ART STAYS 2017

STEPHEN SHORE

Ta inovativen fotograf se je rodil leta 1947 v New Yorku, kjer živi in ustvarja. Njegova dela so bila
razstavljena v newyorškem Metropolitan Museum of Art, ko je imel šele štiriindvajset let. Je
mojster barvne fotograje, znan zlasti po seriji American Surfaces, ki predstavlja skupek slik s
potovanja po Ameriki iz leta 1973, ko je posnel vse, kar je srečal na poti: sobe, v katerih je spal,
zaužite obroke, ljudi, bencinske črpalke in drugo.
Born 1947 in New York; lives and works in New York. The rst exhibition of works by this innovative
photographer was shown at the Metropolitan Museum in New York, when he was only twenty-four. He is a
master of color photography, especially known for his American Surfaces series, a collection of travel images
created in 1973 during his journey across the United States, portraying everything he had met along the
way, including rooms where he slept, meals he ate, people, gas service stations, and other.

WEST 4TH ST., LITTLE ROCK, ARKANSAS. OCTOBER 5, 1974-1975

151

JOEL MEYEROWITZ

Rodil se je leta 1938 v New Yorku. Od konca šestdesetih dalje je razvijal umetniški izraz, ki je
omogočal izboljšanje barvnega in opisnega potenciala fotografskega medija in ki se ga da
razpoznati iz njegovih barvnih fotograj. Temu obsežnemu področju raziskovanja lahko
pripišemo krajine, ki jih je posnel leta 1976 za serijo posvečeno Cape Codu in ki so bile leta 1979
objavljene v zbirki Bay/Sky/Porch, leta 1985 pa v A Summer's Day.
Born 1938 in New York. Since the late 1960s, he developed his artistic expression, which enabled him to
enhance the chromatic and descriptive potential of the photographic medium, recognizable in his color
photographs. This extensive research phase comprises the landscapes created in 1976 for a series dedicated
to Cape Cod (published in Bay / Sky / Porch, 1979, and in A Summer's Day, 1985).

ST. LOUIS, MC DONALD’S, TWO ARCHES, 1978

152

LEWIS BALTZ

(Newport Beach, 1945 – Pariz, 2014)
Sodeloval je na zgodovinski razstavi New Topographics: Photographs of a Man-Altered Landscape
(1975), ki se je odvijala v George Eastman House pod kuratorstvom Williama Jenkinsa, na njej pa
so razstavljali še drugi izvirni fotogra, kot so Bernd in Hilla Becher, Robert Adams, Joe Deal,
Nicholas Nixon in Stephen Shore. Objavil je več knjig, med njimi »The New Industrial Parks«,
»San Quentin Point«, »Candlestick Point« in »Nevada«, ki vse po vrsti pričajo o škodi, ki jo je
povzročil človek s svojo destruktivno tehnologijo.
He participated in the landmark exhibition New Topographics: Photographs of a Man-Altered Landscape
(1975), curated by William Jenkins at the George Eastman House, which featured other prominent
photographers such as Bernd and Hilla Becher, Robert Adams, Joe Deal, Nicholas Nixon, and Stephen
Shore. Author of several books, among them "The New Industrial Parks", "San Quentin Point",
"Candlestick Point", and "Nevada", all of which testify to the damage caused by man with his destructive
technology.

SAN QUENTIN POINT 10A, 1984

153

LUIGI GHIRRI

(Fellegara, 1943 – Roncocesi, 1992)
V sedemdesetih letih je pod vplivom konceptualne umetnosti ustvaril vrsto del, ki raziskujejo
koncept vizije: naravne in umetne podobe, dvoumnost sodobne krajine, navajanje zgodovine,
podobe potrošništva. Zlasti pomembna so njegova fotografska raziskovanja, usmerjena k
pokrajini in arhitekturi, k čemer ga je spodbudil Aldo Rossi, ter razstave, ki so globoko
zaznamovale zgodovino italijanske fotograje; med slednjimi velja omeniti predvsem Viaggio in
Italia (1984) in Esplorazioni sulla Via Emilia (1986).
During the 1970s, inuenced by conceptual art, Ghirri produced a series of works exploring the very
concept of vision: the natural and the articial image, the ambiguity of the contemporary landscape, the
quotation of history, the imagery of consumerism. His photographic landscape- and architecture-oriented
research (encouraged by Aldo Rossi), as well as his exhibitions, have left an important mark on the history of
Italian photography, especially his Viaggio in Italia (1984), and Esplorazioni sulla Via Emilia (1986).
PARK CASTELLO / PARCO CASTELLO, 1980 ca.

POKRAJINA / LANDSCAPE, 1988

RIM / ROMA, 1980

VIA L. MAINO, ANNI ’80

154

VINCENZO CASTELLA

Leta 1952 v Neaplju rojeni umetnik živi in dela v Milanu. Njegovo prvo pomembnejše fotografsko
delo, Geograa privata, je serija barvnih fotograj interierjev, nastala med leti 1975 in 1982. Leta
1991 je sledil projekt Zone, od leta 1997 dalje pa je začel ustvarjati delo Città Nomadi, v katerem se je
osredotočil na sodobna zahodna mesta. Leta 1994 je nastal projekt Buildings, z urbanimi portreti,
posnetimi iz velikih višin. Njegova dela so bila med drugim razstavljena na milanskem bienalu in
trienalu.
Born 1952 in Naples; lives and works in Milan. His rst notable photographic work, Geograa Privata, is a
series of color shots of interiors, created between 1975 and 1982. In 1991, project Zone followed, while he has
been working on Città Nomadi since 1997, focusing on modern, Western cities. From 1994 onwards he has
been devoted to his project Buildings, a cycle od urban portraits, shot from great altitudes. Among other, his
works have appeared at the Milan Biennial and Triennial.

ITALIJANSKA POKRAJINA / PAESAGGIO ITALIANO, 1982

155

GIOVANNI CHIARAMONTE

Rodil se je leta 1948 v Vareseju, živi in ustvarja v Milanu. V začetku šestdesetih sta imela nanj velik
kulturološki vpliv kinematograja Andreja Tarkovskijega in teologija Pavla Evdokimovega in
Oliviera Clementa. Leta 1974 je v galeriji Il Diaframma ustanovitelja Lanfranca Colomba
razstavljal deli Sequenza nel tempo in Dov'è la nostra terra. V 1977 z Luigijem Ghirrijem ustanovita
založniško hišo Punto e Virgola. Leta 1984 skupaj z drugimi fotogra Ghirrijevega kroga sodeluje
na zgodovinski razstavi Viaggio in Italia, dve leti kasneje pa še na Esplorazioni sulla via Emilia.
Born 1948 in Varese, Italy, lives and works in Milan. In the beginning of the sixties, he was signicantly
inuenced by the culture of Andrei Tarkovsky's cinematography, and by the theology of Paul Evdokimov
and Olivier Clement. In 1974, his works Sequenza nel tempo in Dov’è la nostra terra were exhibited at
Lanfranco Colombo's Il Diaframma Gallery. In 1977 he co-established the Punto e Virgola publishing
house together with Luigi Ghirri. Alongside other photographers from Ghirri's circle he participated in the
historic exhibition Viaggio in Italia, and two years later in Esplorazioni sulla via Emilia.

POTOVANJE PO ITALIJI / VIAGGIO IN ITALIA, 1996

156

GUIDO GUIDI

Rojen je leta 1941 v Ceseni, kjer živi in ustvarja. Od konca šestdesetih let se posveča raziskovanju
pokrajine in njenih transformacij, hkrati pa tudi jeziku fotograje. Leta 1989 skupaj s Paolom
Costantinijem in Williamom Guerrierijem v Rubieri začne projekt Linea di Conne. Znan je zlasti
po seriji raziskovalno obarvanih del, ki se med drugim dotikajo vprašanja nenačrtovanih gradenj
v Romagni, vzdolž državne avtoceste Romea, ali v Porto Margheri; odlikujeta pa ga predvsem
zanj značilen nenavaden barvni slog in pogled na pokrajino, ki se skozi umetnikove oči razkriva
kot marginalna in ne spektakularna.
Born 1941 in Cesena; lives and works in Cesena, Italy. Since the late sixties his eld of research has revolved
around the landscape and its transformations, as well as around the language of photography. In 1989, he
initiates the project Linea di Conne in Rubiera, Italy, together with Paolo Costantini and William
Guerrieri. He is famous for his series of research works, concerned, for example, with the issue of unplanned
settlements in Romagna, alongside the Romea state highway, or in Porto Marghera. His works are
characterized by his peculiar chromatic style, and a view of the landscape as marginal, rather than
spectacular.

BREZ NASLOVA / SENZA TITOLO (iz / da "STRADA OVEST 04.02"), 2002

157

WILLIAM GUERRIERI

Leta 1952 se je rodil v Rubieri, v pokrajini Reggio Emilia, kjer živi in dela. Od začetka devetdesetih
se posveča raziskovanju negotove identitete javnih krajev, ki so postali odlagališča kolektivnega
spomina. S pomočjo anonimnih in arhivskih posnetkov pripoveduje o ljudeh, ki so nekoč
predstavljali te kraje in se z njimi poistovetili, ter tako ponuja umetniški odgovor na nevarnost, ki
jo predstavlja kulturna homogenizacija. Guerrieri je direktor in skupaj z Guidom Guidijem in
Robertom Marginijem tudi idejni vodja projekta Linea di Conne, ki je nastal leta 1990 v Rubieri kot
laboratorij za fotografsko raziskovanje območja.
Born 1952 in Rubiera in Reggio Emilia; lives and works in Rubiera. From the early 1990s onwards, his
research has been aimed at investigating the uncertain identity of public places that have become
repositories of collective memory. Using anonymous and archive images he tells the story of people, who
once represented and became identied with these places, thus offering an artistic response to the danger of
cultural homogenization. In addition to his role as an author, Guerrieri is a co-creator (together with Guido
Guidi and Roberto Margini) and director of the Linea di Conne project, created in 1990 in Rubiera as a
laboratory for photographic surveying of the territory.

ORDINACIJA / AMBULATORIO, 1991

158

THOMAS RUFF

Rodil se je leta 1958 v mestu Zell am Harmersbach, živi in dela v Düsseldorfu. Kot predstavnik
düsseldorfske šole je pod mentorstvom zakoncev Becher od sredine osemdesetih dalje izvajal
vrsto večplastnih raziskav in pri tem, kljub različnim načinom pristopanja, vseskozi ohranjal
pozornost na fotograji kot analitičnem orodju in dokumentarnem sredstvu. To je značilno tako
za portrete, zamišljene kot velike fotografske izkaznice, kot za nočne posnetke skozi vojaški
daljnogled iz devetdesetih ter nenazadnje tudi za digitalno manipulirane fotograje, ki so
sestavni del njegove umetniške prakse.
Born 1958 in Zell am Harmersbach, Germany; lives and works in Düsseldorf. As a representative of the
Düsseldorf School, and under the guidance of the Bechers, he has developed since the mid-1980s a series of
complex research works, in which, despite the great diversity of approaches to this medium, he has kept a
constant attention on photography as an analytical tool and a means of documentation. His works range
from portraits, designed as giant identity cards, through night-vision images created with the help of
military binoculars during the nineties, to digitally manipulated images, which became an integral part of
his artistic practice.

HIŠA ŠT. 5 / HAUS NR. 5, 1982

159

AXEL HÜTTE

Rodil se je v Essnu leta 1951, živi in dela v Düsseldorfu. Kot učenca zakoncev Becher ga pri
ustvarjanju zanima tema krajine, tako naravne kot urbane, ki jo posnema s pomočjo
dokumentarne estetike. Za njegove podobe je značilno napeto in brezčasno vzdušje. Zanima se
tudi za idejo čistega, zato skozi leta večkrat potuje na popolnoma nedotaknjena območja, kot so
arktični ledeniki, deževni pragozd in puščave. Njegova dela so bila med drugim razstavljena v
pariškem muzeju sodobne umetnosti in v madridskem muzeju Reina Soa.
Born 1951 in Essen, Germany; lives and works in Düsseldorf. As a student of Bernd Becher, his creations
focus on urban and natural landscapes, portrayed through a documentary-style aesthetics. Because of long
exposure times, his images possess an air of suspension, and an atmosphere of timelessness. He is also
interested in the idea of a purity in a photograph, having spent many years traveling to unspoiled places like
the arctic glaciers, rainforests, or deserts. His works have been exhibited, among others, at the Museum of
Modern Art in Paris, and at the Queen Soa Arts Center in Madrid.

MONTEMOR O NOVO I & II, PORTUGALSKA / PORTUGAL, 1993

160

PHILIP-LORCA DICORCIA

Leta 1951 v Hartfordu rojeni umetnik živi in deluje v New Yorku. Zahvaljujoč bogatim izkušnjam
v lmski industriji je razvil edinstven jezik, ki združuje dokumentarno tradicijo s kcijo kina in
reklam ter na ta način ustvarja podobe, ki nihajo med resničnostjo, fantazijami in željami.
Fotograf pri svojem delu kombinira fotograje z natančnimi scenskimi kompozicijami, naravno
in umetno osvetlitev ter simbolične detajle z nenasičenimi barvami.
Born 1951 in Hartford, USA; lives and works in New York. Thanks to rich experience from the movie
industry, he has developed a unique language, which brings together the documentary tradition with the
ction of movie theaters and advertisements, creating images that swing between reality, fantasy, and
desire. In his work, he combines photographs with precise stage-set compositions, natural light with
articial lighting, and symbolic details with unsaturated colors.

NEAPELJ / NAPLES, 1995

161



LAND ART

LUCA MARIA PATELLA

Rodil se je leta 1934 v Rimu, kjer živi in ustvarja. Je večplasten avtor, ki se ukvarja s slikarstvom, z
oblikovanjem predmetov, instalacijami, videi, s fotograjo in lmom, z grako in novimi
koncepti knjig in pisanja. V šestdesetih letih je s svojimi predlogi, odprtimi za medije in tehnične
raziskave, sledil konceptualnim trendom, po katerih se zgledujejo še danes. Prvič se je predstavil
v rimski galeriji L'Attico z delom Ambiente proiettivo animato (1966 - 1968) in s lmoma Terra
animata (1967) in SKMP2 (1968).
Born 1934 in Rome; lives and works in Rome, Italy. He is a very versatile author, working in painting,
creating objects-sculptures and installations, as well as photography, lm, videos, graphics, and
introducing new concepts of books and writing. In the 1960s, with his proposals open to media and technical
research, he has set many conceptual tendencies, which are still considered today as a reference point. His
rst exhibition was held at L'Attico Gallery in Rome, showcasing his work Ambiente proiettivo animato
(1966 - 1968), and his two lms, Terra animata (1967), and SKMP2 (1968).

IZ FILMA: ANIMIRANA ZEMLJA / DA: TERRA ANIMATA, 1967

164

GER VAN ELK

(Amsterdam, 1941 - Amsterdam, 2014)
Sodeloval je na zgodovinskih razstavah Op Losse Schroeven' v amsterdamskem Stedelijk
Museumu (1969) in When Attitudes Become Form v bernski Kunsthalle (1969), ki sta zaznamovali
konceptualno umetnost v Evropi. Dela z različnimi mediji, od skulpture, fotograje in videa, ter
razvija konceptualne procese po navdihu dadaizma. Umetnik sam razkriva, da pri delu teži k
ustvarjanju »realističnih upodobitev nerealističnih situacij«; s pomočjo majhnih, a vznemirjajočih
posegov postavlja povsem običajne prizore v absurdne dimenzije.
He participated in the historic exhibitions Op Losse Schroeven' at the Stedelijk Museum (1969), and When
Attitudes Become Form at the Kunsthalle in Bern (1969), exhibitions that dened the era of conceptual art
in Europe. Working with numerous media, from sculpture to photography and video, and developing
conceptual processes inspired by the Dada movement, the artist himself reveals that with his work he aspires
to create "realistic depictions of unrealistic situations", shifting ordinary scenes to absurd dimensions
through the use of little, but disturbing interventions.

BREZ NASLOVA / UNTITLED, 1968

165

PETER HUTCHINSON

Rodil se je leta 1930 v Londonu, živi v Princetownu. Je konceptualni umetnik in eden od pionirjev
land arta, večino svojih okoljskih intervencij je izvedel v Združenih državah. Zahvaljujoč
angleškim koreninam navdih črpa iz krajinskega slikarstva in vrtne umetnosti, tako da izvaja
intervencije v naravi, s katero se želi povezati in preučiti njene procese in spremembe. Med
svojimi potovanji po vsem svetu je zbiral najdene predmete in jih organiziral na način, da je z
njimi ustvaril nove krajine, barvite in idealne, vsa njegova dela pa vsebujejo tudi lastnoročno
napisane opombe.
Hutchinson was born in London in 1930 and currently lives in Provincetown.
He is a conceptual artist and one of the pioneers of Land Art, realizing most of his environmental
interventions in the United States. Due to his English roots, he is inspired by landscape painting and
garden art, conceiving interventions in nature and trying to integrate with it while simultaneously
examining its processes and recurring changes. During his travels around the world, he collects found
objects and organizes them in a way that creates new, colorful and ideal landscapes, all of which contain a
handwritten note from the artist.
TRIKOTNIK JABOLK / APPLE TRIANGLE, 1970

166

BILL BECKLEY

Rodil se je leta 1946 v Hamburgu, živi in dela v New Yorku. Uvrščamo ga med ustanovitelje
narrative arta, gibanja iz začetka sedemdesetih let, ki izhaja iz konceptualnih raziskav, katerih
namen je izpostaviti, kako slike, zlasti fotografske, in besede vzpostavljajo odnose zunaj vsakršne
medsebojne podrejenosti. Je raziskovalni umetnik, ki preučuje izrazne možnosti performansov in
spada med prve umetnike, ki so barvni fotograji podarili estetsko dostojanstvo.
He was born in 1946 in Hamburg, he lives and works in New York. Beckley is one of the founders of
Narrative Art, a movement formed at the beginning of seventies in the wake of conceptual research, aiming
to highlight how images, mostly photographic, and words establish relationships outside of any mutual
subordination. As an experimenting artist, he explores the expressive potential of performance and was
among the rst artists to attribute an aesthetic value to color photography.

HODIL SEM... / I WAS WALKING…, 1974

167

RICHARD LONG

Rodil se je v Bristolu leta 1945, tam živi in ustvarja. Od nekdaj je kazal veliko zanimanje za odnos
med umetnostjo in naravo in je eden od protagonistov »land arta« oz. krajinske umetnosti.
Ustvarja dela, ki prikazujejo harmoničen odnos med naravo in krajino; sledi od hoje na zemlji,
preproste geometrične skulpture iz naravnih materialov, izdelane in situ ali reproducirane v
razstavnih prostorih. Leta 1972 je sodeloval na Documenti v Kasslu, leta 1976 se je predstavil na
beneškem bienalu, v letu 1989 pa je prejel Turnerjevo nagrado londonske Tate Gallery.
Born 1945 in Bristol; live sand works in Bristol, UK. He has always been proundly interested in the
relationship between art and nature, and has become one of the protagonists of land art, creating works
centered around a constant harmonic relationship between nature and landscape: traces left by his walking;
simple geometric sculptures made from natural materials, made in situ or reproposed in exhibition
environments. In 1972 he attended Documenta in Kassel and in 1976 exhibited at the Venice Biennale; he
won the Turner Prize at the Tate Gallery in London (1989).

SREDA - POČASI SE PREMIKAM / WEDNESDAY - MOVING SLOWLY', 1971

168

DENNIS OPPENHEIM

(Electric City, 1938 – New York, 2011)
Je predstavnik konceptualne umetnosti in avtor okoljskih intervencij ter performansov (Annual
rings, 1968: sledi v snegu in na zamrznjeni reki, Directed seeding wheat, 1968); zasnoval je
ogromne kinetične skulpture in dela, ki v ustreznem merilu reproducirajo najbolj običajne
vsakdanje predmete. Od sredine osemdesetih let dalje se v njegovih delih, velikokrat
zaznamovanih z ironijo, vse pogosteje pojavljajo mutirani in popačeni predmeti.
He is a representative of conceptual art, and the author of environmental interventions, environments, and
performances (Annual rings, 1968, a series of rings carved in the snow and on the frozen river surface;
Directed seeding wheat, 1968). He designed giant kinetic sculptures and works that reproduce to scale the
most common everyday objects. From the mid-eighties onward, his works, enormous imaginary objects,
mutant and distorted, are all pervaded by a new violent and playful irony.

ODSEK IDENTITETE / IDENTITY STRETCH, 1975

169

UGO LA PIETRA

Rodil se je leta 1938 v mestu Bussi sul Tirino, živi in dela v Milanu kot arhitekt in oblikovalec. Leta
1963 je bil med ustanovitelji skupine Gruppo del Cenobio. Spada med inovatorje radikalnega
oblikovanja, proslavil pa se je tudi kot krajinar in organizator razstav, ki so požele velik uspeh v
Evropi in na Japonskem; omeniti velja Cinquanta anni di architettura italiana 1928/78 (Petdeset let
italijanske arhitekture 1928/78), ki se je leta 1978 odvijala v Milanu. Njegovo intenzivno in vplivno
raziskovanje estetike je dalo zanimive rezultate na področju odnosov med človekom in okoljem.
Oblikoval je tudi številne izvirne kose opreme za različne industrije.
Born 1938 in Bussi sul Tirino, Italy; lives and works in Milan. Ugo la Pietra is an architect and designer,
who was among the founders of the Cenobio Group in 1963. This innovative radical design artist also
distinguished himself as a designer and organizer of highly successful exhibitions in Europe and Japan,
including Cinquanta anni di architettura italiana 1928/78 (Fifty Years of Italian Architecture 1928/78;
Milan 1978). His intense and inuential aesthetic research has produced interesting results on the subject
of the relationship between the individual and the environment. He designed a variety of original pieces for
various industries.
OKREVANJE IN PONOVNO ODKRITJE / RECUPERO E REINVENZIONE, 1969-70

170

GINA PANE

(Biarritz, 1939 – Pariz, 1990)
Ob koncu šestdesetih let postane ena vodilnih mednarodnih predstavnic telesne umetnosti
oziroma body arta. Med performansi postavi na ogled svoje lastno telo, na koncu pa ostanejo
fotograje kot simbolična sled njenih dejanj. Leta 1974 izvede svoj najznamenitejši performans,
Azione sentimentale (Sentimentalno dejanje), v milanski galeriji Diagramma. V letu 1972 sodeluje na
beograjskem bienalu, leta 1977 na Documenti v Kasslu in leta 1980 na beneškem bienalu.
By the end of the 1960s she became one of the leading artists on the international body art scene. During her
performances she staged her own body, with photographs remaining after as a symbolic trace of her actions.
In 1974 she delivered her most famous performance, Azione sentimentale (Sentimental Action), at the
Diagramma Gallery in Milan. She participated in the Belgrade Biennial (1972), at the Documenta in Kassel
(1977), and in 1980 at the Venice Biennial.

TERRE PROTEGÈE II, 1970

DUXIEME PROJET DU SILENCE, 1970

171

LAPO BINAZZI (UFO)

Rodil se je leta 1943 v Firencah, kjer živi in ustvarja. Leta 1967 skupaj s Carlom Bachijem, Patrizio
Cammeo, Riccardom Foresijem, Sandrom Giolijem in Tittijem Maschiettom na krilih študentskih
protestov, ki so zajeli Fakulteto za arhitekturo v Firencah, ustanovi UFO, skupino radikalnih
arhitektov, za katero je značilen nespoštljiv in ironičen odnos do meščanskih navad.
Born 1943 in Florence, lives and works in Florence, Italy. In 1967, together with Carlo Bachi, Patrizia
Cammeo, Riccardo Foresi, Sandro Gioli, and Titti Maschietto, given wing by the student protests that
erupted at the Faculty of Architecture, they establish UFO, a radical architecture group, which adopted a
desecrating and ironic approach to bourgeois habits.

VRTOVI / ORTI, 1970

172

JOCHEN GERZ

Rodil se je leta 1940 v Berlinu, živi in dela na Irskem. Kot konceptualni umetnik ustvarja dela, ki
temeljijo na odnosu med umetnostjo in življenjem, med zgodovino in spominom, ter se ukvarja s
pojmi, kot so kultura, družba, javni prostor, participacija in javno avtorstvo. Kariero je začel na
literarnem področju, medtem pa raziskoval tudi številne druge umetnostne zvrsti in medije. Ne
glede na to, ali ustvarja besedila, fotograje, videe, knjige umetnika, instalacije, performanse ali
javna avtorska dela, je njegovo raziskovanje vedno usmerjeno v iskanje tistih oblik umetnosti, ki
bi lahko prispevale k demokraciji.
Born 1940 in Berlin, Germany; lives and works in Ireland. This conceptual artist creates works based on the
relationship between art and life, between history and memory; and deals with concepts such as culture,
society, public space, participation, and public authorship. He began his career in the literary eld,
exploring several other artistic disciplines and media in the meantime. Whether he works with text,
photography, videos, artist's books, installation, performances, or public works and pieces of art, Gerz's
practice is always in search of a form of art, which could contribute to democracy.

VSE GORE / ALL THE MOUNTAINS, 1975

173

HAMISH FULTON

Rodil se je leta 1946 v Londonu, živi in dela v Canterburyju. Od leta 1972 ustvarja dela, ki temeljijo
na izkušnji sprehoda, ki ga umetnik prevaja v različne medije, kot so fotograja, ilustracije in
stenski napisi. Leta 1994 prične s prakticiranjem skupinskih sprehodov in ugotavlja, da »je hoja
sama po sebi umetnost«. Razstavljal je v številnih muzejih, med njimi Tate Britain (London) in
newyorški Muzej moderne umetnosti MoMA.
Born 1946 in London, lives and works in Canterbury, UK. Fulton is a British walking artist. Since 1972 he
has only made works about the experience of walking. He translates his walks into a variety of media,
including photography, illustrations, and wall texts. Since 1994 he has begun practicing group walks,
arguing that 'walking is an artform in its own right'. His work has been presented in numerous museums,
including Tate Britain in London, and MoMA in New York.

BREZ NASLOVA: 2. DAN / UNTITLED: DAY 2, WALES ENGLAND, POLETJE / SUMMER, 1987

174

SODOBNO / CONTEMPORARY

WALTER NIEDERMAYR

Rodil se je v Bolzanu leta 1952, kjer živi in dela. Njegova pozornost je usmerjena k alpski krajini in
dokumentiranju posledic, ki jih za sabo puščata masovni turizem in industrializacija, njegova
ustvarjalnost pa se izraža v serijskih projektih »v teku«, za katere je značilno opuščanje ene same
podobe v korist kompozicij na večih zaslonih, ustvarjanje prekinitev in prostorsko-časovno
prekrivanje. Ta pristop je mogoče najti v fotografskih nizih Alpine Landschaften iz leta 1987,
Raumfolgen iz 1991, Rohbauten iz 1997 in v Bildraum iz leta 2001.
Born 1952 in Bolzano, Italy; lives and works in Bolzano. He focuses on the Alpine landscape, observing the
consequences left behind by mass tourism and industrialization. His creative air nds expression in "on-
going" projects, in which abandoning the single image in favor of multiple screen compositions creates
space-time interruptions and overlays. This approach can be observed in his series Alpine Landschaften
(1987), Raumfolgen (1991), Rohbauten (1997), and Bildraum (2001).

MARMOLADA, ZATOČIŠČE / RIFUGIO SERAUTA, 1993

176

FRANCESCO JODICE

Leta 1967 v Neaplju rojeni Jodice živi in dela v Milanu. Pri umetniškem raziskovanju preučuje
spremembe v sodobni družbeni krajini, posebno pozornost pa posveča novim pojavom v urbani
antropologiji. S svojimi projekti želi vzpostaviti povezavo med umetnostjo in geopolitiko, in sicer
na način, da umetniško prakso predstavi kot civilno poezijo. Je eden od ustanoviteljev kolektivov
Multiplicity in Zapruder, sodeloval je na večih razstavah, med njimi na Documenti, beneškem
bienalu in bienalu v Sao Paulu. Med njegovimi projekti so najbolj izpostavljeni fotografski atlas
What We Want in lmska trilogija Citytellers, ki pripoveduhe o novih oblikah urbanizma.
Born 1967 in Naples; lives and works in Milan, Italy. His artistic research investigates the changes in the
contemporary social landscape, underlining new relevant phenomena occurring in urban anthropology.
His projects aim at building a common ground between art and geopolitics by proposing the practice of art
as civil poetics. He is one of the founders of the collectives Multiplicity and Zapruder. His projects have been
exhibited at Documenta in Kassel, at the Venice Biennal, and at the Sao Paulo Art Biennial. Among his
main research projects are What We Want, a photography world wide atlas; and Citytellers, a lm trilogy
about new forms of social and urban landscapes.

ARAL-T51, 2008

177

WIM WENDERS

Rodil se je v Düsseldorfu leta 1945, živi in dela v Berlinu. Je predstavnik novega nemškega lma,
za svoje delo je leta 1984 prejel zlato palmo na lmskem festivalu v Cannesu, leta 2015 pa še
častnega zlatega medveda za življenjsko delo na berlinskem lmskem festivalu. Med njegove
najbolj znane lme uvrščamo: Alice in den Städten (Alice v mestu, 1974), Falsche Bewegung (Napačna
kretnja, 1975), Im Lauf der Zeit (V teku časa, 1976), Der amerikanische Freund (Prijatelj iz Amerike,
1977), Hammett (1982), Der Stand der Dinge (Stanje stvari, 1982), Paris-Texas (1984), Der Himmel über
Berlin (Nebo nad Berlinom, 1987), Bis ans Ende der Welt (Do konca sveta, 1991), In weiter Ferne, so nah!
(Tako daleč, tako blizu!, 1993), Lisbon story (Zgodba iz Lizbone, 1995) in Al di là delle nuvole (Nad oblaki,
1995, režiral ga je skupaj z Michelangelom Antonionijem). Poleg režiserskega dela se je ukvarjal
tudi s fotograjo.
Born 1945 in Düsseldorf; lives and works in Berlin, Germany. He is a representative of the New German
Cinema, winner of the Golden Palm in Cannes (1984), and of the Golden Bear for lifetime achievements at
the Berlin Film Festival (2015). Among his most important lms are: Alice in den Städten (Alice in the
Cities, 1974), Falsche Bewegung (The Wrong Move, 1975), Im Lauf der Zeit (In the Course of Time,
1976), Der amerikanische Freund (The American Friend, 1977), Hammett (1982), Der Stand der Dinge
(The State of Things, 1982), Paris-Texas (1984), Der Himmel über Berlin (Wings of Desire, 1987), Bis
ans Ende der Welt (Until the End of the World, 1991), In weiter Ferne, so nah! (Faraway, So Close!, 1993),
Lisbon story (1995), and Al di là delle nuvole (Beyond the Clouds, 1995, co-directed by Michelangelo
Antonioni). Apart from being a lmmaker, Wenders is also devoted to photography.

WESTERN WORLD, blizu / near Four Corners, California, 1983

178

STEFANO CAGOL

Rodil se je v Trentu leta 1969, tam živi in ustvarja. Leta 2009 je za zmago v kategoriji megawatt
prejel nagrado terna; v 2014 je s transnacionalnim projektom The Body of Energy, pri katerem so
sodelovali muzeji (rimski MAXXI, neapeljski Madre, bolzanski Museion, karlsruški ZKM in
essenski Museum Folkwang) in energetske centrale, osvojil umetniško rezidenco kot gostujoči
umetnik pod okriljem fundacije RWE. Predstavljal se je na Manifesti 11 v Zürichu in leta 2013 v
maldivskem paviljonu na 55. beneškem bienalu.
He was born in 1969 in Trento, where he lives and works. In 2009, he was announced as winner of the Terna
Prize in the Megawatt category, and in 2014, he won in VISIT Artist in residence program of the RWE
Foundation with the trans-national project The Body of Energy, developed between museums (MAXXI of
Rome, Madre of Naples, Museion of Bolzano, ZKM Karlsruhe, and Museum Folkwang of Essen), and
power plants between 2014 and 2015. He participated at the Manifesta 11 in Zurich, and in 2013, he
exhibited in The Maldives Pavilion at the 55. Biennale of Venice.

BREZ NASLOVA / UNTITLED, SILICON VALLEY, 2000 ca.

179

JENNY HOLZER

Rodila se je leta 1950 v Gallipolisu, v zvezni državi Ohio, živi in dela v Hoosicku v New Yorku.
Je konceptualna umetnica, ki z javnim umetniškim delovanjem razširja svoja sporočila zunaj
ustaljenih razstavnih prostorov. Svoje delo razvija skozi besedila, sprva kratka in jedrnata, nato
pa vse bolj kompleksna, pripovedna in intimna, natisnjena na papirju ali tkanini (na plakatih in
majicah), na oglasnih panojih ali na monumentalnih elektronskih znakih (LED), kot glavne teme
pa nastopajo spolnost, smrt, vojna in vera.
Born 1950 in Gallipolis, Ohio, USA; lives and works in Hoosick, New York. By practicing "public art", this
conceptual artist spreads her message outside traditional exhibition spaces. Her work is elaborated through
texts, at rst short and concise, and later increasingly complex, narrative, and intimate, printed on paper or
cloth (on posters or T-shirts), appearing on advertisement boards or in the form of monumental electronic
LED signs; with recurring topics addressing issues related to sex, death, war, and religion.

JAPONSKI VRT / JAPANESE GARDEN, 1994

180

OLAFUR ELIASSON

Leta 1967 se je rodil v Kopenhagnu, živi in dela v Berlinu. Njegovo raziskovanje
monumentalnega in spektakularnega je zasnovano v sodelovanju s široko mrežo strokovnjakov,
od znanstvenikov, arhitektov in inženirjev, njegove postavitve, pogosto zelo velikih dimenzij, pa
pritegujejo občinstvo v čustvenem in kognitivnem smislu. Gostoval je v nekaterih največjih
mednarodnih institucijah, kot sta Muzej moderne umetnosti v New Yorku (Seeing yourself sensing,
2001) in londonski Tate Modern (The weather project, 2003).
Born 1967 in Copenhagen, Denmark; lives and works in Berlin, Germany. His exploration of the
monumental and the spectacular is designed in collaboration with a large network of experts (scientists,
architects, technicians): his environments of often monumental dimensions, involve spectators in an
emotional and cognitive sense. His works have been hosted by some of the major international institutions
such as the Museum of Modern Art in New York with (Seeing yourself sensing, 2001), and Tate Modern in
London with The weather project (2003).

BREZ NASLOVA / UNTITLED, iz Islandske serije / from the Iceland Series, 2001

181

RONI HORN

Živi in dela v New Yorku, kjer se je rodila leta 1955. Sprva je nanjo vplival minimalističen nauk
Donalda Judda, nato se je od njega oddaljila in začela razvijati svoj izraz, osredinjen na temo časa
in identitete. V svoji umetniški praksi Hornova dojema identiteto kot spremenljiv in večplasten
pojem, kar se odraža tudi v raznolikosti izrazov, ki jih uporablja pri svojem delu: od skic, knjig,
fotografskih instalacij in skulptur. Ta dimenzija večplastnosti služi kot podlaga njenih del, s
katerimi želi dati obliko procesu nastajanja, kar je razvidno iz njenih stvaritev, za katere črpa
navdih v islandski pokrajini, v neštetih odtenkih vode in v spremenljivem izgledu človeških
potez.
Born 1955 in New York. Initially inuenced by minimalism, led by Donald Judd, she then distanced herself
from it, developing a personal focus on the themes of time and identity. In Horn’s artistic practice, identity –
both individual and geographic – is not a xed and monolithic concept, but variable and multi-faceted. This
is echoed in her wide-ranging practices and media: drawings, books, photographic installations, sculptures
etc. This diversity lies at the heart of her work, which gives form to the process of becoming, as shown by the
pieces she has created inspired by Iceland's landscapes, the countless hues of its waters, and the changing
geography of human features.

POSTAJAM KRAJINA / BECOMING A LANDSCAPE, 1999

182

SILVIA CAMPORESI

Leta 1973 se je rodila v Forliju, tam živi in dela. Diplomirala je iz lozoje. Z jezikom fotograje in
videa gradi zgodbe, za katere črpa navdih v mitologiji, literaturi, religiji in realnem življenju.
Njene podobe se venomer osredotočajo na raziskovanje meja med resničnostjo in kcijo. Pred
nedavnim je izdala publikacijo Atlas Italiae (2015), ki ponuja pregled zapuščenih italijanskih
krajev. Nadaljuje s projektom Mirabilia in iskanjem nenavadnih, posebnih in bizarnih krajev na
meji pravljičnosti.
Born 1973 in Forli, Italy, lives and works in Forli. She graduated in philosophy. Through the language of
photography and video, she constructs stories inspired by mythology, literature, religion, and real life. Her
images explore borderline areas between reality and ction. Recently published publications include a
volume titled Atlas Italiae (2015), offering an overview of abandoned sites found across Italy. She is
currently working on a project called Mirabilia, and continues to search for unusual, special, bizarre places
on the borders of fantasy.

SOL MISLI / THE SALT OF THOUGHTS / IL SALE DEL PENSIERO, 2006

183

ALESSANDRO SAMBINI

Leta 1982 je bil rojen v Rovigu, živi in dela v Milanu. Ukvarja se s fotograjo, videom in drugimi
multimedijskimi pripomočki; preizprašuje se o vzgibih in načinih, ki urejajo izdelavo fotograj,
njihovo razširjanje in kroženje, ter o povezavah v odnosu med samo podobo in javnostjo. Med
umetniške institucije, s katerimi je sodeloval v zadnjih letih, lahko med drugim prištejemo Muzej
sodobne umetnosti v Milanu in milanski trienale. Je član raziskovalne platforme Poiuyt.
Born 1982 in Rovigo, Italy; lives and works in Milan. He works with photography, video, and other
multimedia tools. His works address issues related to the needs and ways that govern the production of new
images, their circulation and dissemination, and the different connections between the image and the
public. In recent years he has collaborated with several art institutions, including the Cinisello Balsamo
Museum of Photography (Milan), and the Milan Triennial. He is a member of the Poiuyt search platform.

GLEJ NAOKROG / LOOK AROUND / GUARDATI INTORNO, 2016

184



Joseph Beuys, Difesa della natura

DOMINIKANSKI SAMOSTAN / DOMINICAN MONASTERY, PTUJ

POKLON JOSEPHU BEUYSU
HOMMAGE TO BEUYS

OBRAMBA NARAVE
THE DEFENSE OF NATURE

DIFESA DELLA NATURA

KUSTOSA / CURATORS: JERNEJ FORBICI & MARIKA VICARI

POKLON JOSEPHU BEUYSE / HOMMAGE TO JOSEPH BEUYS, razstava / exhibition

POKLON JOSEPHU BEUYSU /
HOMMAGE TO JOSEPH BEUYS

kustosa / curators: Jernej Forbici & Marika Vicari
besedilo / text: Marika Vicari

»Še nekaj časa nam je ostalo, da svobodno sprejmemo
odločitev o tem, ali bomo sledili drugačni poti od tiste,
ki smo jo prehodili v preteklosti. Še vedno se lahko
odločimo, da bomo uskladili svojo inteligenco z
inteligenco narave.«

J. Beuys

Z razstavo se želimo pokloniti enemu najbolj priznanih in zagonetnih ustvarjalcev na
mednarodni umetniški sceni v zadnjih desetletjih. Veliki raziskovalec Joseph Beuys je svojo
vlogo v svetu umetnosti odigral z gorečnostjo kozmičnega ognja in nam vedno na vznemirljiv
način, najpogosteje z uporabo besede ali aktivnega udejstvovanja, pri tem razkrival skrivnosti
narave in postavljal sebe, umetnika in človeka, v obrambo pred samim sabo.

Zlasti nepozabna so njegova konceptualna dela, ustvarjena med šestdesetimi in osemdesetimi
leti prejšnjega stoletja, s katerimi je želel spodkopati splošno izhodišče o definiciji narave.
Konceptualna dejanja, instalacije in družbeni, naturalistični ter okoljski nastopi tako postanejo
moralna, izobraževalna in politična obveza.

Od leta 1973 pa vse do svoje smrti se Beuys pri delu osredotoča na človeka, ki ga dojema kot
aktivnega udeleženca. Organizira srečanja, eksperimentira s kmetijskimi praksami in načini
gojenja rastlin, ustanovi Fundacijo za oživljanje kmetijstva, Mednarodno svobodno univerzo
(FIU), med drugim ustvari dela Grassello (1979), La chimica del viaggio (Kemija potovanja), 7000
querce (7000 hrastov, 1980), Olivestone (1984) in Diary of Seychelles (Dnevnik Sejšelov). To je tudi
tisti del njegovega raziskovanja, ki ga, zahvaljujoč nekaterim izbranim dokumentom,
postavljamo na ogled v tej manjši arhivski razstavi. Razstavljene replike, fotografije, plakate in
knjige dojemamo kot čisto prava umetniška dela, hkrati pa, zaradi svoje reprodukcijske narave,
služijo kot nazoren prikaz širjenja Beuysove filozofije – besede dihajo.

V tem je zaobjet ves smisel tega majhnega, intimnega poklona Beuysu in njegovemu projektu
Obramba narave (Difesa della natura), ki nastopa kot enotno telo, živahen in vitalen organizem,
kamor se vse steka in s pomočjo katerega se da izraziti umetnost, naravo, svet. Kreativnost je
namreč edini človeški kapital, ki preko komunikacije in sodelovanja vodi k preporodu človeka,
končni nauk pa je ta, da lahko človek le s pomočjo zemlje najde ustrezne smernice in smisel
svojega potovanja.

189

»For some time we still have the chance to freely come
to a decision, that is following a different flow from
the one we went through in the past. We still can
decide to align our intelligence to that of nature.«

J. Beuys

With this exhibition, we wish to pay tribute to one of the most acclaimed and enigmatic artists on
the international art scene over the past decades. Joseph Beuys, the great researcher endowed
with a flashing cosmic fire, played his game with the world of art in an always baffling manner,
often only with the use of words or active propulsion, revealing the secrets of nature and putting
himself, as an artist and a man, in defense of himself.

Especially memorable are his works of conceptual character designed between the 1960s and
1980s with the intention of putting a strain on the common notion of definition of nature.
Conceptual actions, installations, social, naturalistic and environmental performances become a
means of moral, educational and political engagement.

From 1973 until his death, Beuys focuses his work on man, always an active contributor. He is
involved with organization of meetings, experiments with agricultural and cultivation practices,
sets up the Foundation for the Rebirth of Agriculture and the Free International University (FIU);
he creates, among others, the works Grassello (1979), The Chemistry of the Journey, 7000 Oaks (1980),
Olivestone (1984), and Diary of Seychelles. Thanks to a few selected documents, it is precisely this
part of his research that we wish to put on display in this small archive exhibition, where
reproductions, photographs, posters and books, very compelling in their contrasting
configuration, can be perceived as real artworks, while, due to their reproductive nature, they
suitably represent the dissemination of Beuysian thought – words can breathe.

This captures the whole sense of this little, intimate homage to Beuys and his project The Defense of
Nature, depicted as a unitary body, a pulsating and vital organism where everything flows and
through which he communicates art, nature, humans. Creativity is the only human capital that,
through communication and collaboration, leads to the rebirth of man. And finally, as he himself
teaches us, it is only through the earth that a man can discover the meaning of his path and the
necessary guidance.

190

DREVESA / TREES, Poklon Josephu Beuysu / Hommage to Joseph Beuys, Art Stays 2017, Slovenski trg

JOSEPH BEUYS

Umetnik Joseph Beuys (1921 - 1986) se je rodil v Nemčiji in ustvarjal v Evropi in v Združenih
državah Amerike od leta 1950 do zgodnjih 80-ih let prejšnjega stoletja. V zgodovino se je zapisal
kot eden izmed akterjev mednarodnega proto-konceptualnega umetniškega gibanja Fluxus, ki je
delovalo v tistem obdobju. Njegov izjemno raznolik opus obsega vse od tradicionalnih medijev,
kot so risanje, slikanje in kiparstvo, do procesno naravnanih ali časovnih medijev "akcijske"
umetnosti. Beuys umetniški performans, ki obravnava teme psihološke, socialne in/ali politične
narave, pojmuje kot način zdravljenja, ki deluje tako na umetnika kot na občinstvo. Beuys je zlasti
znan po delih, ki so vsebovala živalsko maščobo in klobučevino. Ta dva zelo vsakdanja materiala,
od katerih je eden organski in drugi umeten, oziroma industrijsko izdelan, sta imela za umetnika
zelo oseben pomen. Oba materiala sta bila tudi ponavljajoča se motiva v delih, ki pričajo o
nerazdružljivosti umetnosti, vsakdanjih materialov in "vsakdanjega življenja" slehernika.
Joseph Beuys (1921 – 1986) was a German-born artist active in Europe and the United States from the
1950s through the early 1980s, who came to be loosely associated with that era's international, proto-
Conceptual art movement, Fluxus. Beuys's diverse body of work ranges from traditional media of
drawing, painting, and sculpture, to process-oriented, or time-based "action" art, the performance of which
suggested how art may exercise a healing effect (on both the artist and the audience) when it takes up
psychological, social, and/or political subjects. Beuys is especially famous for works incorporating animal
fat and felt, two common materials - one organic, the other fabricated, or industrial - that had profound
personal meaning to the artist. They were also recurring motifs in works suggesting that art, common
materials, and one's "everyday life" were ultimately inseparable.

plakat / exhibition poster GRASSELLO, Ca(OH)2 + H2O, DIFESA DELLA NATURA, Yvon Lambert, Paris,
100.1 x 67.7 cm, podpisan / signed, 1981

192

plakat / exhibition poster
DIFESA DELLA NATURA, Lucrezia de Domizio, Pescara Bolognano,

60 x 82 cm, podpisan / signed, 1984

OLIVE STONE, F.I.A.C. GRAND PALAIS, PARIS 1985, Lucrecia De Domizio, Pescara,
16 x 22 cm, podpisano z rdečim pisalom in žigosano s FIU žigom /
signed with red felt-tip pen and FIU-stamp, 1985

193

Luca Piovaccari, Pokrajina / Landscape, 2010

MIHELIČEVA GALERIJA / MIHELIČ GALLERY, PTUJ

INVERZNI KANON /
INVERSE CANON /

KUSTOSA / CURATORS: ITALO BERGANTINI & GAIA CONTI

INVERZNI KANON / INVERSE CANON, razstava / exhibition

INVERZNI KANON / INVERSE CANON

kustosa / curators: Italo Bergantini & Gaia Conti
besedilo / text: Gaia Conti

»Nisem se niti zavedal, da je to, kar je našlo svojo
končno uresničitev v začetnem preblisku, že pred
časom začelo svoje retrogradno gibanje, odštevanje,
oziroma, če uporabimo glasbeni termin, svoj inverzni
kanon.«

(Paolo Maurensig, »Inverzni kanon«)

Ko se sprehajamo med umetniškimi deli, ki jih ponuja razstava, vsak od nas doživlja svojo
zgodbo. Lahkoten korak, tavajoč pogled, stenska dela, okoljske instalacije in gibljive slike; vse je
na vpogled, vse poteka tekoče, toda ostaja negibno, razpeto med mislijo in pomenom. Na začetku
vsega je naslov; ta spodbuja k razmisleku, je tista stvar, ki že opredeljuje občutek, pristop, služi
kot postavka in namig o ohlapnosti ali specifičnosti teme. Včasih povezava ni takoj opazna, a tudi
dvoumnost skriva svoj čar. Inverzni kanon (Canone Inverso) je eden od dogodkov, umeščenih v širši
kontekst letošnje 15. izdaje ptujskega Festivala sodobne umetnosti Art Stays, tokrat z naslovom
NATUR-AL(L), govori pa o naravi, tako v konkretnem kot tudi širšem smislu, in o njenih
pojavnih oblikah, pa naj bo pastoralna, neokrnjena, arkadijska, spremenjena, raznolika,
razvrednotena, izkoriščana, popačena ali izkrivljena na način, da ustreza našim potrebam in
potrošnji.

Namerna dvoumnost naslova deluje kot iztočnica, ki napeljuje na glasbeni izraz »kanon«. Gre za
kompozicijo, temelječo na kontrapunktični imitaciji melodije, kjer eden ali več glasov sledi točno
določenim pravilom, tako da igrajo isto melodijo, vendar s časovnim zamikom. Pri inverznem
kanonu, ki ga včasih imenujemo tudi rakov kanon, pa igranje poteka v obratni smeri, začenši z
branjem zadnje note kot prve. Enaka prostorska in ekstenzivna govorica je značilna tudi za
pričujočo razstavo; začne se v eni smeri in se vzporedno uresničuje tudi v nasprotni.

Razstavni projekt je ustrezno razporejen na dva dela, ki zasedata vsak svoje nadstropje
Miheličeve galerije. Začne se v pritličju, kjer so predstavljeni Matteo Cremonesi, Luca Piovaccari,
Daniele Rocci, Cinzia N. Rojas in Gabriele Rossi, nadaljuje pa v zgornjem nadstropju, ki ga
zasedajo Sebastiano Guerrera, Claudio Marini, Luigi Menichelli, Svetlana Ostapovici in
Giuseppe Ripa. Sodelujejo torej umetniki različnih generacij, ki so v zadnjih letih z različnimi
umetniškimi oblikami na bolj ali manj ekspliciten način delovali na tem področju in prispevali
svoj izraz.

Njihov jezik izraža raznolikost pogledov, ki sega od poetičnih meditacij in živahnih urbanih
izrazov do krhkih simbolov in sintetičnih projekcij, venomer pa se vrti okoli razmisleka o
prisotnosti in dejavnostih človeka ter o vlogi, ki jo igra v razmerju do narave. Rezultat je široko

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razvejan kontekst, v katerem ne samo generacije, temveč tudi različni umetniški stili sobivajo
eden zraven drugega in skupaj z drugimi v lirični napetosti med lahkomiselno sedanjostjo in
mračno preteklostjo, med vzgibi notranjosti in umetno zunanjostjo.
V »inverznem kanonu« se glasba predvaja in previja nazaj, ne da bi pri tem spremenila bistvo
melodije, toda spremembe, ki nastanejo na ta način, so trajne in absolutno nepovratne. To
pomeni, da imamo opravka z glasbeno metaforo, ki izraža idejo večplastne in nepovratne
transformacije, ki za sabo pušča predornine in se uresničuje v komplementarnih dimenzijah.
Daljnosežen pregled sledi odnosu z naravo in jo predstavlja v obliki (ek)statične pokrajine, pa
tudi v njeni vsakdanji, tehnološki in potrošniški podobi, zaznamovani z ranljivostjo okolja,
ekologijo in odtujitvijo. Gre za normiranje naše prihodnosti ob zavedanju, da je obstoj slednje
popolnoma soodvisen od pojavov v njeni preteklosti.
Zgodba, ki jo imamo pred sabo, dopušča odprto razlago in nenehno preizpraševanje; lahko jo
obračamo in v njej iščemo rešitve, ki so hkrati začetek in konec nekega drugega dejanja. Razvija se
skozi dela desetih umetnikov, ki gledalca vodijo čez fizični prostor in razkrivajo dinamično ter
raznovrstno vsebino. Inverzni kanon ni le estetsko kontemplativen trenutek, temveč od nas
zahteva bolj poglobljeno in kritično razmišljanje o svetu, v katerem živimo.

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"I didn't even realize that what has found its ultimate
realization in the initial idea, had long since begun its
retrograde movement, its countdown, or, to use a
musical term, its inverse canon."

(Paolo Maurensing, Inverse Canon)

When we stroll around and admire works of art exhibited in an exhibition, we each have our own,
free and subjective interpretation. A light step, a wandering look, wall works, environmental
installations, moving images; everything is in sight, everything flows, but remains immobile, torn
between thought and meaning. The first thing is a title. The title encourages reflection; it is that
„something“, which already defines the feeling, the setting, the approach; like a premise or a clue
about the vagueness or specificity of the topic. Sometimes this connection is not immediately
perceptible, but ambiguity is often part of the charm. Inverse Canon (Canone Inverso) is one of the
events that is part of the wider context of this year's 15th edition of the Art Stays Festival of
Contemporary Art in Ptuj, Slovenia, entitled NATUR-AL(L). The topic is nature, both in a
concrete and broader sense of the many ways in which it is presented: bucolic, unspoiled, arcadic,
transformed, diversified, depreciated, exploited, distorted, bent to fit our needs and
consumption.

The deliberate ambiguity of the title serves as a starting point alluding to the musical term
"canon". A canon is a compositional technique based on the contrapuntal imitation of a melody by
one or more voices or instruments, which follow specific rules: the theme passes from one voice to
the other so that they have the same melody, but with time intervals occurring between them. An
inverse canon (also known as crab canon), however, is when the melody proceeds in the reverse
direction, with the last note being read as the first. The same spatial and extensible language
appears in the present exhibition: it starts in one direction, but at the same time also runs parallel,
in the opposite one.

Accordingly, the project is divided into two parts, each occupying one of the two floors of the
Mihelič Gallery: the ground floor features works by Matteo Cremonesi, Luca Piovaccari,
Daniele Rocci, Cinzia N. Rojas, and Gabriele Rossi, and continues on the upper floor with
Sebastiano Guerrera, Claudio Marini, Luigi Menichelli, Svetlana Ostapovici, and Giuseppe
Ripa. The participating artists of different generations have all been involved with the same topic
in a more or less explicit way through their various artistic formulations over the recent years.

Their expression reflects diverse perspectives, spanning between poetic meditations, dynamic
urban manifestations, delicate symbols and synthesized projections, but all constantly
gravitating around a reflection about the presence and actions of man and the role he plays in
nature. The result is a highly articulated context, in which not only generations, but also different
artistic genres coexist one next to the other, and together with the others, in a lyrical tension
between a carefree present and a gloomy past, between internal impulses and exterior artifices. In
this inverse canon, the music plays and rewinds without changing the substance of the melody,

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but in reality the changes created in this way are absolutely permanent and irreversible. A
musical metaphor, therefore, which expresses the idea of a stratified and irreversible
transformation, leaving behind the superfluous, and becoming realized in complementary
dimensions. A wide-ranging vision that builds on our relationship with nature as an (ec)static
landscape, but equally on its everyday, technological, and consumer-related aspects − fragility of
the environment, ecology, and alienation. A codification of our future with the awareness of the
total interdependence of its past phenomena.
The story in front of us is entirely open to interpretation; it is a story constantly challenged, tossed
upside down, producing solutions that are the beginning or the end of some other action. A story
that unfolds through the works of ten artists, who guide a visitor while revealing a physical space
full of dynamic and diversified content. Inverse Canon is not just an aesthetic-contemplative
moment: it aims to inspire in us a much more critical and in-depth reflection on the world in
which we live.

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