ART STAYS 2017

INVERZNI KANON / INVERSE CANON, razstava / exhibition

MATTEO CREMONESI

Rojen leta 1986 v Milanu (Italija). Živi in dela med Milanom in Trentino Alto Adige.
Born in 1986 in Milan (Italy). Works between Milan and Trentino Alto Adige.
Narava kot čas
Počasnost in neizbežnost sta značilnosti, ki spremljata videa Зелени питон (Zeleni piton) in
Крокодил (Krokodil), posneta v skoraj fotografskem stilu, kjer se vse dogaja, ne da bi imeli
občutek, da se je resnično kaj zgodilo. Mikro zaznave nas prisilijo k pozornemu in nenehnemu
opazovanju v tem času, ki je tako zelo zaznamovan z ekstremno hitrostjo in površnostjo.
Nature as Time
Slowness and inevitability characterize Зелени питон (Green Python), and крокодил (Crocodile), two
videos, almost reminiscent of still photographs, where everything seems to ow but without the impression
that something has really happened. In an age marked by extreme velocity and superciality, micro-
perceptions force us into an attentive, uninterrupted act of observation.

ZELENI PITON / ЗЕЛЕНИ ПИТОН (GREEN PYTHON), 2016
foto izsek / Frame
HD, Video, 2016, Beograd
Video instalacija - eno kanalni video / Video installaton - single channel - (25:39)
© umetnik / artist, courtesy Romberg

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SEBASTIANO GUERRERA

Rojen leta 1964 v Cataniji (Italija). Živi in dela v Pesaru (Italija).
Born in 1964 in Catania (Italy). Lives and works in Pesaro, Italy.
Narava kot poezija
Osnovna umetnost je sestavljena iz vsebinskih znakov, edinstvenih delčkov, ki združeni tvorijo
enotno skladenjsko celoto. Risbe Drevesa učitelji (Alberi Maestri) izpostavljajo naravo brez
umetnih dodatkov, ki se v svoji čistosti in hkrati raznolikosti odpira pred našimi očmi, a s težavo
dojemamo njeno preprosto kompleksnost.
Nature as Poetry
A basic form of art, made up of meaningful signs, single fragments that compose a collective syntax when
combined with one another. The drawings in Teaching Trees (Alberi Maestri) recall the idea of a nature
devoid of articiality, clean and diversied at the same time, a nature that unfolds in front of our eyes, yet we
struggle to grasp its simple complexity.

HRAST / OAK, 2015
iz cikla / from the series: Alberi Maestri
Grat na papirju / Graphite on paper, 25x25 cm
foto: Paolo Semprucci, courtesy Romberg

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CLAUDIO MARINI

Rojen leta 1947 v Velletru (Rim - Italija), kjer živi in dela.
Born in 1947 in Velletri (Roma - Italy), where he lives and works.
Narava kot prekoračitev
Za večino predmestij je značilno, da nosijo predznak sivine, so natrpana s prebivalci in
prepredena z industrijskimi območji. Že sama beseda vzbuja asociacijo na pojem marginalnosti,
obrobnosti, na idejo, da se nahajamo nekje na meji nečesa. Tukaj predstavljena predmestja
krepijo to podobo; so mogočni portreti degradiranih naravnih krajev, sivih con in območij, kjer
nesprejemljiva in izkrivljena realnost ostaja zakonita.
Nature as Violation
In most cities peripheries carry a grey undertone, they are over-saturated with population and dispersed
with industrial areas. The word 'periphery' itself is associated with the concept of margin, boundary, and
the idea of being at the limit of something. The suburbs shown in this work reinforce that image: they are
powerful portraits of degraded natural areas, grey zones, and other places, where the unacceptable
BREZ NASLOVA / UNTITLED, 2006
olje in lak na lesu / oil and varnish on wood, 140x160 cm
courtesy Romberg

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LUIGI MENICHELLI

Rojen leta 1940 v Latini (Italija). Živi in dela v Rimu (Italija).
Born in 1940 in Latina (Italy). Lives and works in Rome, Italy.
Narava kot spomin
Večplastni vegetacijski zidovi v svojem bistvu odsevajo in poudarjajo pečat, ki ga narava pušča
leto za letom. Globoko zakopan spomin, prežet s pričakovanjem, ki se ne bo nikdar uresničilo;
listi, preoblečeni v črnino, pa bodo večno živeli kot podoba umetne pokrajine.
Nature as Memory
Densely stratied vegetation walls, reecting and highlighting in their essence the imprint that nature is
capable of reproducing year after year, cycle after cycle. A "vacuum sealed" memory, suspended in
expectation which will never see its realization, while the leaves, coated in black, will live on eternally as the
image of an articial landscape.

LISTJE TRAVE / LEAVES OF GRASS, 2011
listje,lak in smola na platnu / leaves, varnish and resins on canvas , 151x120x13 cm

courtesy Romberg

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CINZIA N. ROJAS

Rojena leta 1977 v Rimu. Živi in dela po vsej Italiji.
Born in 1977 in Rome (Italy). Lives and works in Italy.
Narava kot sled
Življenje narave poganja nenehno samoobnavljanje; vsakič znova se rodi drugačna, za preporod
pa uporablja svoje lastne sledi. Slednje v delu Memoria Naturae postanejo trajne podobe, ki
pričajo o povezavi med okoljem in minulo resničnostjo, sočasno pa odpirajo pogled na nov,
enkraten svet, na spomine preteklosti in pričakovanja prihodnosti.
Nature as Trace
Natural processes are driven by its ability to regenerate continually, using its own traces to be reborn again
and again, never the same as before. In Memoria Naturae these traces become permanent images of an
environmental bond to things past, creating at the same time an insight into a new and singular world, into
memories of the past and expectations of the future.

NARAVEN SPOMIN / NATURAL MEMORY, 2013/14
listi in srebrna foto želatina / lives with silver gelatine, 36x36x7 cm
courtesy Romberg

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SVETLANA OSTAPOVICI

Rojena leta 1967 v Ribniti (Moldavija). Živi in dela v Italiji.
Born in 1967 in Ribnita (Republic of Moldova). Lives and works in Italy.
Narava kot odpadek
Namen fotografske kompozicije Žgano železo (Burnt Iron) je osvetliti perečo okoljsko
problematiko in jo postaviti v luč aktualne, skoraj osebne perspektive in nove dimenzije.
Poudarek je na stvareh, ki nam neselektivno polnijo življenje, a prej ko slej postanejo odpadni
material, ki konča v smeteh.
Nature as Waste
The photographic composition of the piece Burnt Iron aims to shed light on pressing environmental issues
which are given a current, yet almost intimate perspective, and a new dimension. The focus is on all the
things that ll our lives constantly and unselectively, but sooner or later turn into waste and end up in
landll sites.

OŽGANO ŽELEZO / BURNT IRON 6, 2011
iz cikla / from the series: Burnt Iron

lambda print na aluminiju (poliptih) / Lambda print mounted on aluminium (polyptych), a’ 50x67 cm
Edicija / Edition: 7 + 2 Avtorska izvoda / Artist's proof
courtesy Romberg

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LUCA PIOVACCARI

Rojen leta 1965 v Ceseni (Italija), kjer živi in dela.
Born in 1965 in Cesena (Italy), where he lives and works.
Narava kot nezavedno
Dimenzija ravnotežja, prenesena iz duha v pokrajino, bolj mentalno kot realno in bolj začasno kot
otipljivo. Pokrajina (Landscape) je manjša vizualna upodobitev, lebdeča nad kipu podobno
strukturo iz lesenih desk, ki zamejujejo zični, hkrati pa razširjajo neotipljiv prostor idej in jih
tako osvobajajo njihovih lastnih omejitev.
Nature as the Unconscious
The dimension of an equilibrium transferred from spirit to landscape, more mental than real, and more
ephemeral than tangible. Landscape is a small-sized visual piece oating above an almost sculptural
structure made from wooden boards, which delimit the physical space but at the same time expand the
intangible space of ideas, freeing them of their own boundaries.
POKRAJINA / LANDSCAPE, 2010
pastel in olje na papirju, struktura iz lesa / pastel and oil on paper, structure of axes, 34x26 cm & 87x200 cm
courtesy Romberg

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GIUSEPPE RIPA

Rojen leta 1962 v Ragusi (Italija). Živi in dela v Milanu (Italija)
Born in 1962 in Ragusa (Italy). Lives and works in Milan, Italy.
Narava kot pisava
Drobci naravnih elementov kot majhne grake, ki živijo lastno življenje, prevzemajo skulpturni
izraz in živahno ter okretno preletavajo list svilenega papirja. Fotografski ciklus Rarum v sebi
združuje preplet poetike, muzikalnosti in pisav ter ponuja intenzivne, vizionarske slike, polne
različnih odtenkov.
Nature as Writing
Tiny bits of natural elements come together like little sculpting phrases, gliding delicately and vigorously
over an immaterial sheet of tissue paper. The little graphics appear as having an own, autonomous
existence. Poetry, musicality, and writing are combined in this photographic cycle titled Rarum,
constituting a painting that is visionary, intense, and brimming with shades.

RARUM, 2012
postavitev / installation view
© umetnik / artist, courtesy Romberg

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DANIELE ROCCI

Rojen leta 1979 v Torinu (Italija). Živi in dela v Aviglianu (Italija).
Born in 1979 in Turin (Italy). Lives and works in Avigliana, Italy.
Narava kot sporočilo
RGB – Red Green Blue so realistični artefakti sprevrženega, z zunanjo podobo obremenjenega
naravnega sveta. Majhna armada sintetičnih teles služi kot ogledalo komunikacije z zunanjim
svetom, ki je že od rojstva okrnjena in odklopljena od resničnosti, ki nas obkroža, ne da bi se tega
sploh zavedali.
Nature as Communication
RGB – Red Green Blue is a realistic artice of a twisted world ruled by appearances. This small army of
synthetic bodies mirrors our communication with the outside world, truncated at birth and disconnected
from the reality that surrounds us, without us ever realizing it.

RGB, 2015 (detajl / detail)
Poliuretanska pena, sintetična smola, sintetični lak in ethernet kabel / Expanded polyurethane foam,
synthetic resin, synthetic varnish and ethernet cables, 80x30x40 cm vsaka / each
foto: Marcello Scopelliti, courtesy Romberg

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GABRIELE ROSSI

Rojen leta 1979 v Latini (Italija). Živi in dela v Rimu (Italija).
Born in 1979 in Latina (Italy). Lives and works in Rome, Italy.
Narava kot moč
Narava se neprestano premika, spreminja, vzpostavlja na novo. Serija Volume pripoveduje o
tišini in praznini, o tem, kar ostane potem, ko Ona avtoritativno dvigne svoj glas. V L'Aquili, kjer
je projekt nastal, se glasnost potovanja potresenega sunka meri z oglušujočo sireno, ki na svoji
poti za sabo pušča nemočne ostanke.
Nature as Power
Nature is constantly transforming, moving, restoring. The series Volume recounts the void and silence –
everything that remains behind after She authoritatively raises her voice. In L'Aquila, the original setting
of the project, the volume of the seismic shock's passing sound was a deafening siren, leaving behind
nothing but powerless remains.

VOLUME, 2013
iz cikla / from the series: Volume
srebroželatinasta fotograja na baritnem muzejskem papirju /
Gelatin silver print on Baryta paper processed for museum conservation, 20x25 cm

Edicija / Edition: 3
©umetnik / artist, courtesy Romberg

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Marko Tušek, E-70, 1991

TOVARNA UMETNOSTI / ART FACTORY, MAJŠPERK

ONKRAJ PROSOJNOSTI /
BEYOND TRANSPARENCY

MARKO TUŠEK

KUSTOS / CURATOR: DUŠAN FIŠER

ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY, razstava / exhibition

ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY

kustos / curator: Dušan Fišer
besedilo / text: Marko Tušek

Naj bo gola realna snov, …zgolj taktilno, brez vsakršne iluzije.
(Moj vstop v moderno sliko prve polovice 20. stoletja.)

Tehnologija. Tehnologija se res morda zdi marginalnega pomena za samo bistvo slike, vendar ne
moremo zanikati, da je na primer renesančna - iluzionistična tehnologija slikanja doživela pravi
evolutivni razvoj, natančno za potrebe iluzionistične slike. Barvne pigmente so kar najdrobneje
zmleli, tako da človeškemu očesu niso več izdajali informacije o svoji tretji dimenziji. Za vezivo so
uporabili laneno olje, ki je za razliko od starejše tempera tehnike omogočalo izredno mehko
izdelavo modelacije, tako pomembne za imitacijo globine. Slikovni nosilec se je iz še vedno
nekoliko “skrivenčene” deske - table spremenil v povsem ravno na podokvir napeto platno.
Platno je bilo nato prevlečeno s klejno-krednim temeljem in obrušeno do popolne gladkosti. Na
sami površini slikovne ploskve tako ni bilo več podatka o tretji dimenziji. Trodimenzionalnost
slikovnega nosilca je izdajal le še rob. Ko pa še tega “zamaskira pozlačeni baročni okvir”, nastane
pravo okno. Tako je bila ustvarjena idealna slikarska tehnologija prav v namen iluzornega
preboja sicer dvodimenzionalne slikovne osnove.

Mnogi avtorji sodobnega časa, ki so se pred menoj soočali z nalogo eliminacije iluzije s slike, so
hkrati mirno uporabljali “renesančno” tehnologijo, ki je bila usmerjena ravno v nasprotno -
izničenje konkretnosti slikarskih materialov.

Torej... za nove potrebe nova tehnologija. Grobo mlet star papir, zarjavele žice, stare cunje, papirji,
kartoni, lepila, modelirne mase, kovinske mreže, lesene naplavine, vrvi, žeblji, deske, pesek..., vse
je bilo pregneteno v novo homogeno telo slike. Barve slike so bile hkrati barve vgnetenih
materialov, linije pa so namesto čopiča začrtale zvozljane vrvi, veje, žeblji..., ki so potovale skozi
telo slike. Telo slike je vsebovalo cel razpon od že skoraj grobih objektov do fineje modeliranih
materialov. Nekaj prostora je ostalo tudi za “stare barve iz tube”, vendar le nekaj.

Snovi. Še nekaj dodatnih starih žic sem vpletel v kovinsko mrežo - kot bi pripravljal armaturo za
železobetonsko ploščo, ...na to osnovo sem nanesel grobo mlete stare časopise pomešane z
lepilom in jih razpotegnil v nekakšno razbrazdano ploskev. Tu so še deske, vrvi in žeblji. Z
velikim pleskarskim čopičem - skoraj omelom sem nanesel nekaj temnejših horizontalnih lazur,
ki naj bi stabilizirale kompozicijo slike, zgoraj pa še pas modre, svetleče lakirane barve. To je
hkrati edina klasična barva uporabljena na sliki.

Velebit. Najprej so bile snovi in prepričan, da operiram le z njimi, je tudi slika nosila to ime. A dlje
ko se je oddaljevalo moje srečanje s to sliko, bolj sem si moral priznati, da je bilo ves čas v ozadju
(vsaj v mislih) še nekaj. Spomini in vtisi, vsi shranjeni pogledi so bili tam. Pogledi na nekaj

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prostranega na robu morja, pomirjujoče mogočnega, od vremena in tisočletij oblikovanega v
grobo skalno gmoto. Priznati sem ji moral še drugo ime - Velebit.

Odločitev I. Navkljub svojim drugačnim načrtom s sliko sem si moral priznati hkratnost
različnosti. Hočeš-nočeš je telo slike konkretni trodimenzionalni objekt in prostor iluzoričnega
dogajanja obenem. Torej če hočem sprejeti sliko takšno kot je v svoji samosvoji pojavnosti in živeti
z njo v harmoničnem, razvijajočem se odnosu, lahko le sprejmem pragmatično odločitev in se
lotim reševanja sobivanja realnosti in iluzornosti v sliki.

Slika kot objekt rada navezuje komunikacijo s prostorom - z realnim prostorom okoli nje. Zato je
nagnjena k zajemanju prostora in širjenju - razpršitvi svojega telesa vanj. Možno je, da se ta proces
nikjer ne zaustavi. Slika sestopi raz steno, a tudi problematika “Slike?” se takrat razprši v ambient
in na povsem nove nivoje. Telo slike postane tako kompleksno, da s tem postane vprašljiva
senzibilnost obvladovanja celote s strani ustvarjalca. Pod vprašaj pa se postavi tudi sama
definicija slike.

Odločitev II. V želji, da se moja energija, pozornost in občutljivost ne razpršijo preveč na zgoraj
omenjeno kompleksnost, in da mi slika ne uide s stene v ambient in postane nekaj drugega, sem
sprejel pragmatično odločitev, oziroma nekakšno ohlapno, zasebno definicijo slike. Konec
koncev sem se na začetku namenil ukvarjati s sliko!? Slika je torej nekaj (gledano s stališča fizične
realnosti), kar je pretežno pozicionirano na steni in je prostor zgoščene vizualnosti in vizualne
senzibilnosti.

Stojim na robu ceste. Suho je in prašno. Mimo s precejšnjo hitrostjo pripelje kamion - prikoličar.
Prihaja, ...nato je že tu in v delčku sekunde mimo. Prah. Nato spet tišina. Zavrtim si dogodek
nazaj, ga upočasnim in opazujem, kaj se je pravzaprav zgodilo, kakšno je bilo to srečanje. Kamion,
jaz in okolica. Celotno dogajanje, tako vizualno kot doživljajsko v mislih nekako ”kondenzira v
enotno podobo”, ki zajema celoten dogodek od začetka do konca, tako zaustavljenega pa lahko
vidim mnogo jasneje. Tako nekako gradim tudi sliko, le da so “dogodki”, ki jih zajema,
kompleksnejši in se tičejo zame bistvenejših stvari.

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Let there be naked real substance... merely tactile, stripped of all illusion.
(My entry into the modern painting of the first half of the twentieth century)

Technology. Technology may indeed seem of marginal consequence to the very essence of a
painting, but there is no denying that for example the illusionistic technique of the Renaissance
underwent nothing less than an evolutionistic development, tailor-made according to the needs
of illusionistic painting. The pigments were ground to such a fine extent that they could no longer
reveal the information concerning their own third dimension to the naked eye. For cohesion,
linseed oil was used which - unlike the older techniques - enables exceptionally soft modulation,
so crucial when it comes to imitating depth. The very carrier of the picture evolved from the still
somewhat "crooked" plank or board to a perfectly straight canvas, stretched over a specific frame.
The canvas was then treated with glue-chalk primer and polished to perfect smoothness. The
surface of the graphic plane thus retained no trace of information concerning the third dimension.
The tri-dimensionality of the carrier was indicated solely by the margins. And when even these
were being "masked by the gilded baroque frame", a true window came into existence. In this
manner, there came into existence the perfect painting technology calibrated according to the
needs of the illusionary breakthrough of an otherwise two-dimensional basis for an image.

Many artists of contemporary times who have faced the task of eliminating the illusion from the
painting before me were quite untroubled while using the "renaissance" technology which was
oriented towards the very opposite goal - the nullification of the concreteness of painting
materials.

And so... according to new needs, let there be a new technology! Roughly ground old paper, rusty
wires, ancient rags, paper, cardboard, glue, modelling mass, metal mesh, wooden flotsam, ropes,
nails, planks, sand..., all of it kneaded into a new homogenous body of a painting. The painting's
colours were the colours of the components that had been kneaded into it, while the lines hadn't
been drawn by a brush but rather by the tangled rope, branches, nails..., criss-crossing their
voyage through the body of the painting. This body comprised the entire span from the almost
rough objects to the finer materials. There was some space left for "the old colours out of the tube",
but only some.

Substances. I have enhanced the old metal mesh with some additional old wires - as if I were
reinforcing a concrete slab. Then on this basis I added roughly ground old newspaper mixed with
glue, then stretched the mixture into a sort of a wrinkled plane. Also there were planks, ropes and
nails. With a paintbrush so large it could almost be a whiskbroom I put on several darker varnish
in order to stabilize the composition of the painting ; on top I put a zone of blue, glossily lacquered
paint. This is at the same time the sole classical colour used in the painting.

Velebit. First there were substances and while I have been convinced that I was operating solely
with them, the painting bore their name and their name alone. But the more distant my first
inception of this painting, the more I had to admit that all the time there had been, at the back of

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my mind, something else in the background. Memories and impressions, all my stored
viewpoints had been there. Several vistas of something vast by the edge of the sea, soothingly
magnificent, shaped by the weather and the millennia into a rough rocky mass. There was no
other option but concede it the second part of its name - Velebit.

Decision I. Despite my quite different plans for this painting I was forced to acknowledge the
simultaneousness of diversity. Willy-nilly, the body of the painting is at the same time a concrete
tri-dimensional object as well as a place for the illusionary happening. This means that if I wish to
accept the painting as it is in its own uniqueness and live with it while forming a progressively
harmonious relation towards it, my only recourse is to adopt the pragmatical decision to make
sense of the cohabitation of both reality and illusion.

The painting as an object is fond of communicating with space - the real space surrounding it. This
is why it tends to sweep up this space and expand - to dissipate its own body into this space. It is
possible the process never ceases. The painting descends down the wall, but the issues of
"Painting?" then also dissolve into the surroundings and towards levels entirely new. The body of
the painting becomes so complex that, for its creator, the very manipulation of the whole becomes
questionable. Also questionable: the very definition of the painting.

Decision II. Wishing my energy, attention and sensibility not to dwindle too significantly due to
the aforementioned complexity, and also wishing my painting not to escape from the wall into the
surroundings and transform into something altogether different, I have adopted a pragmatical
decision, that is to say some sort of a loose, private definition of the painting. After all, I have
initially set out to occupy myself with the painting?! The painting is therefore something (seen
from the viewpoint of physical reality) which is mostly positioned up on a wall and is also a
theatre for condensed visualness and visual sensibility.

I am standing by the edge of the road. The air is dry and dusty. A trailer truck drives by. It is
coming,... then it is here and in a fraction of a second it is gone. Dust. Then, once again, silence. I
rewind the occurrence, I slow it down and observe what really happened, what sort of an
encounter this really was. The truck, me and the surroundings. The entire event - both in the sense
of its visuals and the experience itself - is in my mind somehow "condensed into a unified image"
that comprises the event from its beginning to its end, so I can see it much more clearly. This is also
my method for the construction of paintings, but the "events" they consist of are more complex
and pertain to concepts that, for me, are much more crucial.

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ONKRAJ PROSOJNOSTI / BEYOND TRANSPARENCY, razstava / exhibition

MARKO TUŠEK

Marko Tušek je bil rojen 23. avgusta 1964 v Kranju. V otroštvu si je ob očetu slikarju pridobil
veselje do barve in risbe in se tako že zgodaj seznanil z likovnimi zakonitostmi. Obiskoval je
Srednjo šolo za oblikovanje in fotograjo v Ljubljani, kjer si je ob profesorjih Mulej, Peršin,
Gruden, Kovačič, Šefran, Močnik, Dolenc... izoblikoval zavedanje o pomenu ustvarjalnega
odnosa do dela. Po odsluženem vojaškem roku v Banja Luki je bil sprejet na Akademijo za
likovno umetnost v Ljubljani, kjer je leta 1988 v četrtem letu študija diplomiral pri prof. Emeriku
Bernardu. Njegovi profesorji so bili še: Metka Krašovec, Janez Bernik, Gustav Gnamuš, Bogoslav
Kalaš, Jožef Muhovič...
Tušek Marko was born on 23. August 1964 in Kranj. In his childhood years, his father who was also a
painter helped him develop a great fondness for colour and drawing. It was thus quite early in his life that he
acquainted himself with the laws governing the graphic realm - especially as regards the composition, the
colour and the conceptualisation of space. Despite his lively interest in several other elds he found himself
increasingly attracted to the eld of the visual, dened in the broadest of senses. He enrolled at the High
School for design and photography in Ljubljana. After his due service in the army in Banja Luka he started
attending the Academy of Fine Arts in Ljubljana where it was in 1988 in the fourth year of his studies that
he graduated under the tutelage of professor Emerik Bernard. Some of his other professors were Metka
Krašovec, Janez Bernik, Gustav Gramuš, Bogoslav Kalaš, Jožef Muhovic...

VEČERNA MOLITEV K SPIKI / SENDING EVENING PRAYER TO SPIKA, 2009
les, platno, papir in barva / wood, canvas, paper and color, 277 X 177 X 17 cm

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V VETER / UPWIND WALK, 2016
les, platno, papir in barva / wood, canvas, paper and color, 98 x 37 x 5 cm

35 VOZLOV - NA ROBU / 35 KNOTS - ON THE EDGE, 2011
les, platno, papir, pesek in barva / wood, canvas, paper, sand and color, 160 x 135 x 20 cm

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Johann Feilacher, Tänzer, 2002

DOMINIKANSKI SAMOSTAN / DOMINICAN MONASTERY, PTUJ

LES / WOOD
JOHANN FEILACHER

KUSTOSA / CURATORS: JERNEJ FORBICI & MARIKA VICARI

LES / WOOD, razstava / exhibition

LES / WOOD - JOHANN FEILACHER

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

Johann Feilacher svoje skulpture ustvarja v naelektrenem prostoru, razpetem med
racionalnostjo in emocionalnostjo, med abstrakcijo in povezanostjo z realnimi oblikami. Pri tem
najraje uporablja les in tudi takrat, ko dela s sintetičnimi materiali ali bronom, lesena skulptura
predstavlja osnovno obliko. Dimenzije prostora, v katerem so postavljene njegove skulpture,
vedno dojema kot dejstvo, ki ga je treba upoštevati; v njem morajo biti skulpture postavljene na
način, ki vzpostavlja določeno sožitje. Umetnik je dejal, da so ga od nekdaj fascinirale oblike, ki so
se razvile v prazgodovinskih časih, še preden je obstajal koncept umetnosti. Raziskovanje
arhaičnosti nadaljuje z uporabo ognja, ki skulpturi pridaja dinamičnost. Vendar pa ta povezava s
starimi orodji služi le kot referenčni okvir za ustvarjanje del, ki spadajo v okvir sodobnega
koncepta kiparstva. V tem duhu Feilacher v večji ali manjši meri ohranja naravne oblike izvornih
materialov, njegov glavni cilj pa je ta, da definira njihove značilne lastnosti, da bi jih posledično
lahko preoblikoval v čisto umetniško obliko.

Njegove lesene skulpture izražajo samorefleksiven odnos med naravo in umetnostjo, med
naravnim subjektom in objektom, ki ga je ustvaril človek; to se kaže v kontrastu med kompaktno
maso, ukrivljeno obliko in ostrorobnimi ploskvami, med procesi naravne rasti in procesom
umetniškega ustvarjanja, pri katerem se mora slednji prilagoditi naravni, z rastjo definirani
zgradbi. Za poslikavanje posameznih lesenih površin ali celih skulptur Feilacher redko uporablja
barve, temveč površine raje obdela s plamenom gorilnika, ki doseže temperaturo 1200 °C, dokler
ne zoglenijo. Gorilnik mu omogoča natančnost in uravnavanje globine, do katere naj prodre v les,
da slednji še vedno ohranja svojo organsko, živahno strukturo, in jo s tem še bolj poudari.

Feilacherjev umetniški pogled na material je torej otipljivo preizkušanje njegove formalne
zgradbe. Stremi k temu, da so njegove skulpture v sozvočju z naravo, saj tudi tam, kjer se zdi, da
les dominira s svojo barvno tonaliteto in čutnimi značilnostmi, niso zrcalni odsev narave v
umetniško-estetizirani obliki, temveč zagotavljajo vpogled v principe, ki so imanentni njenim
oblikam. V tem primeru material predstavlja stično polje, v katerem nastajajo oblike, abstraktne
značilnosti debla pa so poudarjene s pomočjo umetniške intervencije, med katero umetnik
izpostavi določene elemente in se hkrati ne zmeni za druge vidike. Rezultat je medsebojno
prepletanje organsko razvite oblike in radikalne umetniške intervencije. Kar je nekoč bilo deblo,
se preoblikuje v novo semiotično strukturo in postane umetniško delo, s tem pa sledi zakonom, ki
se dokončno razlikujejo od tistih, ki jim sledi narava.

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Johann Feilacher develops his sculptures within the charged space lying between the rational
and emotional, as well as between abstraction and connections to real forms. In doing so, his
preferred material is wood. Even when he works with synthetic materials or bronze, the sculpture
created out of a piece of wood provides the initial form. Feilacher always sees the dimension of the
space in which his sculptures are placed as a fact that needs to be incorporated: the sculptures are
to be situated within it in a way that creates a defined coexistence. The artist said: "I have always
been fascinated by forms developed during prehistoric times, when the concept of art did not
exist yet." By making use of fire to dynamize sculptures, Feilacher continues to elaborate upon his
exploration of the archaic.

However, this connection with old tools only forms a frame of reference for creating objects that
exist within the framework of a modern, contemporary concept of sculpture. In this context,
Feilacher preserves the natural forms of the source material to a greater or lesser extent.
Nonetheless, his aim is to define characteristic qualities of their natural shape in order to
subsequently transform them into purely artistic form. His wooden sculptures convey the
selfreflexive relationship of nature and art, between the subject of nature and the object of human
creation: in the contrast between compact mass, curved form and hard-edged planes, and
between processes of natural generation and the process of artistic creation, in which the latter has
to obey the material's natural constitution, as defined by its growth. Feilacher rarely uses paint
when applying color to specific surfaces of the wood or, at times, to the entire surface of a
sculpture; instead, he prefers to use the 1200°C flame of a blowtorch to handle selected surfaces of
the wood until they have become charred. Working with a blowtorch provides the artist with the
opportunity to be precise, to not let the coloration penetrate too far into the wood, thus
maintaining the organic, vibrant structure of the material and bringing it out even more
emphatically.

Feilacher's artistic view of the material is thus simultaneously a tactile probing of its formal
constitution. Ideally, his sculptures function along the lines of nature, because even in places
where wood seems to dominate in terms of its tonality and sensual quality, they are not a mirror
image of nature in an artistic-aestheticized form, but rather provide an insight into the principles
that are immanent within its form. Here, the material represents the conjunctive field in which the
forms become constituted. The abstract quality of a tree trunk is brought to the fore by means of
artistic intervention, during which the artist emphasizes certain elements, while completely
disregarding other aspects. The result is an interplay between organically developed form and
radical artistic intervention. The former tree trunk is transformed into a new semiotic structure,
and becomes an artwork following rules which are definitively different from those followed by
nature.

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LES / WOOD, razstava / exhibition

JOHANN FEILACHER

Rodil se je leta 1954 na avstrijskem Koroškem. Sprva se je ukvarjal s slikarstvom, nato se v 80-ih
prejšnjega stoletja posvetil kiparstvu. Les je njegov primarni material, uporablja ga za notranje in
zunanje skulpture, ki včasih dosegajo monumentalne velikosti. Leta 2002 Feilacher razširi nabor
materialov in začne kombinirati les z jeklom, delati poliuretanske odlitke in graditi instalacije iz
poslikanih kosov lesa. Prve velike skulpture je ustvaril v Angliji (Hildon House Park, 1988) in v
Združenih državah, v newyorškem Socrates Sculpture Parku in v Kouros Sculpture centru v
Ridgeeldu. Leta 1997 je za Laumeier Sculpture Park v Saint Louisu (Missouri, ZDA) izdelal
monumentalno delo Redwood 1.
He was born in 1954 in Villach, Carinthia, Austria. After his initial interest in painting, Feilacher
developed as a sculptor during the period of the nineteen-eighties. His main material became wood, which he
uses for indoor and outdoor works that reach monumental sizes. Since 2002, Feilacher expanded his
materials, working also with combinations of wood and steel and he also casted polyurethane beside
building installations of painted wood pieces. His rst large sculptures were made in England (Hildon
House Park, 1988), followed by Socrates Sculpture Park in New York City, NY, and Kouros Sculpture
Center in Ridgeeld, CT, USA. In 1997, the artist created Redwood 1, a monumental work for Laumeier
Sculpture Park in Saint Louis, Missouri, USA.

DVOJNI HRAST / DOPPELEICHE, 1998
hrast / oak, 80x120x 45 cm

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MESTO / CITTA 2004
brest / elm, 42x 60x60 cm

PUŠČICA 1 / PFEIL 1, 2016
topol / poplar, 150x66x66 cm

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Walter Trecchi, Archi-nature VIII, 2016

GALERIJA MAGISTRAT / MAGISTRAT GALLERY, PTUJ

ARCHI-NATURE
WALTER TRECCHI

KUSTOSINJA / CURATOR: MARIKA VICARI

ARCHI-NATURE, razstava / exhibition

ARCHI-NATURE

WALTER TRECCHI
kustos / curator: Marika Vicari
besedilo / text: Emanuele Beluf
V domišljijskih podobah Walterja Trecchija se metropolitanska mesta prepletajo z naravnimi
»sistemi« in tako nastanejo križanci med arhitekturo in naravo. Gre za kraje, ki ne obstajajo, lahko
pa bi, saj je tudi zanj, kot za vse velike ustvarjalce, značilno, da so pred časom, o katerem
razmišljajo; sedaj ne obstajajo več horizontalni prostori, vse se razvija vertikalno, tudi zelenje.
Nahajamo se v ogromnem prostoru avantgardnih metropolitanskih mest, se oziramo naokoli in
prisostvujemo tekočim procesom preoblikovanja industrijskih prestolnic v smer, ki vzpostavlja
nov dialog z naravnimi elementi, in nastajanju mest-organizmov.
Narava se rada skriva, je nekoč dejal Heraklit. Toda tukaj se prikazuje v ravno obratni luči od
skrivanja, v tem, kar so Grki imenovali oziroma resnica, razkritje in odkritje. V Trecchijevih delih
se narava torej rada odkriva in ne skriva, kaže se v stvareh, ki so drugačne od nje same: v tehniki, v
arhitekturi, v kulturi.
Dvojica narava/kultura, ki jo od nekdaj dojemamo kot nasprotno, v delih, ki jih je podpisal
Trecchi, nastopa v popolnem sožitju, tako oblike kot vsebine; rastoča narava v podobi masivnih
drevesnih struktur in arhitektura, ki jo je zgradila človeška iznajdljivost, sobivata v popolni
dovršenosti.
(Emanuele Beluffi, 2016: izvleček besedila iz razstavnega kataloga Walterja Trecchija)

233

In Walter Trecchi's imagination, metropolitan places and natural "systems" are intertwined to
form a crossover of architecture and nature. These are places that do not exist but could have,
since he, as all the great men, is ahead of the times taken into account; in this moment, there are no
more horizontal spaces, everything grows vertically, including greenery.
We now find ourselves in the great metropolitan spaces of avant-garde cities; we look around and
assist to the ongoing processes of transfiguration of metropolitan industries in the direction
which establishes a new dialogue with natural elements, and to the creation of cities-organisms.
Nature loves to hide, said Heraclitus. But in this case, it demonstrates itself in just the opposite
direction, in that which Greeks call λήθεια: the truth, revelation and discovery. Trecchi's nature
likes to reveal instead of hiding, showing itself through elements different than itself: in technics,
in architecture, in culture.
In the crossover represented by Walter Trecchi, the nature/culture dyad, always considered in
antithesis, is thus coordinated in complete harmony of both form and content; sprouting nature in
the shape of huge arboreous structures, along with architecture, constructed by human
ingenuity, together form a synthesis of supreme perfection.
(Emanuele Beluffi, 2016: extracted from Walter Trecchi's exhibition)

234

ARCHI-NATURE, razstava / exhibition

WALTER TRECCHI

Trecchi se je rodil v Comu leta 1964, s slikarstvom se je začel ukvarjati v drugi polovici 90-ih. Na
državni in mednarodni umetniški sceni je prisoten z osebnimi in skupinskimi razstavami ter
prireditvami. Njegova dela se osredotočajo na mesta, na njihov izgled v nenehnem razvoju in na
spreminjajoče se pokrajine; vse to je odraz arhitekture, ki ne samo odseva našo družbo, temveč
tudi spreminja naša obzorja.
Born in Como in 1964, Trecchi began his painting career in the second half of the Nineties. Since then, he has
been present on both national and international art scene with personal and collective exhibitions and
presentations. His work focuses on cities with their ever-evolving proles and on mutant landscapes, a
mirror of an architecture which moulds our society, even before changing our horizons.

ANTROPICO-NATURALE XXV, 2012
olje na papirju / oil on paper, 50X35 cm

236

ANTROPICO-NATURALE XV, 2012
olje na papirju / oil on paper, 50X70 cm

ANTROPICO-NATURALE XXI, 2012
olje na papirju / oil on paper, 50X70 cm

237



SITE - SPECIFIC PROJEKTI
SITE - SPECIFIC PROJECTS

PREBUJANJE / AWAKENING, Slovenski trg, Ptuj

SLOVENSKI TRG / SLOVENSKI SQUARE, PTUJ

PREBUJANJE / AWAKENING
MOVIMENTO CREATIVE LABEL

SIMONE PUCCI & FEDERICO DE BENEDICTIS

KUSTOS / CURATOR: JERNEJ FORBICI

PREBUJANJE / AWAKENING, Slovenski trg, Ptuj

PREBUJANJE / AWAKENING (N-TITLED)

MOVIMENTO CREATIVE LABEL (SIMONE PUCCI & FEDERICO DE BENEDICTIS)
kustos / curator: Jernej Forbici

Simone Pucci (video) & Federico De Benedictis (zvok / sound)
Perugia, Italija / Italy
PREBUJANJE / AWAKENING (N-TITLED), 2017
videomapiranje in ustvarjanje zvoka v živo / live videomapping and sound making, Slovenski trg, Ptuj

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KNJIŽNI MOLJ / BOOK WORM, razstava / exhibition

KNJIŽNICA IVANA POTRČA / IVAN POTRČ LIBRARY, PTUJ

KNJIŽNI MOLJ / BOOK WORM
NORIKO OBARA

DOBITNICA NAGRADE UMETNIŠKE REZIDENCE NA FESTIVALU
ART STAYS NA MEDNARODNEM NATEČAJU
ARTE LAGUNA PRIZE V BENETKAH.

WINNER OF ART STAYS ARTIST IN RESIDENCE PRIZE AT
THE INTERNATIONAL ARTE LAGUNA PRIZE IN VENICE

KUSTOSA / CURATORS: MARIKA VICARI & JERNEJ FORBICI

KNJIŽNI MOLJ / BOOK WORM, razstava / exhibition

KNJIŽNI MOLJ / BOOK WORM

NORIKO OBARA
kustosa / curators: Jernej Forbici & Marika Vicari

besedilo / text: Noriko Obara
Insekti so izredno občutljivi na okolje, v katerem živijo. Vse od začetka evolucije so ti organizmi
prevzemali različne oblike, da bi se prilagodili danemu okolju. Pogosto jih lahko opazimo na
območjih, ki obdajajo obdelana polja. Številčna populacija kačjih pastirjev nakazuje, da se v
okolici Ptuja nahajajo reke in ribniki. To pomeni, da lahko na določenih območjih spoznamo
naravo okolja na podlagi insektov, ki v njem bivajo. Slovenski gozdovi, ki pokrivajo 60 odstotkov
površine države, so bogato poseljeni z insekti in slovijo kot čebelarsko območje.
Vse to mi je služilo kot navdih za pričujoče delo. Raziskala sem lokalne insekte in skozi njih v
prostorih knjižnice predstavila lokalno okolje.

Insects are extremely sensitive to their living environment. From the beginnings of their
evolution, these organisms transformed themselves into various forms as they adapted to their
given environments. Insects are often observed in areas surrounding cultivated fields. Large
populations of dragonflies indicate the existence of rivers and ponds in the area around Ptuj.
Subsequently, we know the nature of the environment in certain areas by its inhabiting insects.
Slovenia's forests, which cover 60 percent of its land mass, are rich in diverse insect life and are
renowned as a bee keeping area.
It is from these things that I drew inspiration for this piece of art. I have investigated local insects
and via them represented the local environment in the library space.

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NORIKO OBARA

Rodila se je leta 1968 v Saitamiju (Japonska). Diplomirala je iz oljnega slikarstva na Tama Art
University. Ob rednem razstavljanju svojih del deluje tudi kot direktorica in umetniška
direktorica plesnih predstav. Med pomembnejšimi razstavami je potrebno izpostaviti Kobe
Biennale (2011 in 2013), Echigo-Tsumaari Triennale (2009) in Water and Land Niigata Art Festival
(2012 in 2014)).
Born in 1968 in Saitama Pref. She completed the Oil Painting Program of the Art Science Course, the
Graduate School of Tama Art University. In addition to holding many solo and group exhibitions, she has
been working as director and art director of dance performances. Among most imporatnt exhibitions are
Kobe Biennale (2011 and 2013), Echigo-Tsumaari Triennale (2009) and Water and Land Niigata Art
Festival (2012 and 2014).

KNJIŽNI MOLJ / BOOK WORM, 2017
prostorska instalacija / site-specic installation, Ptuj

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