Tone Stojko: Portreti / Portraits

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

PETER SEMOLIČ

pesnik / poet

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

KARMINA ŠILEC

dirigentka / conductor
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

GODALNI KVARTET TARTINI

TARTINI STRING QUARTET

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PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2002

/.../ Z Globokarjevo umetniško dejavnostjo dobivata pojma »glasba« in »skladatelj« širok pomen.
Glasbo tako rekoč grabi po šivu in mu odmerja druge vatle, ki glasbo razgaljajo kot docela avtorsko igro
zvočnosti, naperjeno v (pogosto težko ulovljivo) sedanjost. Globokar v različnih preoblekah tematizira
različne problematike. Strnil jih je v tri glavne interesne sfere: prva zadeva soodvisnost med izvajalci,
druga leži med glasbo in zunajglasbenim in tretja je usmerjena v to, da je vse, kar »leži naokoli«, lahko
instrument. Globokarjeva ustvarjalnost tako izrašča iz problematike izvajalskih tehnik, načinov vzbujanja
zvoka tako na glasbilih kot na predmetih, ki ne sodijo med glasbene instrumente, podrobnega
raziskovanja razmerij med glasbili in človeškim glasom, nadalje iz poglobljene analize odnosov tako
med soizvajalci na koncertnem odru kakor med glasbeniki in občinstvom. Obenem pa Globokar svojo
umetnost osredotoča na nekatera temeljna eksistencialna vprašanja, zlasti izseljenstva in psihologije
človeka. /.../

Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov sklad 2002. Ljubljana: Upravni odbor Prešernovega sklada, 2002.

/.../ Globokar’s creative endeavours give the notions of “music” and “composer” a broader meaning.
He virtually rips music at the seam, applying to it a different set of criteria that reveal music as a fully
original play of sound, pointing to the (often very elusive) present. In different variations, Globokar
explores various issues, grouped into three main points of interest: the first relates to the
interdependence of performers, the second lies between music and the world beyond it, and the third
focuses on the idea that anything can become an instrument. The sources of Globokar’s creativity
include the question of performing techniques, the ways of producing sound by means of musical
instruments and other objects, meticulous exploration of the relations between instruments and
the human voice, and in-depth analysis of the relations between musicians on stage and between
musicians and the audience. At the same time, Globokar’s music focuses on some fundamental
existential questions, particularly those of expatriation and human psychology. /.../

Dr Leon Stefanija, in Prešeren Fund 2002. Ljubljana: Prešeren Fund Board, 2002.

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VINKO GLOBOKAR

glasbenik / musician

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PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2002

Jesihove prve revijalne objave segajo v leto 1966, tedaj je imel šestnajst let. Pet let kasneje je izšla
prva pesniška zbirka, v naslednjih treh desetletjih jih je izšlo še sedem; zadnja, Jambi, nosi letnico 2000.
Hkrati je bilo v tem času 23-krat uprizorjenih njegovih 20 gledaliških besedil (tudi za otroke), zraven pa
je napisal prav toliko radijskih in pet televizijskih iger (večinoma tudi slišanih in videnih) in slovenskim
gledališčem priskrbel več kot 50 prevodov, največ iz angleščine in ruščine; ključna avtorja sta
Shakespeare in Čehov. Toda v središču vsega tega obsežnega literarnega prizadevanja je vendarle
pesništvo – zanj prejema tudi letošnjo Prešernovo nagrado. Čeprav večina današnjih bralcev pesnika
najlaže istoveti z velikim sonetističnim opusom, ki je nastal v zadnjem desetletju in pol, ima ta nesporni
vrh, ki hkrati zastira pogled na čas pred njim, ob sebi še nekaj vzpetin. In čeprav so Jesihove pesniške
knjige izhajale v dokaj enakomernem ritmu, pozna ta poezija več različnih in ne zelo trdno povezanih
zgodb. /.../

Peter Kolšek, povzeto po besedilu v zborniku Prešernov sklad 2002. Ljubljana: Upravni odbor Prešernovega sklada, 2002.

Jesih published his first works in magazines in 1966, at the age of sixteen. His first poetry collection
came out five years later, followed by a further seven over the next three decades. The latest one, Iambs
(Jambi), was released in 2000. In the same period, his plays, 20 in total (including works for children),
have been put on stage 23 times, while Jesih has written as many radio and TV dramas (most of them
already heard and seen), and made more than 50 translations for theatres across Slovenia, mostly
from English and Russian, most notably of Shakespeare and Chekhov. Still, at the centre of these prolific
literary endeavours lies poetry – for which Jesih is being awarded one of this year’s Prešeren Awards.
While most of readers today associate the poet with his great body of sonnets built in the last fifteen
years, this undisputed pinnacle blocks the view of what had come before it and obscures the fact that
there are several other peaks surrounding it. And even though Jesih’s poetry collections have been
coming out at a fairly regular pace, his poetry pursues several different, not very closely related courses.
/.../

Peter Kolšek, in Prešeren Fund 2002. Ljubljana: Prešeren Fund Board, 2002.

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MILAN JESIH

pesnik / poet

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002

POLONA JUH MATEVŽ MEDJA BERNARDA FINK

Na prvi pogled se zdi, kot da je Polona Juh /.../ Vizualni prevodi, ki jih ustvarja Matevž /.../ Bernarda Fink je iskrena in celovita
naredila kvalitativni preskok v svoji mladi Medja, so plod dela samonikle kreativne umetnica z naravnim in povsem neposrednim
karieri z vlogo Celimene v Molièrovem osebnosti, ki jo opredeljuje iskanje, pristopom h glasbeni snovi. Pevsko tehnična
Ljudomrzniku; a če si natančneje ogledamo spoštovanje teorije in zgodovine oblikovanja brezhibnost in osebna zavzetost sta osnovni
vloge, ki jih je ustvarila pred Celimeno, ter tipografski metier. Stalno preverjanje in okvir in predpogoj za njene prepričljive in
bomo bržkone morali ugotoviti, da ta veliki iskanje vizualne identitete, ki je predmet resnične odrske like širom evropskih odrov,
met pravzaprav ni bil tako nenapovedan. /.../ njegovih projektov, se odraža v zavračanju za redko umetniško karizmo, ki s kostumom
Radovednost in pogum za odkrivanje novega trendovske površnosti in nudi jasno strukturo, in z masko drugih likov deluje na odru
običajno pripisujemo mladosti: v tako veliki nadgrajeno s svežo različnostjo in novostjo. glasbenega gledališča spontano in naravno,
meri pa sta izjemna. V eksploziji podob, ki so naplavljene na obalo prevzame pa tudi poslušalca na koncertu,
naše dnevne percepcije, je intelektualna s samospevi ob klavirju ali ob spremljavi
Mojca Kranjc, povzeto po besedilu v zborniku Prešernov sklad razsežnost vizualnih komunikacij Matevža barvitega orkestra Berlioza ali Mahlerja. /.../
2002. Ljubljana: Upravni odbor Prešernovega sklada, 2002. Medje pomemben prispevek za slovenski
kulturni prostor. Tomaž Faganel, povzeto po besedilu v zborniku Prešernov
sklad 2002. Ljubljana: Upravni odbor Prešernovega sklada,
Petra Černe Oven, povzeto po besedilu v zborniku Prešernov 2002.
sklad 2002. Ljubljana: Upravni odbor Prešernovega sklada,
2002.

At first sight, the role of Célimène in Molière’s /.../ The visual translations made by Matevž /.../ Bernarda Fink is a true, all-round artist
The Misanthrope seemed to make a Medja are a result of a self-contained creative with a natural and very straightforward
qualitative leap in Polona Juh’s young career; personality characterised by exploration, approach to the musical matter. Her flawless
yet a closer look at her roles before Célimène respect for the theory and history of design, singing technique and personal commitment
would likely lead us to a conclusion that, and typography as his metier. Constant re- form the foundation and serve as a
in fact, this masterstroke had not been all evaluation and search for the visual identity of prerequisite for her compelling, authentic
that unexpected. /.../ Curiosity and courage his projects are manifested in the renunciation character roles on stages across Europe
to explore are often associated with youth: of trend follower sloppiness and provide and for a rarely seen artistic charisma, which
at this degree, they are exceptional. a firm structure, which is complemented by complemented by costumes and make-up
invigorating individuality and novelty. In an of other characters on stage in musical
Mojca Kranjc, in Prešeren Fund 2002. Ljubljana: Prešeren explosion of images surfaced on the shore of theatre comes across as spontaneous and
Fund Board, 2002. our daily perception, the intellectual breadth genuine, but is as engrossing for audiences
of Matevž Medja’s visual communications at concerts, either performing songs with
makes an important contribution in piano accompaniment or singing Berlioz
the Slovenian cultural landscape. or Mahler with orchestra. /.../

Petra Černe Oven, in Prešeren Fund 2002. Ljubljana: Prešeren Tomaž Faganel, in Prešeren Fund 2002. Ljubljana: Prešeren
Fund Board, 2002. Fund Board, 2002.

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002

ANDREJ BLATNIK TANJA ZGONC

/.../ Jezikovna in slogovna izbrušenost, /.../ Koreografinji Tanji Zgonc je v Kagami
asketski slog, izogibanje občim mestom odsevu s predanostjo iskanju motivov gibanja
in nebombastičnost – te odlike Blatnikovega oziroma načinov gole prisotnosti telesa,
pisanja so še posebej primerne za ki telo šele poženejo v ples, v prostor in
ubesedovanje minimalističnih kratkih zgodb. k sobivajočemu, soplesočemu, uspelo ustvariti
Najdemo jih tudi v Zakonu želje, ki z mnogimi predstavo, v kateri je združeno močno osebno
besedili ostaja v območju te poetike. Obenem verjetje v moč plesa z umetniško imaginacijo,
pa iz zbirke kot celote vendarle zadiha tudi ki iz teh svetov začetka ustvarja popolnoma
svojevrstna razgibanost, ki daje slutiti, da nov, paralelni svet. /.../ Kagami odsev nam
Zakon želje morda nakazuje novo prelomnico metafizičnega sveta več ne razgrne kot krog,
v Blatnikovem literarnem razvoju. Slutimo jih pač pa kot pot, na kateri smo doživeli vse
v besedilih, ki se »patetičnosti velikih zgodb« kaj drugega kot ponovitev in umiritev. /.../
ne izogibajo več tako skrbno. /.../
Bojana Kunst, povzeto po besedilu v zborniku Prešernov sklad
Povzeto po besedilu v zborniku Prešernov sklad 2002. 2002. Ljubljana: Upravni odbor Prešernovega sklada, 2002.
Ljubljana: Upravni odbor Prešernovega sklada, 2002.

/.../ Refined language and style, stylistic /.../ In Kagami Reflection (Kagami odsev),
asceticism, avoidance of the commonplace choreographer Tanja Zgonc’s commitment
and pomposity – these strengths of Blatnik’s to exploring the motives behind movement
writing are particularly desirable in minimalist and the modes of sheer presence of the body
short stories. They can all be found in Law of which have yet to set the body in dancing
Desire (Zakon želje), a collection of stories that motion, push it into space and towards the
largely stays within the domain of this poetics. fellow being, the dance partner, effected
At the same time, the collection as a whole a performance in which strong personal faith
does emanate a sense of variegation, in the power of dance merges with creative
suggesting that Law of Desire may indicate imagination to create a brand new, parallel
a new landmark in Blatnik’s literary evolution. world. /.../ Kagami Reflection unveils the
This can be discerned from the texts which metaphysical world not as a circle, but as
refuse to shun “the pathos of great stories” a path on which we have experienced anything
as carefully as before. /.../ but repetition and relief. /.../

From the publication Prešeren Fund 2002. Ljubljana: Prešeren Bojana Kunst, in Prešeren Fund 2002. Ljubljana: Prešeren
Fund Board, 2002. Fund Board, 2002.

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002

POLONA JUH

igralka / actress
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002

MATEVŽ MEDJA

oblikovalec / designer

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002

BERNARDA FINK

mezzosopranistka / mezzo-soprano
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002

ANDREJ BLATNIK

pisatelj / writer

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002

TANJA ZGONC

koreografinja in plesalka / choreographer and dancer
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2002
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PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2003

/.../ Stvaritve Vojteha Ravnikarja so prav gotovo najzgovorneje zaznamovale okolje postmodernistične
arhitekture. /.../ To spoznanje se je začelo kazati v čedalje jasnejših obrisih z njegovimi zgodnjimi
stvaritvami, ki so nastajale v okviru Skupine Kras (ob Ravnikarju so jo sestavljali še M. Garzarolli,
M. Dekleva in E. Vatovec), ko so proti koncu sedemdesetih let družno načrtovali več pomenljivih stavb
nenavadno klenega arhitekturnega nagovora. /.../ Občinska stavba v Sežani je v zasnovnem pogledu
vrhunski in hkrati poučni sinergični postmodernistični dosežek: modernističen po metaforičnem
osredotočenju na funkcionalno arhitektoniko belega ali kamnitega zidnega ovoja, ki se na zunaj izrisuje
kot presevanje vsebinskega ustroja, in »kraški« – s svojo zavezanostjo arhitekturnemu izročilu, berljivo
v simboliki globalne, členjene oblike arhitekturnega telesa, kartezijansko zgoščene v arhitekturni znak,
in v funkcionalni interpretaciji prostora s kontekstualno projekcijo v okolje in pragmatično, diagonalno
vzgibanostjo znotraj razsežnosti dvorišča. /.../ Ravnikarjevo stavbo novogoriške knjižnice smo ovrednotili
kot najzgovornejšo novodobno arhitekturno ikono – paradigmatična in obenem magična zamisel
ustvarjalca, ki je najmočneje vplival na našo arhitekturno ustvarjalnost ob koncu stoletja. /.../

Dr. Stane Bernik, povzeto po besedilu v zborniku Prešernov sklad 2003. Ljubljana: Upravni odbor Prešernovega sklada, 2003.

/.../ Postmodern architecture is where the works of Vojteh Ravnikar have left the most visible mark. /.../
This started to become increasingly apparent with his early works created as part of the Kras group
(with M. Garzarolli, M. Dekleva and E. Vatovec) in the late 1970s, when these individuals joined forces
in designing several significant buildings with an unconventionally strong architectural stand. /.../
In terms of design, the municipality building in Sežana is an outstanding as well as educational
postmodernist achievement of synergy: modernist in its metaphorical focus on the functional
architectonics of the white and stone shell, working on the outside as a reflection of its contents,
and “karst-like” with its commitment to the architectural heritage, implied by the symbolism of
a global, segmented shape of this piece of architecture, condensed in a Cartesian-like manner in
an architectural sign, and by the functional interpretation of space with contextual projection into
the environment and pragmatic, diagonal flow within the proportions of the courtyard. /.../ Ravnikar’s
library building in Nova Gorica has been identified as the most striking architectural icon of the present
age. This is both a paradigmatic and magical idea of an artist whose impact on the late 20th century
Slovenian architecture has no parallel. /.../

Dr Stane Bernik, in Prešeren Fund 2003. Ljubljana: Prešeren Fund Board, 2003.

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VOJTEH RAVNIKAR

arhitekt / architect

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PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2003

/.../ Zlatka Šugmana so vloge v delih iz tako imenovanega manj zahtevnega dramskega repertoarja,
predvsem pa v številnih, zlasti Mikelnovih satiričnih kabaretih, prav tako številnih televizijskih igrah
in nadaljevankah (npr. Dekameron, Mali oglasi, Naša krajevna skupnost) ter v imenitnih domačih filmih
(npr. v Štigličevih Tistega lepega dne in Strici so mi povedali ali v Klopčičevem Vdovstvu Karoline Zašler)
sicer res na široko popularizirale, a so ga skupaj z najzahtevnejšimi kreacijami preustvarile v imenitnega,
nadžlahtnega slovenskega komedijanta, nemara enega izmed najznamenitejših ne samo v našem času,
marveč imenitnega nadaljevalca tistega slovitega slovenskega igralskega izročila, ki ga je mogoče
najverodostojneje poosebiti z dramskimi umetniki, kakršni so bili npr. Anton Verovšek, Janez Cesar ali
Arnold Tovornik. Šugmanova izraznost je zasnovana in uprizarjana predvsem z nenehnim poglabljanjem
in ponotranjevanjem značajske ali tipološke vsebine vsakršnih, najsi bo še tako smešnih ali kratkočasnih
komičnih dramskih postav tako v gledaliških uprizoritvah kakor v filmih in televizijskih igrah. Naj
Šugmanovo igralsko umetnost parafraziramo še z besedami, zapisanimi ob odlikovanju z Borštnikovim
prstanom: Kot vsi dobri in veliki komedijanti ima Zlatko vrsto najrazličnejših žlahtnih obrazov, ki so
vsi zaznamovani z njegovo neponovljivo osebnostjo. /.../

Vasja Predan, povzeto po besedilu v zborniku Prešernov sklad 2003. Ljubljana: Upravni odbor Prešernovega sklada, 2003.

/.../ His appearances in what is generally considered less challenging theatre works, and above all
in numerous cabaret pieces, particularly Mikeln’s satirical cabaret, as well as many TV dramas and
series, such as Decameron (Dekameron), Classified Ads (Mali oglasi), Our County (Naša krajevna
skupnost) and superb Slovenian films – for instance Štiglic’s That Beautiful Day (Tistega lepega dne)
and My Uncles Told Me (Strici so mi povedali), Klopčič’s The Widowhood of Karolina Žašler (Vdovstvo
Karoline Žašler) have made Zlatko Šugman widely popular. Yet together with some of the most
challenging roles, they have moulded him in a remarkable, highly honourable Slovenian comedian,
perhaps one of the most prominent ones of the present age as well as a worthy continuator of the
famed Slovenian acting heritage most credibly personified by theatre personalities such as Anton
Verovšek, Janez Cesar and Arnold Tovornik. Šugman’s expressiveness is conceived in and played out
through continuous deepening and internalisation of the character and typology of any role, all the
way to the most comical and entertaining ones, be it in theatre performances, films, or TV dramas.
To recapitulate Šugman’s art of acting, let us reiterate the words used when he was presented with
the Borštnik Ring award: As all great comedians, Zlatko possesses a wide array of accomplished faces,
all tinged with his unique personality. /.../

Vasja Predan, in Prešeren Fund 2003. Ljubljana: Prešeren Fund Board, 2003.

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ZLATKO ŠUGMAN

igralec / actor

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2003

JAN CVITKOVIČ MATEJA KOLEŽNIK SLOWIND

/.../ Jan Cvitkovič je s Kruhom in mlekom /.../ Kritika, ki večinoma uprizoritve Koležnikove /.../ Člani pihalnega kvinteta Slowind so v nekaj
upodobil »kos življenja«, ki kot da so ga bogovi postavlja zelo visoko, poudarja predvsem letih svojega delovanja pomembno
zapustili. Mala in nebogljena, krhka in odvisna čistost njenih režij, skrbno uporabo zaznamovali naš kulturni prostor z izvrstnimi
človeška bitja, ki jih je zaznamovala tranzicijska in preglednost gledaliških znakov in izrazit izvedbami najrelevantnejše, zlasti sodobne
revščina, je zagrabilo in zasvojilo zlo v obliki smisel za ritem, pa gledališko učinkovito slovenske in tuje literature, napisane za ta
alkoholne vrtoglavice in narkomanske spogledovanje s filmski podobno naracijo. /.../ sestav. Strokovno kritiko in občinstvo so
zadetosti. Lebdenje in vegetiranje v bednem Uprizoritve Koležnikove sodijo po mnenju na svojih koncertih navdušili z domiselnim,
življenju ter potapljanje v vse večjo socialno kritike med najboljše dosežke slovenskega svežim in zanimivim programskim konceptom
brezperspektivnost pa pozna samo bližnjico gledališča zadnjih nekaj let, so odmevne med svojih sporedov in zlasti z umetniško
do lažnega izhoda v objemu pijanskih ritualov publiko, vabljene so na gledališke festivale prepričljivimi poustvaritvami novih del,
ter senčnih mor in nočnih prikazni. /.../ in tam tudi nagrajevane. napisanih prav zanje. Posebnega pomena je
tudi njihova predstavitev slovenske glasbene
Silvan Furlan, povzeto po besedilu v zborniku Prešernov sklad Matej Bogataj, povzeto po besedilu v zborniku Prešernov sklad ustvarjalnosti zunaj slovenskih meja. /.../
2003. Ljubljana: Upravni odbor Prešernovega sklada, 2003. 2003. Ljubljana: Upravni odbor Prešernovega sklada, 2003.
Dr. Matjaž Barbo, povzeto po besedilu v zborniku Prešernov
sklad 2003. Ljubljana: Upravni odbor Prešernovega sklada,
2003.

/.../ In Bread and Milk (Kruh in mleko), Jan /.../ Theatre critics mostly speak very highly /.../ In the few years since its establishment,
Cvitkovič portrays “a slice of life” that is as of Koležnik’s work as a director, highlighting wind quintet Slowind has left a strong mark
if abandoned by gods. Small and forlorn, frail the perfected simplicity of her creations, her on the Slovenian cultural landscape with its
and dependent human beings hit by transition careful use and tidiness of theatre signs, outstanding interpretations of the most
era poverty fall into the clutches of addictive and a strong sense of rhythm, as well as her relevant, mainly contemporary Slovenian
evil in the form of alcoholic dizziness and drug theatrically effective flirtation with narration and foreign works written for this set. The
induced high. When lingering and vegetating that is reminiscent of cinema. /.../ Hailed by members’ imaginative, original and interesting
in a pathetic existence and sinking deeper critics as some of the biggest achievements programming concept at concerts, but above
and deeper into a state of no prospects, of the Slovenian theatre in the recent years, all their artistically compelling interpretation
the only shortcut to a fake exit leads through Koležnik’s performances are also popular of new, commissioned works have dazzled
drunken rituals, sinister nightmares and with audiences, and are frequent visitors critics and audiences alike. The special
nocturnal ghosts. /.../ and award-winners at theatre festivals. significance of the ensemble also lies in its
promotion of Slovenian creativity in music
Silvan Furlan, in Prešeren Fund 2003. Ljubljana: Prešeren Matej Bogataj, in Prešeren Fund 2003. Ljubljana: Prešeren outside the country’s borders. /.../
Fund Board, 2003. Fund Board, 2003.
Dr Matjaž Barbo, in Prešeren Fund 2003. Ljubljana: Prešeren
Fund Board, 2003.

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2003

ALEN OŽBOLT ANDREJ MEDVED LARISA VRHUNC

/.../ Razstava v Moderni galeriji Rob, Igra solz, /.../ Vselej v gibanju, prostorskem in duhovnem. Umetniško delovanje skladateljice Larise
Dvoje, Še se nanaša na bolj temeljna Pogosto sem ga srečal, ko je tekel z ene Vrhunc spremljata za nekatere ustvarjalce
vprašanja umetnosti, kot so jih začeli na drugo razstavo: na obeh je predstavil v zadnjih desetletjih značilni, čeprav nikakor
tematizirati z nastankom sodobnega razstavljene likovnike. Zmeraj poln načrtov: nasploh tipični prepričanji. Prvo nakazuje
pojmovanja umetnosti. Gre za vprašanje komaj izda filozofsko razpravo, že ima v tisku zavest o tem, da se je treba temeljito seznaniti
okvirjanja, razmejevanja in umeščanja likovno monografijo. Le kadar govori o poeziji, zlasti z velikani resne glasbe preteklega
umetnine v galerijski prostor kot metaforično se v njegov glas naseli mir, meditativna stoletja, drugo razkriva strogost odmerjanja
razmejevanje med iluzijo in realnostjo, zbranost, brezčasnost: ker mu poezija največ idejne zasnove, ki predvideva prostor za
umetniško fikcijo in vsakdanjikom oziroma pomeni, se mu z njo nikamor ne mudi, do nje svobodnejšo igro razvijanja in nizanja tonskih
na kratko med umetnostjo in življenjem. /.../ je nežen in pozoren, za poezijo si jemlje čas, vzorcev. /.../
tako kot se za veliko ljubezen, za veliko strast,
Dr. Tomislav Vignjević, povzeto po besedilu v zborniku tudi spodobi. /.../ Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov
Prešernov sklad 2003. Ljubljana: Upravni odbor Prešernovega sklad 2003. Ljubljana: Upravni odbor Prešernovega sklada,
sklada, 2003. Dr. Boris A. Novak, povzeto po besedilu v zborniku Prešernov 2003.
sklad 2003. Ljubljana: Upravni odbor Prešernovega sklada,
2003.

/.../ Edge, Crying Game, Double, Encore (Rob, /.../ Forever in motion, be it in space or spirit. Creative endeavours of composer Larisa
Igra solz, Dvoje, Še), an exhibition held in the I have often seen him hurry from one Vrhunc are characterised by what for some
Museum of Modern Art, Ljubljana, speaks exhibition to another, to introduce the artists in the recent decades have been
of more fundamental questions in art than exhibited artists. Always full of plans: as soon typical, though not universally accepted
those that have come to the fore with its as one philosophical treatise comes out, a new beliefs. If the first belief suggests awareness
contemporary interpretation. They are the book on art is ready for print. It is only when about the need for thorough knowledge of
questions of framing, delineating and placing he speaks of poetry that his voice settles into the biggest names in art music of the past
the artwork in a gallery space in the sense peace, a meditative poise, timelessness: as the century, the second implies discipline in
of drawing a metaphorical line between reality foremost of his interests, poetry is something conceptual design to make room for a freer
and illusion, everyday life and artistic fiction; he never rushes, something he always treats play in terms of building and sequencing
in short, between life and art. /.../ with kindness and affection, taking enough tonal patterns. /.../
time, as one should when it comes to a great
Dr Tomislav Vignjević, in Prešeren Fund 2003. Ljubljana: love, a great passion. /.../ Dr Leon Stefanija, in Prešeren Fund 2003. Ljubljana: Prešeren
Prešeren Fund Board, 2003. Fund Board, 2003.
Dr Boris A. Novak, in Prešeren Fund 2003. Ljubljana: Prešeren
Fund Board, 2003.

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JAN CVITKOVIČ

filmski režiser / film director
120

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2003

MATEJA KOLEŽNIK

gledališka režiserka / theatre director

121

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2003

SLOWIND

pihalni kvintet / wind quintet
122

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2003

A L E N OŽ B O LT

kipar / sculptor

123

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2003

ANDREJ MEDVED

pesnik / poet
124

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2003

LARISA VRHUNC

skladateljica / composer

125

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2004

/.../ Pisatelj Florjan Lipuš je že z romanom Zmote dijaka Tjaža (1972) postal eno najbolj vidnih imen
sodobne slovenske proze. /.../ Glavna značilnost Lipuševe proze je že od njenih začetkov naprej
prikazovanje sodobne zamejske koroške resničnosti skozi trdo osebno življenjsko izkušnjo in na izrazito
nekonvencionalen način. Gre za pisatelja, ki je nepopustljivo zvest svojemu prvinskemu etosu, ki je etos
človekove pravice do prostosti in pokončnosti. In to v travmatiziranem manjšinskem svetu, ki prav te
človeške lastnosti preverja, duši in lomi močneje, kot se to dogaja drugod. Lipuš gleda stvari zelo
naravnost, brez rodoljubnega popuščanja ali lepotnega prenarejanja, hkrati pa skozi neko posebno živost,
ki zmore videti tako tragiko kot komiko pa tudi grotesko koroške danosti. /.../ Lipuševo pisanje kljub
izrazito regionalni, koroški tematiki s svojo eksistencialno in duhovno vertikalo štrli v občečloveško.
In nekaj podobnega se dogaja v Lipuševem jeziku. Globoko je zasajen v koroško narečje in njegovo
prvinskost, hkrati pa je odmaknjen od te podlage, osebno stiliziran in intelektualiziran po meri sodobne,
moderne literature. /.../ Njegov slog pomeni opazno obogatitev izraznih možnosti slovenskega jezika. /.../

Dr. Boris Paternu, povzeto po besedilu v zborniku Prešernov sklad 2004. Ljubljana: Upravni odbor Prešernovega sklada, 2004.

/.../ With his novel The Mistakes of the Student Tjaž (Zmote dijaka Tjaža, 1972), Florjan Lipuš emerged
as one of the most prominent representatives of contemporary Slovenian prose writing. /.../ Ever since
its beginnings, Lipuš’s work has been centred on depicting today’s reality of the Slovenian minority in
Carinthia, Austria, through the prism of harsh personal life experience and in a highly unconventional
way. This is a writer who remains uncompromisingly true to his primordial ethos, the ethos of the human
rights to liberty and a principled stand. All this in a traumatised minority environment, where precisely
these traits are challenged, stifled and crushed more than anywhere else. Lipuš treats these issues
in a very straightforward manner, with no patriotic leniency or cosmetic modifications, yet with special
vividness that can recognise the tragedy and comedy as well as grotesqueness of the Carinthian reality.
/.../ Despite its distinctly local, specific subject matter, Lipuš’s writing possesses existential and spiritual
axes that make it jut out into the universal. Something similar could be said of his language. Even if
rooted deeply in the Carinthian dialect and its pristine character, it has broken free from this foundation
to become a personally stylised and intellectualised variety fit for contemporary, modern literature. /.../
His style makes a considerable contribution to the expressive means of the Slovenian language. /.../

Dr Boris Paternu, in Prešeren Fund 2004. Ljubljana: Prešeren Fund Board, 2004.

126

FLORJAN LIPUŠ

pisatelj / writer

127

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

IZTOK GEISTER RADOŠ BOLČINA ALENKA RIBIČ LAUFER

Iztok Geister se je v sedemdesetih letih zvezal /.../ Bolčina je drzen in neustrašen iskalec /.../ Vrhunsko obvladovanje baletne tehnike
z eksperimentalno poezijo v legendarni novih in drugačnih igralskih izraznih sredstev, z vsakokratno suvereno izvedbo, ki ne dopušča
avantgardni grupi OHO, ko pa so se njeni člani njegove vloge so inovativne in kažejo pretanjen nikakršnega dvoma in bi ji težko našli
razšli po poteh ezoterike, znanosti, poezije instinkt za razumevanje vseh slojev človeške primerjavo v našem prostoru, ji omogoča
in slikarstva, je za nekaj let izginil iz javnosti osebnosti. Zdi se, da je za njegov igralski razvoj popolno prepuščanje umetniški pustolovščini
in se v osemdesetih vrnil kot ornitolog, odločilno sodelovanje z režiserjem Vitom v sanjsko čudežni svet baletne umetnosti,
naravoslovec, esejist in prozaist. Danes Tauferjem; ob njem se je igralsko razvil, ki se v zaključni fazi začne s prvim korakom
velja za enega najzanimivejših in najbolj sprostil vso svojo igralsko domišljijo in naredil na osvetljeni, z glasbo preplavljeni oder,
upoštevanih piscev o naravi, hkrati pa za prehod k novim, še bolj sodobnim igralskim in konča z zadnjim tleskom rok gledalcev,
odličnega pisca esejev in proze. Objavil je kreacijam. /.../ Radoš Bolčina je igralec, ki imajo privilegij sodelovati v doživetju spleta
trideset knjig, med njimi v zadnjih treh letih pri katerem hodijo z roko v roki z vajeti umetniških estetik, sveta čustev in mojstrstva
tudi tri prozne: Levitve (2001), Pospala spuščena domišljija, razigrana inovativnost balerine Alenke Ribič Laufer. /.../
poželenja (2002) in Mojster zloženih peruti in obvladovanje izraznih sredstev.
(2003). /.../ Vojko Vidmar, povzeto po besedilu v zborniku Prešernov sklad
Matej Bogataj, povzeto po besedilu v zborniku Prešernov sklad 2004. Ljubljana: Upravni odbor Prešernovega sklada, 2004.
Aleksander Zorn, povzeto po besedilu v zborniku Prešernov 2004. Ljubljana: Upravni odbor Prešernovega sklada, 2004.
sklad 2004. Ljubljana: Upravni odbor Prešernovega sklada,
2004.

In the 1970s, Iztok Geister was committed /.../ Bolčina is a daring, fearless seeker of new, /.../ A masterly command of the ballet
to experimental poetry as a member of the uncommon means of expression, his technique with invariably skilful execution that
legendary avant-garde group OHO. When innovative roles displaying sensitive instinct leaves no room for doubt and can hardly be
the group dispersed across various paths to relate to any layer of human personality. matched within the Slovenian borders enables
of esotericism, science, poetry and painting, His evolution as an actor seems to have been Alenka Ribič Laufer to embark wholeheartedly
Geister shortly disappeared from public life, decisively defined by his work with director on an artistic adventure into the magic
only to return in the 1980s as an ornithologist, Vito Taufer: it was through this that Bolčina dreamland of ballet, the last phase of which
natural scientist, writer of essays and prose. matured as an actor, released all his creative starts with the first step onto a stage imbued
Today, he is considered one of the most imagination and made the move towards with music and spotlight and ends with the
interesting and most highly regarded authors his new, more modern style of acting. /.../ last clap of the audience which has enjoyed
on nature, as well as a remarkable writer Radoš Bolčina is an actor who combines an the privilege of experiencing this merger of
of essays and prose. He has published thirty imagination running wild, playful ingenuity, the artistic aesthetics, world of emotions,
books, including three prose works in the and a command of expressive means. and proficiency of ballerina Alenka Ribič
last three years: Ecdyses (Levitve, 2001), Laufer. /.../
Benumbed Desires (Pospala poželenja, 2002), Matej Bogataj, in Prešeren Fund 2004. Ljubljana: Prešeren
and Master of Folded Wings (Mojster zloženih Fund Board, 2004. Vojko Vidmar, in Prešeren Fund 2004. Ljubljana: Prešeren
peruti, 2003). /.../ Fund Board, 2004.

Aleksander Zorn, in Prešeren Fund 2004. Ljubljana: Prešeren
Fund Board, 2004.

128

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

OTO RIMELE MATE BEKAVAC IGOR ŠTUHEC

/.../ Enotnost duha in materije je Rimele /.../ Na pragu njegovih dvajsetih let so njegovo /.../ Sam skladatelj nekje pravi, da se je znašel
dosegel z optično redukcijo fizikalnosti svojih igranje spoznali v velikih koncertnih dvoranah, v »vrvežu glasbenega sveta, iz katerega sem
lovilcev svetlobe in z materializacijo svetlobe poslušali so ga radijski poslušalci po vsej moral pobrati vse tisto, kar se me je dotaknilo,
s pomočjo barve. Slika ni več identična Evropi, člani mednarodnih žirij in kovalci novih zato da sem se lahko prečiščeval in se skušal
s platnom v formatu podokvirja, niti zvezd številnih agencij in fundacij. /.../ približati izvirnosti.« Tako je Štuhečev glasbeni
s pigmenti, nanesenimi na podlago, in prav Poglabljanje v posamezne partiture je Mateta jezik vselej ostal samosvoj in velik ravno
tako ne s površino slike. Od nje je ostala samo Bekavca vodilo do poglabljanja v sosledje v skladateljevi sposobnosti, da ohrani distanco
še podoba kot zarja, ki jo omogočajo barva notnih zapisov, k načrtnemu snovanju gradacije do vseh vplivov in suvereno oblikuje
in lastnosti svetlobe kot vsote vseh barv solističnega nastopa, pravi »kulinarični« individualno glasbeno govorico, ki jo sicer
barvnega kroga. Kje ta slika natančno je, prav zavzetosti za razmerje okusov, barv, slogov. /.../ lahko opredeljujemo z različnimi približki,
tako ni več pomembno. Skrivnostno lebdi Sam je večkrat poudaril, da je prav »izbor znanimi iz opusov velikih skladateljskih imen,
nekje pred nami – pred steno ali celo v njej. programa lahko umetnost zase«. /.../ a pri tem zgrešimo njeno bistveno potezo,
to je, da gre vendarle za neponovljiv vzorec
Dr. Andrej Smrekar, povzeto po besedilu v zborniku Prešernov Veronika Brvar, povzeto po besedilu v zborniku Prešernov komponiranja, lasten zgolj in samo Štuhecu.
sklad 2004. Ljubljana: Upravni odbor Prešernovega sklada, sklad 2004. Ljubljana: Upravni odbor Prešernovega sklada, /.../
2004. 2004.
Dr. Matjaž Barbo, povzeto po besedilu v zborniku Prešernov
sklad 2004. Ljubljana: Upravni odbor Prešernovega sklada,
2004.

/.../ Rimele has achieved the unity of spirit and /.../ In his early twenties, he was introduced /.../ The composer himself said once he had
matter by optically reducing the physicality to audiences in grand concert halls, to radio found himself “in the whirl of the music world,
of his light catchers and using colour for light listeners across Europe, to members of from which I had to remove everything I was
to materialise. A painting is no longer identical international juries and to scouts seeking new affected by in order to be able to refine myself
with the canvas in the size of the frame, nor stars on behalf of agencies and foundations. and advance towards ingenuity.” This way,
with the pigments applied to the surface or /.../ In-depth exploration of individual Štuhec’s musical expression has always
with the face of the painting. All that is left compositions has led Mate Bekavac into retained its individuality, its grandness arising
of it is the image, like a dawn made possible exploration of the sequence of scores, into precisely from the composer’s ability to keep
by colour and the properties of light as a sum deliberate planning of the gradation of a solo his distance from all influences and skilfully
of all the colours in the colour wheel. The performance, into true “culinary” passion for shape up a signature-style language. And
exact position of the painting is equally the balance of flavours, colours, styles. /.../ even if this language could be defined using
irrelevant. In a mysterious way, it hovers He would often say that “programming may various approximations known from the
somewhere in front of us – in front or even be a form of art in its own right”. /.../ oeuvres of the great names of music
inside the wall. composition, this definition would necessarily
Veronika Brvar, in Prešeren Fund 2004. Ljubljana: Prešeren fail to capture its principal feature; that this,
Dr Andrej Smrekar, in Prešeren Fund 2004. Ljubljana: Fund Board, 2004. at any rate, is an inimitable pattern of
Prešeren Fund Board, 2004. composition exclusive to Štuhec alone. /.../

Dr Matjaž Barbo, in Prešeren Fund 2004. Ljubljana: Prešeren
Fund Board, 2004.

129

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

IZTOK GEISTER

pisatelj / writer
130

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

RADOŠ BOLČINA

igralec / actor

131

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

ALENKA RIBIČ LAUFER

baletna plesalka / ballet dancer
132

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

OTO RIMELE

slikar / painter

133

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

MATE BEKAVAC

klarinetist / clarinettist
134

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2004

IGOR ŠTUHEC

skladatelj / composer

135

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2005

/.../ Ustvarjalna pot akademskega slikarja in grafika Bogdana Borčića je vzoren in hkrati nazoren prikaz
razvoja modernistične umetnostne govorice po drugi vojni, od klasičnega akademskega šolanja prek
preobrazb človeških in živalskih postav ter predmetov v likovne znake in simbole do osebne različice
minimalistične abstrakcije. V njegovem opusu so vidne sledi prav vseh pojavov druge polovice prejšnjega
stoletja: od eksistencialistične figuralike do informela, od pop arta do slikarstva ostrega roba, od lirične
do geometrijske abstrakcije, od novih pojavov realizma do konceptualizma. Vendar se suvereno
obvladovanje vseh sodobnih ustvarjalnih načinov, ki pri Borčiću izvira iz odlične razgledanosti po
umetnostni tvornosti in velikega teoretičnega znanja, nikoli ne sprevrže v nepremišljeno prevzemanje
in posnemanje. /.../ Popolnoma predan odnos do predmetov upodabljanja in njihovo intenzivno
kompozicijsko urejanje na slikovni ploskvi sta postala hkrati pomenska vsebina in sporočilnost,
kar podeljuje enako prepričljivost tako Borčićevi figuralni kot tudi abstraktni podobi; obe kot unikatni
organizmi ne zaživita samo na njegovih platnih, ampak celo v grafikah.

Dr. Jure Mikuž, povzeto po besedilu v zborniku Prešernov sklad 2005. Ljubljana: Upravni odbor Prešernovega sklada, 2005.

/.../ The creative path of academy-trained painter and graphic artist Bogdan Borčić is a good example
to illustrate the post-WWII evolution of a modernist artistic voice from classical art academy education
through transformations of human and animal figures and objects into signs and symbols, to a personal
version of minimalist abstraction. His body of work shows traces of the entire range of tendencies
from the second half of the 20th century: from existentialist figuration to informalism, from pop art to
hard-edge painting, from lyrical to geometric abstraction, from new realism to conceptualism. Yet his
confident command of all contemporary creative methods, a result of Borčić’s excellent familiarity with
the field and extensive theoretical knowledge, never degenerates into reckless adoption and imitation.
/.../ His deep commitment to the objects of representation and the intense process of arranging them
in a composition on a painting surface have become both the subject matter and the message. This
makes Borčić’s figurative and abstract images equally compelling: as unique organisms, they all come
to life not only on his canvases, but even in his graphic work.

Dr Jure Mikuž, in Prešeren Fund 2005. Ljubljana: Prešeren Fund Board, 2005.

136

BOGDAN BORČIĆ

slikar in grafik / painter and graphic artist

137

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2005

Irena Grafenauer je danes brez dvoma eno najslovitejših flavtističnih imen na svetu. Sodeluje z
najpomembnejšimi glasbeniki, nastopa z najuglednejšimi orkestri in gostuje v osrednjih koncertnih
dvoranah ter na najvidnejših festivalih po vseh celinah. V času vse večje specializacije, ko se vedno
redkeje najdejo umetniki, ki bi enako suvereno obvladovali slogovno in zvrstno povsem različna si
področja, je Irena Grafenauer poseben fenomen. Njen izvajalski repertoar ni praktično nikjer zamejen,
njene interpretacije baročne, klasicistične in sodobne glasbe bodisi v komornem ali koncertatnem
muziciranju pa so enako prepričljive. Že v tem se izkazuje njen glasbeni talent, ki se ne kiti z ozko
usmerjenim repertoarjem redko slišanih raritet, temveč se potrjuje tudi z izvedbami najpogosteje
izvajanih skladb železnega koncertnega repertoarja. Prav te izvedbe so med drugim tiste, ki jo
postavljajo v sam vrh med flavtisti vsega sveta. To velja na primer za znamenite posnetke Mozartovih
treh koncertov za flavto oziroma flavto in harfo, ki so izšli v zbirki posnetkov Mozartovih zbranih del
in veljajo za enega poustvarjalnih viškov tega sicer nadvse obsežnega projekta. /.../ Irena Grafenauer je
izjemna glasbenica vendarle ne (le) zaradi obsežnega repertoarja, številnih gostovanj ali sodelovanja
z najvidnejšimi glasbeniki, temveč predvsem in najprej zaradi svojega posebno prefinjenega muzikalnega
občutka, v katerem se zrcali domišljena in poglobljena estetika. /.../

Dr. Matjaž Barbo, povzeto po besedilu v zborniku Prešernov sklad 2005. Ljubljana: Upravni odbor Prešernovega sklada, 2005.

Irena Grafenauer is without doubt one of the most celebrated flutists in the world today. She
collaborates with the leading musicians, works with the most renowned orchestras and plays in the
most respected concert venues and the biggest festivals on all continents. At the time of increasing
specialisation, when artists with an equally confident command of areas that vary widely in terms
of style and form are a dying breed, Irena Grafenauer is a true phenomenon. Her repertoire as a
performer knows virtually no limits, her interpretations of baroque, classical-period and contemporary
music in either chamber or concert settings being equally compelling. This is a demonstration of her
music talent, which rather than triumphing in a narrowly focused repertoire of seldom heard rarities
keeps proving itself time and again by performing the works from the classical canon that most
frequently make it on a concert calendar. It is these as well as other interpretations that make her one
of the leading flutists worldwide. Examples include her famed recordings of Mozart’s three concertos
for flute or flute and harp, released as part of Mozart’s complete works, which are considered one of
the interpretive pinnacles of this large-scale project. /.../ Irena Grafenauer is an outstanding musician
not (only) because of her extensive repertoire, numerous appearances or collaborations with the
world’s leading musicians, but first and foremost because of her highly sophisticated sense of music,
a reflection of carefully, thoroughly devised aesthetics. /.../

Dr Matjaž Barbo, in Prešeren Fund 2005. Ljubljana: Prešeren Fund Board, 2005.

138

IRENA GRAFENAUER

flavtistka / flutist

139

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

EDWARD CLUG MATIJA BEVK, VASA PEROVIĆ MILKO LAZAR

/.../ Zanj se vse začne z intuicijo, ki ji sledi /.../ Bevk in Perović pri svojem delu ne iščeta /.../ Glasbenik, skladatelj in izvajalec Milko
racionalna in premišljena pretvorba, nekakšen bližnjic in lahkih poti. Njuna arhitektura je Lazar v slovenskem kulturnem prostoru
prevod v bralne dimenzije, v ples. Prepričan je, temeljita in pazljiva raziskava realnosti. predstavlja samosvojo in izjemno kreativno
da najgloblje, čustveno najintenzivnejše plati V tej raziskavi se ukvarjata z razumevanjem glasbeno osebnost z bogatim opusom, ki je
človekovega doživljanja največkrat ostajajo sodobnosti, umetnosti, življenjskih stilov, na višku svoje ustvarjalnosti. S trdim delom,
skrite, neizrečene. /.../ Pri svojih koreografijah pa tudi s stičnimi točkami globalnosti neizpodbitnim skladateljskim darom in
Clug izhaja iz čudenja nad dejstvom, kaj vse in lokalnosti, tradicije in modernizma, profesionalnim obvladovanjem svoje stroke
je človeško telo zmožno izraziti z gibom, arhitekturnih in nearhitekturnih tem. /.../ je zgradil svojo glasbeno govorico, ki je njemu
in tako tudi po uspešnem krstu njegovega Odlikujejo jo konstrukcijska in tehnična lastna, samosvoja in nepredvidljiva, za
prvenca Tango v predstavi Lacrimas sledimo racionalnost, umetniška jasnost, raziskovalni poslušalca pa privlačna in zanimiva. V njej se
koreografovemu ekspresivnemu širjenju pristop in arhitekturni jezik, ki ni po vsej sili zrcalijo avtorjevo nikoli končano, a vztrajno
dojemanja plesalčevega telesa kot avtorski, ampak je podrejen uporabnosti, iskanje čiste glasbe, ki je njegov glasbeni
absolutnega inštrumenta in izraznega smislu in logiki vsakega posameznega dela. credo, njegove raznolike glasbene izkušnje in
sredstva glasbe. /.../ /.../ neusahljiva ustvarjalnost, ki ga vodi v vedno
nova glasbena doživetja in izkušnje. /.../
Janez Mejač, povzeto po besedilu v zborniku Prešernov sklad Miha Dešman, povzeto po besedilu v zborniku Prešernov sklad
2005. Ljubljana: Upravni odbor Prešernovega sklada, 2005. 2005. Ljubljana: Upravni odbor Prešernovega sklada, 2005. Jani Golob, povzeto po besedilu v zborniku Prešernov sklad
2005. Ljubljana: Upravni odbor Prešernovega sklada, 2005.

/.../ For him, everything starts with intuition, /.../ Bevk and Perović never seek shortcuts or /.../ In the Slovenian cultural landscape,
followed by a rational and well-thought-out easy ways. Their architecture is a thorough, musician, composer and interpreter Milko
transformation, some sort of a translation into careful investigation of reality. In this research Lazar is a unique and highly creative name
readable dimensions, into dance. He believes process, they strive to comprehend the with a voluminous body of work, who is now
that the deepest, most emotionally intense contemporary age, art, lifestyles, and explore at the peak of his creativity. Hard work,
layers of human experience tend to remain the intersections of the global and the local, an indisputable gift for composition, and
covert, unvoiced. /.../ In his choreographies, tradition and modernism, architectural and a professional command of his métier have
Clug draws on the wonder at what human non-architectural issues. /.../ It is characterised helped him develop his own music language,
body is able to express with movement. by constructional and technical economy, one that is as unique and unpredictable as it
After the successful premiere of his debut artistic clarity, an investigative approach is attractive and intriguing for audiences. This
performance Tango, with Lacrimas the and an architectural language that instead is a reflection of the author’s never-ending yet
choreographer continues his expressive of insisting on originality at any price is in persistent search for purity in music – his
expansion of the perception of a dancer’s body the service of functionality, of the sense credo, of the diversity of his experience of
as the ultimate instrument and an expressive and logic of each element. /.../ music, and of his inexhaustible creativity,
means of music. /.../ the latter bringing about ever new music
Miha Dešman, in Prešeren Fund 2005. Ljubljana: Prešeren adventures and experiences. /.../
Janez Mejač, in Prešeren Fund 2005. Ljubljana: Prešeren Fund Fund Board, 2005.
Board, 2005. Jani Golob, in Prešeren Fund 2005. Ljubljana: Prešeren Fund
Board, 2005.

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

NATAŠA MATJAŠEC MIRJAM KALIN MILAN VINCETIČ

/.../ Nataša Matjašec je pogosto vpeta v /.../ V razgaljanju vlog do srhljivih globin pevka /.../ Pesniška zbirka Lakmus je tematsko
projekte, pri katerih njen ustvarjalni prispevek Mirjam Kalin vsakokrat in vedno znova izdolbe zaokrožena kot nežna, tankočutna in sploh
presega igralski vložek ter je cepljen z iskrivim svoj umetniški credo. /.../ Pevska in igralska nadvse lirična pripoved o ljubezni, ki jo avtor
in pronicljivim preizpraševanjem sebe in predanost Mirjam Kalin je neprecenljiva pri večinoma izgovarja v dvojini. A tudi ta, ali pač
lastnega poklica. V tem smislu je lik Elizabeth poustvarjanju slovenskih del. /.../ Številnim taka dvojina, ki priča o intimi, iz katere lahko
krona igralkinega dosedanjega opusa: slovenskim delom je altistka vdihnila novo pesnik izreka tudi namesto drugega, je hkrati
hipnotična prezenca in dovršena igralska življenje, številni slovenski sodobni skladatelji prežeta z zavestjo o krhkosti, minljivosti ali
tehnika se v njej zlijeta z lucidno so prav z njo pridobili zanesljivo in iskreno celo varljivosti skupnega čutenja. Vsaj na
(samo)refleksijo in raziskujočim (so)avtorskim interpretinjo novih skladb. /.../ Njena čustvena tej ravni je torej razvidno, da Vincetič tudi
pristopom ter preraseta v bleščeč ustvarjalni razgibanost, izjemna muzikalnost, intonančna v Lakmusu pravzaprav nadgrajuje ali pač
vrhunec Nataše Matjašec. /.../ zanesljivost, natančna in jasna dikcija so se dopisuje svojo pretresljivo pesem o večni
lahko razživele le v podajanju oplemenitene samoti posameznika. /.../
Petra Pogorevc, povzeto po besedilu v zborniku Prešernov besede. /.../
sklad 2005. Ljubljana: Upravni odbor Prešernovega sklada, Feri Lainšček, povzeto po besedilu v zborniku Prešernov sklad
2005. Veronika Brvar, povzeto po besedilu v zborniku Prešernov 2005. Ljubljana: Upravni odbor Prešernovega sklada, 2005.
sklad 2005. Ljubljana: Upravni odbor Prešernovega sklada,
2005.

/.../ Nataša Matjašec often works on projects /.../ In her stripping of roles down to /.../ In terms of subject matter, the collection
in which her creative contribution goes beyond intimidating depths, singer Mirjam Kalin of poems Litmus (Lakmus) is coherently
a sheer acting input, being complemented carves out her artistic credo time and time shaped as a gentle, tender and highly lyrical
by keen, insightful examination of the self again. /.../ The singing and performing narrative on love, mostly conveyed in dual. Yet
and one’s own profession. In this sense, the commitment of Mirjam Kalin is invaluable even this dual, or the kind of dual suggesting
role of Elizabeth marks the climax of the for the interpretation of Slovenian works. /.../ intimacy out of which the poet may speak in
actress’ career so far: in it, hypnotic presence The alto gave a new life to numerous place of another, is permeated by the sense
and perfection in terms of the acting Slovenian works, and many contemporary of fragility, transience or even a fallacy of
technique meet shrewd (self-)reflection Slovenian composers have found in her a shared sensation. At this level at least, it is
and an investigative (co-)author’s approach, reliable, true interpreter of new works. /.../ therefore apparent that with Litmus, Vincetič
culminating in Nataša Matjašec’s brilliant Her emotional diversity, outstanding is building on or adding to his poignant poem
creative milestone. /.../ musicality, intonational reliability, precise about one’s eternal solitude. /.../
and clear articulation could only start to
Petra Pogorevc, in Prešeren Fund 2005. Ljubljana: Prešeren thrive when conveying refined words. /.../ Feri Lainšček, in Prešeren Fund 2005. Ljubljana: Prešeren
Fund Board, 2005. Fund Board, 2005.
Veronika Brvar, in Prešeren Fund 2005. Ljubljana: Prešeren
Fund Board, 2005.

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

EDWARD CLUG

plesalec in koreograf / dancer and choreographer
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

VASA PEROVIĆ, MATIJA BEVK

arhitekta / architects

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

MILKO LAZAR

skladatelj / composer
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

N ATAŠA M ATJAŠ EC

igralka / actress

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

MIRJAM KALIN

altistka / alto
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2005

MILAN VINCETIČ

pesnik / poet

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PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2006

/.../ Milan Dekleva ustvarja v vseh književnih zvrsteh – piše poezijo, dramatiko, kratko pripovedno prozo,
romane, eseje ter pesmi, igre in pravljice za otroke in mladino. /.../ V spiralno rastočem in kljub žanrski
raznovrstnosti enovitem opusu je razvojno najpomembnejša, za celoto središčna in najdlje trajajoča
poezija. Začenja se s prvo slovensko zbirko haikujev Mushi mushi (1971), z utrinki in podobami
v koncentrirani, strogo urejeni japonski obliki. /.../ Zadnje desetletje se Dekleva posveča tudi pripovedni
prozi. /.../ Po dveh romanih, naslonjenih na osebno izkušnjo, je gradivo najbolj ambicioznega, Zmagoslavje
podgan (2005), črpal iz korespondence in ekspresionističnih literarnih del Slavka Gruma. /.../ Poleg dveh
knjig esejev, v katerih se Dekleva ukvarja z mišljenjem umetnosti kot avtonomne sfere proizvajanja
lepote in smisla, je pomemben delež njegove ustvarjalnosti namenjen otrokom in mladostnikom. /.../
Deklevovo književno delo dosega vrhunsko kakovost, vendar je zaradi odprtosti, paradoksnosti in igrivosti
neujemljivo v zaključen sistem in težko določljivo. Ne izčrpa ga niti vsota lastnosti, kot so ironija, humor,
duhovitost, kontemplacija, refleksivnost, niti kombinacija poetičnosti in znanstvenosti, konkretne,
strastne fizičnosti in abstraktne metafizike. /.../

Dr. Irena Novak Popov, povzeto po besedilu v zborniku Prešernov sklad 2006. Ljubljana: Upravni odbor Prešernovega sklada, 2006.

/.../ Milan Dekleva produces works of all literary forms – poetry, drama, narrative short prose, novels,
essays, as well as poems, plays and tales for children and youth. /.../ In his spiralling, despite the genre
diversity homogeneous body of work, poetry is the core as his oldest companion and most crucial
element in his literary development. At its beginnings is the first Slovenian collection of haikus Mushi
mushi (1971), with impressions and images compressed in a rigorous Japanese form. /.../ In the last
decade, Dekleva’s interests have expanded to include narrative prose. /.../ After two novels based on
personal experience, Dekleva found inspiration and subject matter for his most ambitious work of this
genre, The Triumph of Rats (Zmagoslavje podgan, 2005), in the correspondence and expressionist
literary works of Slavko Grum. /.../ In addition to two books of essays, in which Dekleva reflects on art
as an autonomous sphere of producing beauty and meaning, a significant portion of his creativity
has been invested in children and youngsters. /.../ Attaining the highest standards of good literature,
Dekleva’s works are at the same time open, paradoxical and playful to the point where they elude
capture in a closed system and are difficult to pinpoint. Dekleva’s creative potency dries out neither
in a sum of qualities such as irony, humour, wit, contemplation, reflection, nor in a mix of the poetic
and the scientific, of tangible, passionate physicality and abstract metaphysics. /.../

Dr Irena Novak Popov, in Prešeren Fund 2006. Ljubljana: Prešeren Fund Board, 2006.

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