MGNG_katalog_Aleksij_Kobal_3_2019

Aleksij Kobal



Podtaknjenci / the planted



Aleksij Kobal Mestna galerija Nova Gorica

12.4.—10.5.2019

Podtaknjenci, slike Galerija Velenje

the planted, paintings 20.6.—20.7.2019

V Mestni galeriji Nova Gorica in Galeriji Velenje, kjer aktivno spremljamo dogajanje na področju sodobne slovenske likovne
produkcije, smo se povezali z željo, da skupaj pristopimo k organizaciji razstave Aleksija Kobala z naslovom Podtaknjenci, na
kateri bo avtor predstavil svoje najnovejše umetniške stvaritve.
Aleksij Kobal sodi med najvidnejše slikarje srednje generacije. Za seboj ima obsežen in raznolik slikarski opus, v katerem se
vseskozi zrcali neomajna vera v moč in sporočilnost slikarske podobe. V skupnem katalogu, ki je izšel ob razstavi in je pred vami,
je umetnostni zgodovinar Andrej Medved s filozofskega stališča osvetlil najnovejša slikarjeva snovanja, ki bodo na ogled v obeh
galerijah.
Naj bo ta pomembna razstava priložnost in izziv za nadaljnja povezovanja naših regionalnih galerij, ki že vrsto let v svojem
okolju skrbita za vrednotenje slovenske likovne ustvarjalnosti.







The Municipal Gallery of Nova Gorica and Velenje Gallery both actively follow developments in the field of Slovenian modern
fine arts. We combined our efforts in the desire to organise the exhibition of works by Aleksij Kobal titled “Podtaknjenci” [Cuttings]
featuring the author’s latest artworks.
Aleksij Kobal is one of the most notable painters of the middle generation. His rich and varied painting opus consistently reflects an
unyielding faith in the strength of the artistic image and its capacity to communicate. In the joint catalogue before you, which was
published at the occasion of this exhibition, art historian Andrej Medved philosophically reflected on the painter’s latest imaginings,
which will be displayed at both galleries.
Let this important exhibition stand as an opportunity and challenge inducing further collaborations between our two regional
galleries, which have, in their local environment, been tending to the appreciation of Slovenian fine-artistic creativity for a
number of years.








Pavla Jarc Barbara Pokorny
Direktorica Kulturnega doma Nova Gorica Direktorica Festivala Velenje
Director at the Nova Gorica Cultural Centre Director at Festival Velenje











Imunitas, 2019, akril, olje na platnu, 90 x 120 cm
Imunitas, 2019, acrylic, oil on canvas, 90 x 120 cm



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Imunitas, 2019, akril, olje na platnu, 90 x 120 cm
Imunitas, 2019, acrylic, oil on canvas, 90 x 120 cm



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LE DOUBLE SCENE, SE PRAVI: »DVOJNA Kar postane reč, se zgodi iz obročja zrcalne slikarstvu v resnici za realnost in absentia,
SCENA« KOT LIKOVNA »LEBDEČNOST« = igre sveta. Šele ko, verjetno nenadoma, in vendar te podobe niso le izraz odsotnega
PERPÉNÉTRATION DOZDEVKOV [NUOVE svet svétuje kot svet, zasije obroč, ki se mu sveta. V resnici so travmatične podobe, ki
IMMAGINI ALEKSIJA KOBALA] izvija obročje zemlje in neba, božanskih in jih postavlja pasivni, a celostni subjekt. S
smrtnikov, v breztrudno svoje preproščine pojmom travmatičnosti seveda mislimo
Zemlja in nebo, božanski in smrtniki spadajo, [svoje vgubnosti]. na sanje o realnosti, ki jih /po Lacanu/ ni
iz sebe drug do drugega enoviti, iz preproščine [Martin Heidegger, Reč] mogoče asimilirati, uprizoriti; na podobe, ki v
[iz vgubnosti] enovitega četverstva. Vsako od ponavljanju pričarajo privide naše Želje. Gre
Štirih zrcali v svojem načinu bistvo ostalih. Velike, gromozanske trombe vzrak in vznak, za »instanco travme, ki se nas spominja«, gre
Vsako se pri tem po svoje zrcali nazaj v v razmreženo ne-bo, v Ozadje krožnih linij za idejo drugega prostora in za brezčasno
svoje lastno znotraj preproščine [vgubnosti] vesoljnega kolesa. Ujetost kot osvoboditev, točko med zaznavo in zavestjo; v omami in v
Štirih. To zrcaljenje ni prikazovanje odslikave. veselje, radost in svoboda, iz dna rdeča luč, uživanju v lepoti. Gre za potrebo, da se spanje
Zrcaljenje dogaja, osvetljujoč vsako od Štirih, iz »bistva« in »tunela« = mos geometricus, nadaljuje, kjer je subjekt ujet v princip ugodja,
njihovo lastno bistvo v preprosto [v vgubno] v premice, diagonale barvne mreže/kletke in torej za Narcisa, ki v ogledalu platna gleda
zaprimernost drug do drugega. Zrcaleč na … in v Podzemlje arhetekture. Nekakšen lastno sliko. Narcisova podoba je podoba
ta dogajajoče-osvetljujoč način, se vsako labirint za vstop, v sliko, v Hades … in za čiste želje, svet videza, odbleska v ogledalu, ki
od Štirih spravlja v roke vsakemu od ostalih. izstop iz slike in slikarstva: poniki, vzniki, ki naj postane večna norma. In torej svet lepote,
Dogajajoče zrcaljenje osvobaja vsako od iz teme (Dunkelheit in amydron) v tò phôs, v Reich des Schönheit, ki je tako obvarovan
Štirih v njegovo lastno, vendar svobodno veže svetlobo, ki je »zunaj«: v rojstvo Mlečne ceste, resničnosti in váruje resnico umetnine.
v preproščino [v vgubnost] njihove bistveče v izbruhu supernove. Obročje kot vrtavka,
medsebojnosti. obroči, tik ob enem, tik ob drugem, ki se vrtijo, DODATEK: FORMA KOT OSNOVA
zavrtijo kot nebesni svodi/vrtiljaki in vrtinec iz AVANTGARDE
V svobodno povezujoče zrcaljenje je igra, ki jo temne globočine … Cevi, ki bruhajo svetlobo,
vsako od Štirih vsakemu pripisuje iz gubajoče zrcaljenje »vsebine« … iz praznine, niča/biti, Prav forma je namreč odločilna za
se opore za-primernosti. Nobeno od Štirih ponovitev, ponavljanje »predmetov« in figur: razumevanje stvari, »reči« (v pomenu
ne trmoglavi pri svojem ločenem posebnem nekakšnih vaz in vrčev, buč, cistern, steklenih Heideggrove s Ding), odnosov med stvarmi,
(preprostem). Vsako od Štirih je, nasprotno, bovl in steklastih balonov … Skrinjica Pandore /v/ nas samih. Forma je vedno v zgodovini
znotraj svoje zaprimernosti razlaščeno k s svetlobnimi, gorečimi plameni iz pred- pojmovanja, umevanja in »zapopadenja« (v
nekemu lastnemu. To razlaščujoče za- metov (das Ding, la chose), ki zdaj lebdijo smislu Inbegriff, se pravi pojmljenja) realitete:
primerjanje je zrcalna igra četverstva. Iz nje je v razprostorjenem Prostoru. Neskončnost resničnosti v pomenu Wirklichkeit, ki jo – ki v
poročena preproščina [vgubnost] Štirih. eksplozij in eksplozivnost kot neskončna njej – živimo in od nékdaj usodno zaznamuje
energija, ki zdaj preveva te podobe … Kjer ni našo eksistenco, v vseh mogočih znanjih in
Četverjenje bistvuje kot dogajajoča se zrcalna ne zla ne zle sreče, kjer vlada blodni Aion, čas spoznanjih, v zgodovini likovne umetnosti,
igra tistih, ki preprosto [vgubano] drug od kot nič(es), trenutek le, sekundna milijardinka literature, v zgodovini znanosti, filozofije je
drugega nekaj pričakujejo. Četverjenje bistvuje … Čas nemenljiv in čas izmerjen … Neskončna Forma odločilnega pomena. Brez nje bi glas
kot svetanje sveta. Zrcalna igra sveta je rajanje pomnožitev, neskončna proizvodnja in … (kot lik, podoba), kot Ereignis, kot prilastitev
dogajanja. Zato rajanje tudi Štirih ne oprime »praznina, ki je polnost … (po)polnost, ki je vsa vseh skrivnosti in resnic sveta, ki nas obdaja:
šele kot obroč. Rajanje je obroč, ki obroča praznina«. notránjega, zunánjega, imaginarnega,
s tem, da kot da igra zrcaljenje. Dogajaje simbolnega sveta, v resnici ne obstajal. Bil bi
osvetljuje Štiri v lesk njihove preproščine [ali Gre torej za razliko med reprodukcijo, dejansko ničen, ničes; sublimen, sublimiran
vgubnosti]. Zalesketaje za-primeri obroč Štirih Reproduzieren, in ponovitvijo, kot in abstrakten, ad absurdum.
vsepovsod odprto v uganko njihovega bistva. Wiederholung, umetniške izkušnje, kjer je
Zbrano bistvo tako obročajoče zrcalne igre v ospredju funkcija Zrcala, zrcaljenje kot Forma kot lik in likovnost, oblikovanje, izraz,
sveta je obročje. V obročju zrcaleče igrajoče Spiegelung, zrcaljenje umetnika v zrcalu izraznost, jasnost in različnost (clara et
obroča se Štirje stiskajo v svoje enovito in umetnine. Kjer se ohrani vsa osebna, nótranja distincta) nasproti mótnosti – kot amydron
kljub temu vsakomur lastno bistvo. in transcendentna skušnja. – in kalnosti in nerazločnosti oblike; ki nam
Zrcalna igra svetajočega sveta razobroči kot ničesar ne pove, ki nič ne razločuje. Ki vodi v
obročje obroča enovite Štiri v lastno poslušno, V »klasičnih« slikarskih delih je realnost /z/motnost, nerazumevanje, nerazumljivost.
v breztrudno njihovega bistva. Iz zrcalne igre kot celota, kot dejanskost, nepomembna, In ne nazadnje: v brezpomenskost, v
obročja obročanja se zgodi rečevanje reči. zunaj umetnine. Pomembna je samo neresnico.
Reč zadržuje četverstvo. Reč rečuje svet. instanca znamenj, forme, sloga in manire,
Vsaka reč zadržuje četverstvo v vsakokratne ki so povezani z ugodjem in užitkom. V Forma je torej tista, ki /nas/ ločuje od padca-
preproščine [se pravi vgubnosti] sveta. ponavljanju arhekulturnega modela gre pri v-nemoč, v neznanje, v Abgrund des Wesens:







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brez/d/no bitja. Seveda vsaka forma ni S spremembo Forme se zgodijo revolucije v
resnica in spoznanje. Le tista, ki poruši staro, rokovanju s stvarmi, v Pogledu in Umevanju
utečeno zgradbo, Red, Sistem in Plan sveta odnosov.
in eksistence, ki v temeljih zaniha ustaljeno Pološčen videz slike kot agens in »gonilo«:
tvorbo bivanja in misli, tj. da zruši neki nagonska vzmet v Onostranstvu. Slika
Model-matrico in »ležišče« neke proizvodnje, deluje kakor nekakšna igra, brez reference
ustvarjanja in delovanja, ki v bistvu-bistveno- in referenta, Slikar ni zdaj oponaševalec, ki
spreminja naš pogled in znanje, je odločilna. oponaša referenco, temveč oponaša samo
Brez (nove, vedno prenovljene, tj. izvirne) oponašanje slikarstva med slikanjem te tanke
Forme ni védenja, umetnosti, filozofije, ni »črte« med uživanjem in smrtjo ter mimesis,
znanosti, spozna/va/nja, niti ni mogoče / med mimesis in mimesis in med posnetkom
več/ prebivati na svetu; brez forme eksistenca – posnemanjem in (med) posnetkom. Se pravi
ni mogoča. Vse: vsaka stvar, odnos in vsak odtis odtisa in simulaker, ki simulira platonski Lacanov boromejski vozel
subjekt in vsaka objektivna danost se ujame posnetek: podobe iz simbolične votline.
vanjo, s tem da si z njo »pomagamo« v
umevanju in »rokovanju« s stvarmi in v odnosu To, kar velja za himen/sliko, velja, mutatis Smisel umetnosti = da se podobe le dotikaš
do stvari in med subjektom in objektom. mutandis, tudi za vse ostale Aleksijeve s čopičem, z roko, ki ga slika, s slikanjem, z
mreže/zanke/znake, »ničle« in »mehurje«, Umetnostjo, ki je edini smisel eksistence,
Forma kot tipična, specifična izraznost, izraz ki imajo podobno kot pharmakon (zdravilo bivanja, »dozdevka bitja«. Umetnost je edina
in lik/ovnost/, ki nam pomaga v umevanju – obuditev in mrtvoudnost – smrt) v Ženska, ki jo ljubim, Nietzsche. Dotikanje
»resnic« (teh je neskončno, a resničnost je sliki in na sliki nekakšen nadomestek. s slikanjem, s slikarstvom, z umetnino
le ena, ne obratno, kot mislijo posamezni Dekompozicija in kompozicija nekakšnega je »razcvetitev« kot floracija, edini pravi
vedeževalci: da namreč obstaja le ena in vsakega, vsakršnega Znaka načelno to ljubezenski odnos s Sliko, v več inačicah, z
sama, /ne/določena resnica, resničnost alternativno notranjost – zunanjost oslabi neprebojnostjo (ne)številnih krogov-krožcev,
pa beži, »uhaja«), spreminja svet realnosti, in ošibi, desematerializira. Ta »vmesnost« vaz in nepredrtih himnov in boromejskih vozlov
dejanski svet, ne v smislu temeljnih postavk, je semantična praznina himna, to notranje je die Liebe, ki preživi prav vsakršno delitev
tj. osnovnih bitnosti, lastnosti, ki določa od razmerje, razmaknjenost, artikulacija vsebine in delitveni proces na slike in razdeljenost
nekdaj, temveč se mu približajo na enkraten, kot »interval« … ta likovna opremljenost na posamezne podobe, ter predstavlja
izviren in v nekem drugem smislu tudi že množine, »slastna pomešanost« in ples libido: nagonsko, nezavedno in potlačeno
izvoren – »ustrezajoč« način, ki omogoča, da (po Mallarmeju), obrednost in lebdečnost v »odlagališče« in čisti gon nesmrtnega življenja.
vse stvari in vse odnose razumemo ponovno sanjarjenju, omahovanje, nestrganost zastora,
in na novo. Forma usodno zaznamuje ta let – letenje, akrobacije … v celoti strnjene Andrej Medved, pesnik in filozof
vso »neznosno proizvodnjo«, ki smo vajo v konici čopiča in prstov, v slikanju te dvojne
vpeti: kot ens naturans in natura naturata. scene.
Izraznost – likovnost teles in misli, ustvarjenih
in ustvarjalnih bitij, je forma, brez katere »Mi nismo niti dozdevek. Tu smo le tisto, kar
niso mogoči obstoj, obstajanje, postajanje, lahko zavzame njegovo mesto, da bi zavladalo
napredovanje in razvoj. Ko se »utrudi« forma – kaj? – objekt mali a … Zakaj sem v davnih
gledanja, pogleda na stvari, ko ta postane časih vpeljal boromejski vozel? Z namenom,
»nazadnjaška«, zaviralna (v znanosti, v da bi prevedel obrazec: zahtevam – kaj? – da
umetnosti, v vsakodnevnem delovanju), se z odkloniš – kaj? To, kar ti ponujam – zakaj? –
genialnim rezom – nekega umetnika, slikarja, kajti to ni tisto« (J. Lacan, v seminarju Še) …
pesnika in filozofa – poruši, zruši stari svet,
prelomi, zlomi ustaljena, preživeta Zgradba in
sistem, Matrica: modus operandi, ars vivendi.
Nastopi drug /v/pogled, drugačen point de
la vue, zamenjata se notránjost in zunánjost,
zastavi se vprašanje novega subjekta, »zlevi«
se stara subjektivnost, pojavi se vprašanje
novega občut/en/ja, t. i. neue Sensibilität, a
tudi objektivnosti (socialne, družbene, idejne in
ideološke, politične in miselne in ekonomske)
v absolutnem smislu.







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LA DOUBLE SCENE, I.E.: »THE DOUBLE retains its own nature. It is therefore a matter of the difference between
SCENE« AS »FREE-FLOATING-NESS« The mirror-play of the worlding world, as the reproduction, Reproduzieren, and repetition,
IN THE FINE ARTS = PERPÉNÉTRATION ringing of the ring, wrests free the united four into as in Wiederholung, of artistic experience
OF SEMBLANCE [NUOVE IMMAGINI OF their own compliancy, the circling compliancy where the function of the Mirror, mirroring as
ALEKSIJ KOBAL] of their presence. Out of the ringing mirror-play Spiegelung, is in the forefront, the mirroring of
the thinging of the thing takes place. the artist in the mirror of the artwork. Wherein
The earth and sky, divinities and mortals dwell The thing stays – gathers and unites – the all of the personal, inner, and transcendent
together all at once. These four, at one because fourfold. The thing things world. Each thing experience is preserved.
of what they themselves are, belong together. stays the fourfold into a happening of the simple
Preceding everything that is present, they are onehood [i.e. enfoldingness] of world. In “classical” paintings reality as a whole, as
enfolded into a single fourfold. Each of the four Whatever becomes a thing occurs out of the actuality, is unimportant, it stands outside the
mirrors in its own way the essence of the others. ringing of the world’s mirror-play. Only when artwork. What is important is only the higher
Earth and sky, divinities and mortals – being – all of a sudden, presumably – world worlds authority of symbols, form, style, and manner,
at one with one another of their own accord – as a world, only then does the ring shine forth, which are linked to enjoyment and pleasure.
belong together by way of the simpleness [out the joining from which the ringing of earth and By the repetition of the arché-cultural model,
of the enfoldingness] of the united fourfold. Each heaven, divinities and mortals, wrests itself painting is really representing reality in absentia,
of the four mirrors in its own way the presence free for that compliancy of simple oneness [its and yet these representations are not merely
of the others. Each therewith reflects itself in its enfoldingness]. expressions of the absent world. They are
own way into its own, within the simpleness of [Martin Heidegger, ‘The Thing’, transl. Albert actually traumatic representations established
the [enfoldingness of the] four. This mirroring Hofstadter, Poetry, Language, Thought, (NY by a passive-though-whole subject. The term
does not portray a likeness. The mirroring, 1975), 163-184.] traumatic here denotes dreams of reality, which
lightening each of the four, appropriates their /according to Lacan/ cannot be assimilated,
own presencing into simple [into enfolding] Large, enormous trumpets upwards, rearwards, enacted; representations, which in repetition
belonging to one another. Mirroring in this to the (be)knotted sky mesh , to the Background conjure apparitions of our Desire. It’s about a
appropriating-lightening way, each of the four of circular line of universal wheel. Confinement “higher authority of trauma that remembers
plays to each of the others. The appropriative as liberation, gladness, joy, and freedom, from us”, it’s about the idea of the other space and
mirroring sets each of the four free into its own, the bottom red light, from the “essence” and the the timeless point between perception and
but it binds these free ones into the simplicity “tunnel” = mos geometricus, to line segments, consciousness; in intoxication and enjoyment
[enfoldingness] of their essential being toward diagonals of colour nets/cages … and to of beauty. It’s about the need for sleep to
one another. the Underworlds of archétecture. A kind of continue, because the subject is caught in the
The mirroring that binds into freedom is the labyrinth to enter the painting, to Hades … and principle of enjoyment and it is thereby about
play that betroths each of the four to each to exit the painting and painting: disappearings, Narcissus viewing his own image in the mirror
through the enfolding clasp of their mutual appearings, wrings from darkness (Dunkelheit in of the canvas. The representation of Narcissus
appropriation. None of the four insists on its amydron) to tò phôs, to light, which is “outside”: is a representation of pure desire, the world of
own separate (simple) particularity. Rather, to the birth of the Milky Way, in the eruption appearance, a reflection in the mirror, which is
each is expropriated, within their mutual of a supernova. The ringing as a spinning top, to become the eternal norm. And therefore the
appropriation, into its own being. This rings, one right next to one, right next to the world of beauty, Reich des Schönheit, which is
expropriative appropriating is the mirror-play other, that spin, spin around like heavenly thus safeguarded from reality and safeguards
of the fourfold. Out of the fourfold, the simple firmaments/merry-go-rounds and a whirlwind the truth of the artwork.
onefold [enfoldingness] of the four is ventured. from the dark depth … Pipes spewing light,
The fouring presences like the appropriating the mirroring of “content” … out of emptiness, APPENDIX: FORM AS THE BASIS OF THE
mirror-play of those, who [enfolded] simply nothing/being, repetition, repeating “things” AVANTGARDE
expect something from one another. The fouring and figures: kinds of vases and jugs, gourds,
presences like the worlding of the world. The cisterns, glass bowls and glassy balloons … It is form, which determines the understanding
mirror play of the world is the round dance of Pandora’s Box with lighting, burning flames of of matter, “the thing” (in the sense of Heidegger’s
appropriating. Therefore the round dance does (pre-exis)things (das Ding, la chose), which now das Ding), the relations between things, /in/
not encompass the four only like a hoop. The float in out-spaced Space. Infinity of explosions ourselves. Form is always in the history of
round dance is the ring that joins while it plays and explosiveness as infinite energy, which conceptualising, comprehension and “grasping”
as mirroring. Appropriating, it lightens the four now pervades these images… For there is no (in the sense of Inbegriff, that is in-grasping)
into the radiance of their simple lightness [or evil-bad nor bad luck where delusional Aion actuality: reality in the sense of Wirklichkeit, – in
enfoldingness]. Radiantly, the ring joins the four, rules, time as nothing(ness), a mere moment, – which we live, and which has always marked
everywhere open to the riddle of their present. a billionth second … Time unchanging and our existence, in all possible cognitions and
The gathered presence of the mirror-play of the time measured… Infinite multiplication, infinite recognitions, in the history of fine arts, literature,
world, joining in this way, is the ringing. In the production and… “emptiness, which is fullness… in the history of science, philosophy Form is
ringing of the mirror-playing ring, the four nestle full(filment) of perfection that is the whole of of crucial significance. Without it, the voice as
into their unifying presence, in which each on emptiness”. Ereignis, the appropriation of all mysteries and



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truths of the world surrounding us: inner, outer, Expressiveness – visual representation of the paintbrush and fingertips, in the painting of
imaginary, symbolic world, would not exist in bodies and thoughts, created and creative this double scene.
reality. They would actually be nil, nothingness; beings, is form without which existence, existing,
subliminal and abstract, ad absurdum. becoming, progressing, and progress are “We are not even semblance. We are, on
impossible. When the form of observing, of the occasion, that which can occupy its place, and
Form as representation/fine artistry, view on things “grows tired”, when it becomes allow – what – to reign there? Object a… Why
formation, expression, expressivity, clarity “reactionary”, restrictive (in science, arts, did I formerly bring in the Borromean knot? It
and differentness (clara et distincta) versus everyday activity), an ingenious cut – on the was to translate the
murkiness – as amydron –and turbidity and part of an artists, painter, poet, or philosopher – formulation »I ask you« – what? – »to refuse« -
indistinguish-ability of shape; which tells will tear down the old world, fracture, break the what? - »what I offer you« – why? – »because
us nothing, which distinguishes nothing. established antiquated Structure and system, that's not it.« (J. Lacan, ‘Seminar XX Encore’, On
Which leads to the turbidity of error, lack of the Matrix: modus operandi, ars vivendi. Feminine Sexuality / The Limits of Love and
understanding, incomprehensibility, and not Another /in/sight emerges, a different point of Knowledge,
least: to meaninglessness, to untruth. view, the exterior and interior trade places, the Ed. Jacques-Alain Miller 1972/73, transl. Bruce
question of the new subject is posed, the old Fink, (London, NY 1998), pp. 95, 134.)
It is therefore Form, which separates /us/ from subjectivity “sheds its skin”, while the issue of a
the fall-to-powerlessness, to ignorance, to the new sense/ation emerges, the so-called neue
Abgrund des Wesens: the bottomless abyss Sensibilität, but also objectivity (social, societal,
of being. Of course, not every form is truth and of ideas, ideological, political and of thought,
realisation. Only the one which tears down the and economic) in the absolute sense.
old, a run-down structure, Order, System, and
the Plan of the World and Existence, which The change of Form accompanies revolutions
shakes the fundament of the established in handling things, in the View on and
formation of being and thought, i.e. tears down Understanding of relations.
some Model-matrix and the “bed” of some
production, creation, and activity, which in The polished appearance of images as the
essence-fundamentally-alters our view and agens and “driving force”: Instinctual spring in the
knowledge, which is decisive. Without (new, Otherworld. The image works as a kind of game
ever-renewed, i.e. original) Form there is no with no reference or referent, here the Painter is
knowing, art, philosophy, no science, /re/ not an imitator, imitating a reference, but rather Lacan’s Borromean knot
cognition, nor is it possible to live in the world imitating the imitation of painting in the course
/anymore/; without form, existence is not of painting this thin “line” between enjoyment
possible. Everything: every thing, relationship, and death, and mimesis mid-mimesis and The meaning of art = to merely touch the
and every subject, and every objective given mimesis, and mid copying – imitating and (mid) representation with a brush, with the hand that
are caught in it; in addition, it “aids” in our copy. Therefore it is an imprint of an imprint and paints it, with painting, with Art, which is the only
comprehension and “handling” of things, and a simulacrum simulating a platonic copy: of an meaning of existence, of being, “semblance of a
in relation to things and between subject and image of the symbolic cave. being”. Art is the only Woman I love, Nietzsche.
object. Touching by painting, through the art of painting
That which is considered the hymen/image, is “the blossoming” as ‘floration’, the only true
Form, as a typical specific expressiveness, also stands mutatis mutandis for all other love relationship with a painted Representation,
expression and representation/fine artistry/, Aleksij’s nets/loops/symbols, “zeroes” and in multiple versions, with un-pierce-ability of
which aids in our comprehension of “truths” “bubbles”, which have, like pharmakon (in)numerous circles-circlets, vases and un-
(which are infinitesimal, but there is a single (medicine – awakening and paralysis – pierced hymens and Borromean knots is die
reality, not the opposite, as is believed by death) a type of replacement in the artwork. Liebe, which survives any division and process
individual diviners: i.e. that there exists a Decomposing and composing some kind of of division in paintings and partition in individual
single /un/determined truth while reality flees, Symbol and every and all Symbols reduces images, and represents the libido: the instinctual,
“escapes”), alters the world of reality, the and weakens, desemantirializes, this alternative unconscious, and quashed “repository” and the
actual world, not in the sense of fundamental interior-exterior. This “in-between-ness” is the pure drive of immortal life.
postulates, i.e. fundamental entities, a trait, semantic emptiness of the hymen, this internal
which defines since time immemorial, but proportion, spacing, and articulation of content Andrej Medved, poet and philosopher
approximate it in a unique, original, and in some as an “interval” … this plurality’s fine-artistic
other sense also already primordial – “fitting” equipped-ness, “savory blend” and dance
way that enables us to form a new and renewed (according to Mallarme), rituality and free-
understanding of all things. Form fatally marks floating-ness in daydreaming, wavering, the
all “unbearable production” in which we are non-torn-ness of the curtain, this flight – flying,
bound: as ens naturans and natura naturata. acrobatics … entirely concentrated in the tip of



7

Uroboros, 2019, akril, olje na platnu, 100 x 120 cm
Ouroboros, 2019, acrylic, oil on canvas, 100 x 120 cm









8

Gojenje raja, 2019, akril, olje na platnu, 90 x 70 cm
Cultivating Paradise, 2019, acrylic, oil on canvas, 90 x 70 cm









9

10

Danaja, 2017, akril, olje na platnu, 150 x 300 cm
Danaë, 2017, acrylic, oil on canvas, 150 x 300 cm




11

Podtaknjenci, 2019, akril, olje na platnu, 200 x 240 cm
The Planted, 2019, acrylic, oil on canvas, 200 x 240 cm




12

Sistem vzreje, 2019, akril, olje na platnu, 120 x 80 cm
Breeding system, 2019, acrylic, oil on canvas, 120 x 80 cm




13

Rojstvo, 2019, akril, olje na platnu, 100 x 120 cm
Birth, 2019, acrylic, oil on canvas, 100 x 120 cm




14

Prihod, 2019, akril, olje na platnu, 80 x 115 cm
Arrival, 2019, acrylic, oil on canvas, 80 x 115 cm




15

Vzreja raja, 2019, akril, olje na platnu, 100 x 120 cm
Rearing Paradise, 2019, acrylic, oil on canvas, 100 x 120 cm



16

Markacijska linija, 2015, akril, olje na platnu, 120 x 150 cm
Marcation Line, 2015, acrylic, oil on canvas, 120 x 150 cm



17

ALEKSIJ KOBAL je bil rojen 23. oktobra 1962 v Kopru. Leta 1986 je diplomiral na Akademiji za
likovno umetnost v Ljubljani pri profesorju Janezu Berniku. Podiplomski študij iz slikarstva je zaključil leta
1993 pri profesorici Metki Krašovec. Za likovno udejstvovanje je prejel več priznanj in nagrad, med drugim
leta 2016 Nagrado Prešernovega sklada. Živi in dela v Ljubljani, kot svobodni umetnik.



ALEKSIJ KOBAL was born on 2 october, 1962 in Koper. In 1986, he graduated from the Academy
of Fine Arts in Ljubljana under Professor Janez Bernik. He concluded his postgraduate studies of painting in
1993 under Professor Metka Kraševec. His artistic work earned him several acknowledgments and awards
including the Award of the Prešeren Fund, which he received in 2016. He lives and works in Ljubljana as a
freelance artist.


KONTAKTI / ARTIST’S CONTACT
naslov / address: Mucherjeva 1, 1000 Ljubljana
E: [email protected]
W:www.aleksij-kobal.com






Samostojne razstave / One-man Exhibitions:


2019 PODTAKNJENCI, Mestna galerija Nova Gorica; Galerija Velenje, Slovenija / Slovenia
2017 NEBO NAD ESFAHANOM, AS galerija, Ljubljana, Slovenija / Slovenia
BARVNA STRAN TEME, Galerija Equrna, Ljubljana; Pilonova galerija Ajdovščina; Galerija Loža, Obalne galerije Piran, Slovenija / Slovenia
2016 TOPOLOGIJA ZLATOROGA, Galerija Kresija, Ljubljana, Slovenija / Slovenia
2013 OBMOČJE ZAJETJA, Bežigrajska galerija, Ljubljana, Slovenija / Slovenia
2012 NOCTURNO, Galerija A+A, Benetke / Venice, Italija / Italy; Galerija Miklova hiša, Ribnica; Galerija Monfort, Portorož,
Obalne galerije Piran, Slovenija / Slovenia
SLIKA KOT PSIHIČNI PAYSAGE, Poslovni center Hit paviljon, Nova Gorica, Slovenija / Slovenia
2011 PRIDE OF FANTASIES / DOMIŠLJANJA, Galerija Simulaker, Novo mesto, Slovenija / Slovenia
2010 PREPOVEDANO MESTO, Galerija Equrna, Ljubljana, Slovenija / Slovenia
2008 ZRCALITI VAJENCA K SONCU, Mestna galerija Nova Gorica, Slovenija / Slovenia
2007 ZRCALNE SLIKE, Galerija Kibla, Maribor, Slovenija / Slovenia
2006 FIGHT NO MORE, Mirror paintings – Zrcalne slike, Galerija Alkatraz - Metelkova, Ljubljana, Slovenija / Slovenia
KRONOSOV PRAŠUM, Mirror paintings - Zrcalne slike, Galerija Ljubljanski grad, Slovenija / Slovenia
2002 “CAPRICCIOSE" - ZRCALNE SLIKE, Galerija Marino Cettina, Umag, Hrvaška / Croatia
BLOODY MIRRORS, Galerija Loža, Koper; Galerija ZDSLU, Ljubljana; Galerija OK MMC Palach, Rijeka, Hrvaška / Croatia
2001 MIRROR PAINTINGS / ZRCALNE SLIKE, Mestna galerija Nova Gorica, Slovenija / Slovenia
1999 TIME-INFLICTED WOUNDS / ČASOVNE RANE, Bežigrajska galerija, Ljubljana, Slovenija / Slovenia
1998 THE MORNING FOG / JUTRANJE MEGLA, Alkatraz Gallery – Metelkova, Ljubljana, Slovenija / Slovenia
1997 PROVIDENCE, Galerija A + A, Madrid, Španija / Spain; Mestna galerija Piran; Galerija Equrna, Ljubljana, Slovenija / Slovenia
1994 STARLESS – ZGODBA O PREŠNICI, Galerija Loža, Koper; Galerija Equrna, Ljubljana, Slovenija / Slovenia
1993 FROM MY STUDIO / IZ MOJEGA ATELJEJA, IC – Moderna galerija, Ljubljana, Slovenija / Slovenia
1990 Galerija Equrna, Ljubljana, Slovenija / Slovenia
1988 Galerija ŠKUC, z / with Janez Zalaznik, Ljubljana, Slovenija / Slovenia


18

Skupinske razstave (izbor) / Group Exhibitions (Selection):



2019 LIKOVNA SREČEVANJA, Balassijev inštitut, Ljubljana, Slovenija / Slovenia
2018 FOKUS, Hommage Stojanu Kerblerju, Galerija mesta Ptuj, Slovenija / Slovenia
TEKSTURA ŽIVLJENJA – Aleksij Kobal & Borut Krajnc, Savinov salon, Žalec, Slovenija / Slovenia
ČLOVEK : STROJ, Galerija Božidar Jakac - Lamutov salon, Kostanjevica na Krki, Slovenija / Slovenia
HIŠA NA HRIBU 2018 - Sv. Marjeta v vasi Žlebe, Medvode, Slovenija / Slovenia
ÜBER SCHWEBENDE INSELN UND FLIEGENDE MENSCHEN, Haus der Kunst, Baden, Avstrija / Austria
PRISOTNOSTI – PRESENCES, Kibla PORTAL, Maribor, Slovenija / Slovenia
IMAGO MUNDI – Luciano Benetton Collection, Salone degli Incanti, Trst / Trieste, Italija / Italy
THE COLOURFUL SIDE OF DARKNESS - Aleksij Kobal, Igor Bravničar, 12 Star Gallery at the Europe House,
London, Velika Britanija / Great Britain
2017 ČLOVEK : STROJ, Galerija na Gradu, Loški muzej, Škofija Loka, Slovenija / Slovenia
KSIHT, Tovarna umetnosti, Majšperk, Slovenija / Slovenia
MIG 21 - Risk change, Muzej suvremene umjetnosti Vojvodine MSUV, Novi Sad, Srbija / Serbia
ARTS STAYS / BIG IS BEAUTIFUL! / VELIKO JE LEPO!, Festival umetnosti Ptuj, Slovenija / Slovenia
EPILOG, Dvorec Novo Celje, Žalec, Slovenija / Slovenia
2016 MIG 21 - Risk change, Galeija Kibla, Maribor
2015 MAGIA UMETNOSTI / MAGIJA UMJETNOSTI, Gliptoteka, Zagreb, Hrvaška / Croatia
POGLED / A LOOK 7, Galerija sodobne umetnosti Celje, Slovenija / Slovenia
MAGIA UMETNOSTI / DIE MAGIE DER KUNST – Künstlerhaus – Dunaj / Vienna, Avstrija / Austria
MAGIA UMETNOSTI / LA MAGIA DELL’ARTE, Villa Manin, Italija / Italy
UMETNOST OSVOBAJA, Galerija Equrna, Ljubljana, Slovenija / Slovenia
2013 MATERIALNOST, Galerija Kibla, Maribor, Slovenija / Slovenia
BERKO, SAŠO VRABIČ, ALEKSIJ KOBAL, Palača narodov, Ženeva / Geneva, Švica / Swiss
2012 UMETNIŠKE PRAKSE 20. IN 21. STOLETJA, Galerija Velenje, Slovenija / Slovenia
"CHANGING PERSPEKTIVES 15 YEARS OF THE ECB'S ART COLLECTION", European Central Bank ECB
SWAB - International Contemporary Art Fair, Barcelona, Španija / Spain
2011 PREVIEW BERLIN - The emerging Art Fair, Berlin, Nemčija / Germany
FIGURALNO FIGURATIVNO FIGURABILNO, Galerija Monfort, Piran, Slovenija / Slovenia
2010 ARKHÉ - Aleksij Kobal, Marko Jakše, Art Factory, Majšperk, Slovenija / Slovenia
WILD AT HEART / DIVJI V SRCU - Kalan, Kobal, Sicoe, Bratuša, Mestna galerija Nova Gorica, Slovenija / Slovenia
2008 ZORAN MUŠIČ - SILVESTER KOMEL - ALEKSIJ KOBAL, The three view of Kras landscape / Trije pogledi kraške pokrajine,
Galerija Lojzeta Spacala, Štanjel, Slovenija / Slovenia
2004 “SURPLUS OF PAINTING FRAME / PRESEŽEN SLIKARSKI OKVIR”, Bežigrajska galerija, Ljubljana, Slovenija / Slovenia
SLOVENIAN ART SINCE 1985 TO 1995 / SLOVENSKA UMETNOST OD LETA 1985 DO LETA 1995, Moderna galerija,
Ljubljana, Slovenija / Slovenia
2002 WILD AT HEART / DIVJI V SRCU - Kalan, Kobal, Sicoe, Kokalj, Galerija Equrna, Ljubljana, Slovenija / Slovenia
2001 International exhibition of drawings, MMSU Rijeka, Hrvaška / Croatia
The collection of bank Faktor / Zbirka Faktor Banke, Moderna galerija, Ljubljana, Slovenija / Slovenia
2000 MIB ART, Trst / Trieste, Italija / Italy
1999 HOMO.SAPIENS.3000, Kibla – National house, Maribor, Slovenija / Slovenia
“SUBLIME ART AND ROMANTICISM / SUBLIMNO IN ROMANTICIZEM”, Galerija Loža, Koper, Slovenija / Slovenia
1998 Circulo des Belles Artes, Madrid, homage Galeriji A + A, Španija / Spain
SLOVENIAN ARTISTS, Galerija A + A, Benetke / Venice, Italija / Italy
“INTRA MUROS”, Trdnjava Kluže, Bovec, Slovenija / Slovenia
WILD AT HEART / DIVJI V SRCU - Kalan, Kobal, Sicoe, Galerija Equrna, Ljubljana, Slovenija / Slovenia







19

1997 Torino, Parco Regionale e Borgo Castello, La Mandria Venaria Reale, Napoli,
Complesso monumentale di S. Chiara e S. Maria La Nova, Italija / Italy
THE MONTH OF CULTURE / MESEC KULTURE, Galerija Equrna, Ljubljana, Slovenija / Slovenia
1995 MAJSKI SALON, Galerija Riharda Jakopiča, Ljubljana, Slovenija / Slovenia
EXAMINATION OF SLOVENIAN ART SINCE '80 TO '90, Hall Franco, Trst / Trieste, Italija / Italy
1994 U3 - TRIENNALE OF SLOVENIAN ART / U3 - TRIENALE SLOVENSKE UMETNOSTI,
Moderna galerija, Ljubljana, Slovenija / Slovenia
THE PAINTING OF SLOVENIAN COAST – NEW GENERATIONS / SLIKARSTVO NA SLOVENSKI OBALI - NOVE GENERACIJE,
Mestna galerija Piran, Slovenija / Slovenia
1993 PRESENCE OF ANGELS / ANGELSKE PRISOTNOSTI, Galerija Equrna, Ljubljana, Slovenija / Slovenia
DE FIGURE, Galerija ŠKUC, Ljubljana, Slovenija / Slovenia
1991 SLOVENIAN ATHENE / SLOVENSKE ATENE, Moderna galerija, Ljubljana, Slovenija / Slovenia



Nagrade / Awards:


1981 Plečnikova nagrada za dosežke na področju oblikovanja na srednji šoli za oblikovanje /
Middle school “Plečnik award” for graphic design
1995 Velika nagrada Majskega salona / Prime award of “Majski salon”
2016 Nagrada Prešernovega sklada / State award “Prešernov sklad”


Zbirke / Collections:


ECB (European Central Bank) Frankfurt, Nemčija / Germany
MERCATOR, Ljubljana, Slovenija / Slovenia
FACTOR BANKA, Ljubljana, Slovenija / Slovenia
SLOVENSKA AMBASADA / SLOVENE EMBASSY, Beograd, Srbija / Serbia
OBALNE GALERIJE PIRAN, Slovenija / Slovenia
ZAVAROVALNICA TRIGLAV, Slovenija / Slovenia
ZAVAROVALNICA TRIGLAV - Postojna, Slovenija / Slovenia
LJUBLJANSKA BANKA, Slovenija / Slovenia
GIP ART COLLECTIONS, Kojsko, Slovenija / Slovenia
MESTNA GALERIJA NOVA GORICA, Slovenija / Slovenia
ZBIRKA TALUM / TALUM COLLECTION, Kidričevo, Slovenija / Slovenia
MARINO CETTINA GALLERY, Umag, Hrvaška / Croatia
Razstavi in izid kataloga sta finančno omogočili
Prva stran / First page: / The exhibitions and catalogue have been
Brexit, 2019, akril, olje na platnu, 100 x 120 cm financially suppported by:
Brexit, 2019, acrylic, oil on canvas, 100 x 120 cm
MESTNA OBČINA
NOVA GORICA



Katalog izdal / Catalogue issued by:
Kulturni dom Nova Gorica (Zanj / Represented by: Pavla Jarc); Festival Velenje (Zanj / Represented by: Barbara Pokorny) - Urednica / Editor: Mateja Poljšak Furlan - Avtor teksta
/ Texts written by: Andrej Medved - Lektoriranje / Slovene language revision: Darinka Verdonik - Angleški prevod / English translation: Jaka Jarc - Fotografije / Photographs: Borut
Krajnc - Oblikovanje in prelom / Catalogue design & DTP: Bitart-Damijana Žorž s.p. - Tisk / Print: Tisk Žnidarič, d. o. o. - Kraj izida / Place of publication: Nova Gorica -Leto izida /
Publication year: 2019 - Naklada / Nr. of copies: 600



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