became "sculpture material", bringing life to the stone (Monument
to Partisan Seamen, 1977, Portorož, Stone of Life, 1978, Nove Žale, Source, 1984, Hachioi,
Tokyo). He often used the shape of the spiral wavy line, flowing out into itself, which he
linked to flowing-away water. He succeeded to capture, in a stone block, the restless
moment in the movement of water surface (Porpoise, 1988, Wannsee lake shore, Berlin). He
also illustrated the bubbling of water on a stone surface, made alive by the light dis-
persed in all directions (Fountain, 1986, Sistiana near Trieste).

Janez Lenassi carved his sculptures out of stone blocks, and used several blocks to com-
pose ingeniously designed wholes (Monument to the National Liberation War, 1973,
Ormož, Composition in front of the School Centre, 1982, Postojna, Company at Table,
1991, Portorož). He encompassed a wide volume of space by carefully planning his plac-
ing of stone cubes or circular segments. With the latter procedure, which demands a
synthesis of sculpture elements and architectural concept, the sculptor's architectur-
al inclination is obvious. In the rational order, dictated by the artist's imagination, indi-
vidual parts became linked into a carefully planned and balanced art organism.

Damir Globočnik

fotografije zgoraj z leve:
Pliskavka, črni labrador, 60 x 290 x 220 cm, 1988, Wannsee - Berlin (Nemčija)
Jugo, istrski apnenec, 230 x 150 x 140 cm, 1972, Mednarodni kiparski simpozij labin, Dubrava (Hrvaška)
Kompozicija pred šolskim centrom, granit, 120 x 70 x 70 cm, 1982, Postojna
Prerez, marmor, 275 x 180 x 125 cm, Proctor, Vermont (ZDA)
Fontana, kraški apnenec, 120 x 100 x 150 cm, 1986, Trst (Sesljan)
Spomenik NOB, višina 3 m, 1973, Ormož
Skulptura v parku pred Pečaričevo galerijo v Piranu, apnenec, 1995, Piran


Galerija Mestne in Prešernove hiše v Kranju
september - oktober 2008

Zgibanko izdal: Gorenjski muzej, Tomšičeva 44, 4000 Kranj, www.gorenjski-muzej.si
Zanj: mag. Barbara Ravnik Toman

Kustos razstav: dr. Damir Globočnik
Organizacija, priprava in postavitev razstav: Aleš Lenassi

Simpozijska skulptura - fotografske reprodukcije
(Obalne galerije Piran, prva predstavitev oktober/november 2007,
Galerija Herman Pečarič v Piranu, kustosinja razstave Majda Božeglav-Japelj),

Predstavitev originalnih strani monografije Janeza Lenassija
(koncept in oblikovanje monografije Aleš Lenassi)
in Hommage a` Janez Lenassi (kipi Aleša Lenassija)

Spremno besedilo: dr. Damir Globočnik
Prevod: Jana Kranjec Menaše

Fotografije: Arhiv Janeza Lenassija
(Janez in Aleš Lenassi, Žare Veselič, Martin Búřil, Kryštof Pešek, Jaka Jeraša)

Oblikovanje: Marko Tušek
Tisk: Tiskarna GTO Košir

Kranj, september 2008

Mestna občina Kranj
Slovenski trg 1, 4000 Kranj

www.kranj.si


Aleš Lenassi

Hommage a` Janez Lenassi

ejstvo, da je Aleša Lenassija s kiparskim oblikovanjem
kamna seznanil oče Janez Lenassi, nam ponuja pre-
prosto in hkrati zapleteno pojasnilo nastanka kipov,
ki jih je Aleš razstavil v očetov spomin. "Hommage
Janezu Lenassiju" vključuje tako plastike, ki sta jih
oče in sin izdelala skupaj, samostojne skulpture
Aleša Lenassija in nedokončana kiparska dela Janeza
Lenassija, pri katerih je Aleš Lenassi kar se da zvesto
sledil očetovim ustvarjalnim hotenjem, umetnostne-
mu nazoru in postopkom obdelave kamna. Počastitev
očetovega kiparskega opusa obsega torej plastike, ki
povzemajo likovni besednjak Janeza Lenassija ali se
nanj namerno sklicujejo (npr. Združena očetova zna-
menja, Pot točke, ki ni našla tretje ploskve …). Ker pa
umetniških izkušenj, misli, teženj in spoznanj ni
mogoče razumsko opredeliti ali dosledno ponoviti,
lahko jih zgolj intuitivno zaslutimo, se pravzaprav
srečujemo s kiparskimi deli, ki izpričujejo osebnosti in
ustvarjalna hotenja obeh ustvarjalcev, in samostoj-
nimi deli Aleša Lenassija.

Eden osrednjih namenov Aleša Lenassija je bil ustvarjalen dialog z očetovim
kiparstvom. Posnemati in hkrati kreirati, spoštljivo in z občudovanjem graditi
svoj likovni svet na temeljih očetovih ustvarjalnih izkušenj in mojstrskega
oblikovanja kamna. Raziskati in analizirati ter vzpostaviti individualno različi-
co, ki ohranja eksaktnost izvedbe in občutljivost za obdelavo kamna, ki sta bili
značilni za Janeza Lenassija, medtem ko se celostna koncepcija, simbolična plat in
retoričen naboj kipov rezultat samostojnega in generacijsko pogojenega pogle-
da Aleša Lenassija. Od tod lahko pelje pot v še bolj sproščeno odzivanje na
kiparske izzive in vzpostavitev lastnega vsebinskega nagovora, ki ga lahko
zasledimo tudi v inovativnem povezovanju kiparskega izraza in tehnike repro-
duciranja zvoka (zvočniki iz celega kosa kamna).

Damir Globočnik

Aleš Lenassi se je rodil 1965 v Ljubljani. Leta 1986 je končal Srednjo šolo za oblikovanje in fotografijo - smer indus-
trijsko oblikovanje. Deluje kot slikar, fotograf, grafik, kipar in komponist. Leta 1994 je razstavljal fotografije na skup-
ni razstavi z Janezom Lenassijem v Galeriji Artes v Novi Gorici (prva samostojna razstava). Na natečaju "Javni kipi"
(prireditelj Zavod za kiparstvo Slovenije) je 2007 prejel Bernekerjevo nagrado. Živi v Piranu.

zgoraj desno: Polkrilec, apnenec, 27 x 20 x 15 cm, 1996, Aleš Lenassi
spodaj levo: Pot točke, ki ni našla tretje ploskve..., Aleš Lenassi
fotografije na naslednji strani iz leve: Duša, ki je zapustila tunel, marmor, 34,5 x 17 x 13,5 cm, 2002, Aleš Lenassi
Skupaj II, marmor, 33,5 x 17 x 15 cm, 2007-8, nedokončano delo Janeza Lenassija, dokončal Aleš Lenassi
Mali zvočnik, marmor, 30 x 25 x 25 cm (2 kosa), 1997, skupno delo Janeza in Aleša Lenassija


Aleš Lenassi

Hommage a` Janez Lenassi

he fact that Aleš Lenassi became acquainted with the carving and modelling of stone through
his father Janez Lenassi offers a simple, yet at the same time complicated explanation of the
creation of sculptures that Aleš has exhibited to honour the memory of his father. "Homage
to Janez Lenassi" thus includes the sculptures created by father and son together, sculp-
tures made by Aleš Lenassi on his own, and unfinished works by Janez Lenassi, with which Aleš
Lenassi followed, as faithfully as possible, his father's creative will, his artistic principles,
and his procedures in the working of stone. The honouring of his father's sculpture opus
therefore comprises sculptures which sum up the art vocabulary of Janez Lenassi, or delib-
erately refer to it (e. g. United Father's Marks, Path of the Point That Could Not Find the
Third Plane…) But since artistic experiences, ideas, tendencies and cognitions cannot be
rationally defined or consistently repeated, as they may only be sensed intuitively, we are
actually encountering sculptures which express the personalities and creative wills of both
the artists, and independent works by Aleš Lenassi.

One of the main motives of Aleš Lenassi was a creative dialogue with his father's sculpture.
To imitate and create at the same time, to build, with reverence and admiration, his own art
world on the foundations of his father's creative experiences and mastery in the modelling
of stone. To research and analyze, and thereafter establish an individual variant which pre-
serves the exactitude of realization and the sensibility for the working of stone which had
both been characteristic of Janez Lenassi, while the entire conception, the symbolic side and
the rhetorical charge of the sculptures are the result of independent, generationally con-
ditioned view-point of Aleš Lenassi. Henceforth the path may lead him towards even more
relaxed reactions to sculptural challenges, and the establishing of his own addressing of
the contents which may be traced in the innovative linking of sculpture expression with the
technique of sound reproduction (megaphones made of stone blocks).

Damir Globočnik

Aleš Lenassi was born in 1965 in Ljubljana. Graduated from the Secondary School for Design and Photography - Dept.
of Industrial Design in 1986. His various activities include painting, photography, graphic art, sculpture and composing
of music. In 1994 he exhibited his photographs at the mutual exhibition with Janez Lenassi in Gallery Artes in Nova
Gorica (his first independent exhibition). He received the Berneker Award in 2007 at the competition "Public Statues"
(organized by the Sculpture Association of Slovenia). He lives in Piran.


Ta publikacija
je v tiskani različici izšla
v obliki zloženke

(na fotografijah)


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