Tone Stojko: Portreti / Portraits

MILAN DEKLEVA

pesnik / poet

149

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2006

/.../ Na začetku so bili kratki amaterski filmi in filmčki, s katerimi je zelo zgodaj pritegnil pozornost. /.../
Prvi profesionalni kratki film Piknik v nedeljo je posnel leta 1968 in takoj je bilo jasno, da se je rodil avtor,
ki je filmske znake razpostavljal mimo študijsko uveljavljane naracije. /.../ S tem le petnajstminutnim
filmom je jasno pokazal, da ga ne zanimata ne družbena in ne filmska konvencija. Pravzaprav je treba
reči natančneje: da ga oboje zanima le na način subverzije. /.../ Mladi mojster kratke filmske forme si je
ugled okrepil s slovesom enega najboljših filmskih snemalcev. Začelo se je že leta 1969, ko je k politično
provokativnemu filmu Zgodnja dela Želimirja Žilnika prispeval impulzivno sliko. /.../ Karpo Godina je svoj
prvi celovečerni film Splav Meduze posnel leta 1980. /.../ Kot režiser, snemalec in montažer mu je vdihnil
lepoto enega najboljših slovenskih in jugoslovanskih filmov. /.../ Godinovi filmi, kratki in dolgi,
dokumentarni in igrani, narejeni v srbsko-vojvodinskem ali slovenskem okolju, vsi po vrsti kažejo v svet
svobodne, odprte, nehierarhizirane družbe in nekonvencionalnih odnosov. V njem imajo prvo besedo
izjemni posamezniki, najraje umetniki. Kot da se zavedajo, da je mogoč samo umetni raj, a se vedno
znova vkrcavajo na brodolomni Splav Meduze. /.../

Peter Kolšek, povzeto po besedilu v zborniku Prešernov sklad 2006. Ljubljana: Upravni odbor Prešernovega sklada, 2006.

/.../ In the beginning were little amateur short-length works, which quickly attracted attention. /.../
His first professional short film Picnic on Sunday (Piknik v nedeljo) was made in 1968, and as it was
immediately evident, an author was born who used cinematic signs outside the academically established
narrative practice. /.../ In just fifteen minutes of this film’s running time, Godina made it clear that he was
interested in neither social nor film conventions. Or, to be precise: that he was interested in both only
as means of subversion. /.../ The young master of short film enhanced his reputation by becoming
recognised as one of the best cinematographers. This label goes back to 1969, when Godina’s impulsive
image complemented Želimir Žilnik’s politically provocative film Early Works (Zgodnja dela). /.../
Karpo Godina made his first feature The Raft of Medusa (Splav meduze) in 1980. /.../ As a director,
cinematographer and editor, he breathed beauty into one of the best Slovenian and Yugoslav films. /.../
Godina’s films – short or feature-length, documentary or fiction, made in the Serbian-Vojvodinian or
Slovenian environment – all without exception lean towards a free, open, non-hierarchical society
and unconventional relations. Brought to the fore are exceptional individuals, preferably artists, as if
they were aware that only artificial paradise was possible. Still, time and again they board the ill-fated
Raft of Medusa. /.../

Peter Kolšek, in Prešeren Fund 2006. Ljubljana: Prešeren Fund Board, 2006.

150

KARPO GODINA

režiser / director

151

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

MIRKO BRATUŠA BOJAN GORIŠEK MILAN KLEČ

Dela Mirka Bratuše so kot celota, a tudi /.../ Bojan Gorišek je pianist, ki s svojim /.../ Klečev odnos do sveta ni nikoli trpen, zgolj
kot posamezni objekti posebnost v opusu samosvojim pristopom in umetniško opazovalski; vedno je dejaven, zapisovalec
slovenskega kiparstva, tako po teoretski kot po kakovostjo presega okvirje poustvarjalne je vpleten v dogajanje. To ga je nagnilo
estetski izkušnji. Izjemno inventivni, domiselni prakse. Čeprav je brez težav uspeval v tujini, k zapisovanju dialoga, ki je bistvo dramatike,
v vsebinski in likovni zasnovi, nekakšni se je odločil, da bo deloval doma in podajal pri čemer dialog ni le oblika, marveč predvsem
abstraktni »stroji« domišljije in ustvarjalne – nova spoznanja o glasbi domačemu nenehno soočanje različnih stališč in značajev.
notranje – moči, ki vznikajo iz nič, a so vendarle kulturnemu občinstvu. /.../ Je interpret, /.../ V širokem razponu ciljnega občinstva – od
dejavni v umetniškem, pomenskem in ki ga poleg vrhunske tehnike in bogate izrazne otrok do odraslih, od osrednje gledališke hiše
»funkcionalnem« smislu. Nekakšni simulakri moči odlikuje tudi zelo kreativen in samosvoj do eksperimentalnega odra – se razkriva
stanj in doživetij, ki učinkujejo v smislu novosti, pristop k izvedbam številnih tujih in domačih Klečev profesionalizem, zgodbe pa iz
izvirnosti in mojstrstva obvladovanja forme. sodobnih skladateljev. /.../ poudarjeno vsakdanjih, naravnost banalnih
Svet pretihotapljenih podob. /.../ začetkov zdrvijo v groteskne, z ironijo in
Milko Lazar, povzeto po besedilu v zborniku Prešernov sklad fantastiko napolnjene situacije in dogodke,
Andrej Medved, povzeto po besedilu v zborniku Prešernov 2006. Ljubljana: Upravni odbor Prešernovega sklada, 2006. pomešane s folklornimi elementi
sklad 2006. Ljubljana: Upravni odbor Prešernovega sklada, in pravljičnimi osebami. /.../
2006.
Goran Schmidt, povzeto po besedilu v zborniku Prešernov
sklad 2006. Ljubljana: Upravni odbor Prešernovega sklada,
2006.

As a body of work as well as individually, the /.../ Bojan Gorišek is a pianist who transcends /.../ Kleč’s attitude towards the world is never
works of Mirko Bratuša stand out in Slovenian the boundaries of interpretative practice passive, merely that of an observer; always
sculpture in term of both theoretical and with his unique approach and artistic quality. active, the chronicler is involved in the action.
aesthetic experience. Inventive, ingenious in Even though international success came easy This has prompted him to write in dialogue,
content and design, these abstract “drives” of for him, he decided to pursue his career in which is the essence of drama; dialogue being
imagination and creative – internal – potency Slovenia and share his new findings about not only form but above all a continuous
emerge from nothing, yet are operational music with the local cultural audience. /.../ exchange between viewpoints and characters.
artistically, semantically, and “functionally”. He is an interpreter who exhibits not only a /.../ The wide array of his target audiences –
Coming across as simulacra of states and remarkable technique and expressive potency, from children to adults, from the central
experiences that work in the sense of novelty, but also a creative, innovative approach to theatre institution to an experimental stage –
originality and a masterly command of form. his interpretation of a range of foreign and attests to Kleč’s professionalism, while
The world of smuggled images. /.../ Slovenian contemporary composers. /.../ narratives twirl from strikingly mundane,
outright trivial beginnings into grotesque,
Andrej Medved, in Prešeren Fund 2006. Ljubljana: Prešeren Milko Lazar, in Prešeren Fund 2006. Ljubljana: Prešeren Fund irony- and fantasy-filled situations and events
Fund Board, 2006. Board, 2006. mixed with folklore elements and fairy-tale
characters. /.../

Goran Schmidt, in Prešeren Fund 2006. Ljubljana: Prešeren
Fund Board, 2006.

152

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

NATAŠA BARBARA GRAČNER MAJA VIDMAR SILVAN OMERZU

/.../ Nataša Barbara Gračner svojo vlogo Pesmi v rokah Maje Vidmar postanejo nekaj Silvan Omerzu je vsestranski likovni
mlajše, lepše, slavnejše igralke Nurie prežarja čudežno lepega: oblikuje jih z neizmernim ustvarjalec, slikar, grafik in ilustrator,
ne samo z nesporno igralsko veščino, temveč občutkom za neizrekljivo, za napetost med oblikovalec plakatov, keramike in lutkovnih
tudi z izrazito mehko, toplo in lucidno besedami, z nenadnimi preobrati, s prelomi, skulptur, avtor likovnih podob za lutkovne
samorefleksivno noto, ki ji poleg dovršenih ki vozlajo mrežo medpomenov – besednih predstave. Njegova izbrana zvrst in medij,
bravur in preobratov vdihne sočnost in humor. Ariadninih niti, zank okoli niča. /.../ Med temi ki mu omogoča najcelovitejši umetniški izraz,
S svojo karizmatično prezenco, razplastenim naj najprej izpostavim nagovarjanje boga /.../, pa je lutkovno gledališče za odraslo občinstvo.
igralskim izrazom in predvsem zavidljivim gre za nagovarjanje moškega, patriarhalnega /.../ Lutk ne ustvarja le z namenom, da bi
posluhom za spajanje iskrivih drobcev boga, ki je včasih neusmiljen, krut, domišljav, nastopile v gledaliških predstavah, temveč
uprizarjanih identitet nas Nataša Barbara tudi odsoten, zmeraj pa nedoumljiv; prav jih pojmuje kot likovne objekte. Mnogim
Gračner iz dveh povsem različnih prostorov gotovo tudi precej neroden in nebogljen lutkovnim skulpturam nikdar ni namenil
in časov napotuje k premisleku o enem in (potreben človekove pomoči, sočutja in odrskega življenja, razstavil jih je le v galerijah.
istem: izmuzljivi naravi igralskega dela, ki mu pogovora – še posebej ženskega, se zdi). /.../ /.../
pod raznovrstnimi maskami in preoblekami
nekje med vlogo in sabo zmeraj znova žrtvuje Barbara Korun, povzeto po besedilu v zborniku Prešernov Barbara Orel, povzeto po besedilu v zborniku Prešernov sklad
kanček svoje lastne osebe. /.../ sklad 2006. Ljubljana: Upravni odbor Prešernovega sklada, 2006. Ljubljana: Upravni odbor Prešernovega sklada, 2006.
2006.
Petra Pogorevc, povzeto po besedilu v zborniku Prešernov
sklad 2006. Ljubljana: Upravni odbor Prešernovega sklada,
2006.

/.../ Nataša Barbara Gračner brings to her role In the hands of Maja Vidmar, poems grow into Silvan Omerzu is a versatile artist, painter,
of younger, prettier, more famous actress something mysteriously beautiful, graced by graphic artist and illustrator, poster and
Nuria not only undisputed acting skills, but boundless sensitivity to the ineffable and to ceramics designer, sculptor, and visual
also a markedly soft, warm and astutely self- the tension between words, by sudden twists, designer for puppet shows. His genre of choice
reflective touch, imbuing it with succulence by shifts that weave the net of intermeanings and the medium that enables him the most
and humour to complement the perfected – verbal Ariadne’s threads, snares around complete artistic expression is puppet theatre
virtuosity and twists. With her charismatic nothingness. /.../ Here, let me single out her for adult audiences. /.../ He designs puppets
presence, a wide range of expressive layers, addressing of god /.../ She is addressing not only to be used in theatre, but as
and above all her enviable feel for combining a man, a patriarchal god, who is sometimes sculptures. Many of his puppet creations
witty fractions of the rendered identities, relentless, cruel, conceited, even absent, but have never come to life on stage; they have
Nataša Barbara Gračner draws on two wholly always unfathomable; doubtlessly also rather only been exhibited in galleries. /.../
different sets of space and time to inspire in awkward and helpless (in need of human
the audience a reflection on one and the same: help, sympathy and somebody to talk to – Barbara Orel, in Prešeren Fund 2006. Ljubljana: Prešeren
the elusive nature of the acting profession, particularly, so it seems, women). /.../ Fund Board, 2006.
for which she sacrifices time and time again,
underneath all the make-up and costumes, Barbara Korun, in Prešeren Fund 2006. Ljubljana: Prešeren
somewhere between her role and her true Fund Board, 2006.
identity, a fraction of her own self. /.../

Petra Pogorevc, in Prešeren Fund 2006. Ljubljana: Prešeren
Fund Board, 2006.

153

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

MIRKO BRATUŠA

kipar / sculptor
154

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

BOJAN GORIŠEK

pianist / pianist

155

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

MILAN KLEČ

pisatelj / writer
156

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

NATAŠA BARBARA GRAČNER

igralka / actress

157

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

MAJA VIDMAR

pesnica / poet
158

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2006

SILVAN OMERZU

lutkovni ustvarjalec / puppet designer

159

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2007

/.../ Iz ustvarjalnosti in poustvarjalnosti Janeza Matičiča veje intimna strast do celovito mišljenega
»življenja z zvoki«, ki je osrediščeno v razumevanju glasbe kot zvočnega sveta sublimnih idej. Tudi
po koreniti spremembi ustvarjalnega obzorja ob prehodu v šestdeseta leta preteklega stoletja, ko se je
Matičič preselil v Pariz, ostaja njegovo ustvarjalno gibalo enako kot na začetku njegove poti: večno
mladostno najdevanje kompozicijskih rešitev, kot pravi, »v samem glasbenem gradivu«, torej v tonskih
ali pa zvočnih vzorcih. Ti so pri Matičiču vedno kompleksni. Prežeti so z logiko spontane premišljenosti
in prefinjene ustvarjalne doživetosti. /.../ Njegovo skladateljsko pero sledi ustvarjalni razpetosti med
okljuki intuicije, strogega strukturiranja in poetične doživetosti snovanja iskrivih zvočnih podob. Z njimi
se Janez Matičič razkriva kot ustvarjalec, ki ga otroška radovednost žene k občutenjskemu raziskovanju
glasbenih izrazil, a ga izkušenost modreca nenehno brzda, da ustvarjalno zvedavost ohranja v žlahtnih
mejah glasbe kot umetnosti smiselne – in premišljene – čutnosti zvoka. /.../ Matičič je eden redkih
sodobnih skladateljev, katerega zvočni univerzalizem z eno nogo stoji v tradiciji glasbenega modernizma
in avantgarde 20. stoletja, z drugo pa v mitološki podobi glasbe kot Panove umetnosti, ki s čutnostjo
zvoka nagovarja poslušalčevo občutljivost za krhke, zgolj nakazane, nikoli izrečene vzporednice med
glasbo in drugimi svetovi človekovega bivanja. /.../

Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov sklad 2007. Ljubljana: Upravni odbor Prešernovega sklada, 2007.

/.../ The work of Janez Matičič as an author and interpreter emanates an intimate passion for
comprehensively contemplated “life with sounds”, centred around the perception of music as a sonic
world of sublime ideas. Even after a fundamental change of creative horizons in the early 1960s, when
Matičič moved to Paris, his creative driving force remained as it had been at the beginning of his career:
continuous youthful search for compositional solutions, in his words, “in the music material itself”, i.e.
in tonal or sound patterns. With Matičič, these patterns are invariably complex, permeated with the logic
of spontaneous reflection and sophisticated creative experience. /.../ As a composer, he is creatively torn
between the detours of intuition, rigorous structuring and a poetic experience of building sparkling
images of sound. These reveal Janez Matičič as an author driven by child-like curiosity to intense
exploration of the means of music expression, yet always bridled by the wise man’s experience to keep
the creative inquisitiveness within the distinguished framework of music as the art of reasonable –
and thoughtful – sensuality of sound. /.../ Matičič is one of the few contemporary composers whose
universalism of sound is rooted on the one hand in the tradition of modernist music and the 20th century
avant-garde, and on the other hand in the mythological image of music as the art of Pan, whose
sensuality of sound speaks to the audience’s sensitivity to frail, merely implied rather than articulated
parallels between music and other spheres of human existence. /.../

Dr Leon Stefanija, in Prešeren Fund 2007. Ljubljana: Prešeren Fund Board, 2007.

160

JANEZ MATIČIČ

skladatelj in pianist / composer and pianist

161

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2007

Radko Polič je neposreden dokaz, da je igralska umetnost (kreiranje vloge) avtorsko dejanje, da ne gre
za poustvarjanje, ampak za čisto ustvarjanje s povedkom in avtentično posebnostjo, izvirnostjo. /.../
Rac je eden izmed igralcev, ki jemlje resno ne le svoje grlo in obraz, ampak tudi tisto, kar se nahaja
v nižjih nadstropjih. Izražanje s telesom in gibom je že od samih začetkov zlito s celotnim bojnim
arzenalom, ki ga enakovredno uporablja. /.../ Gledališče in film sta način njegovega življenja in iskrenost
je bistveni moment pri tem nevarnem razmerju. /.../ Za Raca je gledališče aktivni dialog z življenjem,
je divji napad na realnost sveta in je tudi nujnost zamajanja objektivnega univerzuma, kar nikoli ne
prenese kompromisov. Njegova umetnost, njegovo delovanje je nenehna kritika, nezadovoljstvo z
obstoječim stanjem in hlepenje ter hrepenenje po boljšem, lepšem, pravičnejšem, višjem, globljem ... /.../
Ko nas igralci očarajo, prepričajo, zapeljejo in osvojijo, tako da smo popolnoma v njihovi oblasti – takrat
govorimo, da so igralci kralji, kraljice, čarovniki, mitološka bitja, nadljudje ali celo bogovi. S svojo fizično
navzočnostjo vzbujajo v nas čisto in kristalno jasno občutje, ki ima v tistem trenutku status dokaza,
da absolutno obstaja, da metafizika je. Radko Polič - Rac je brez dvoma igralec, ki posreduje to skrito
znanje, čudežno nadarjenost in sposobnost kinestetičnega delovanja na daljavo, prek gledališke rampe
in s filmskega platna, naravnost v naše srce in duha.

Sebastijan Horvat, povzeto po besedilu v zborniku Prešernov sklad 2007. Ljubljana: Upravni odbor Prešernovega sklada, 2007.

Radko Polič is an immediate proof that acting (creating a character) is an act of a primary artist rather
than an interpretive artist; that this is a true creative process complete with its authentic features
and originality. /.../ Rac is one of the few actors who take seriously not only their vocal cords and face,
but also what is below them. His use of body and movement to express himself has been part of his
armoury since the very beginning, and he uses all his weapons equally. /.../ For him, theatre and cinema
are a way of life, and honesty is the essence of this dangerous liaison. /.../ To Rac, theatre represents
an active dialogue with life; it is a fierce attack on reality, it is the necessity of challenging the objective
universe, which never allows compromise. His art, his work are a continuous critique, dissatisfaction
with the current situation and yearning and longing for what is better, more beautiful, more just, higher,
deeper ... /.../ When actors fascinate, disarm, seduce and conquer us until we are completely in their
power, this is when we refer to them as kings, queens, magicians, mythological creatures,
Übermenschen, or even gods. With their physical presence, they invoke in us a pure, crystal clear feeling
– which at that point is nothing short of evidence – that there is such a thing as the absolute, that
metaphysics exists. Radko Polič - Rac is without doubt one of the actors who convey this secret
knowledge, a magical gift and the ability to achieve kinaesthetic effects remotely, across the stage
or through the cinema screen, straight into our hearts and minds.

Sebastijan Horvat, in Prešeren Fund 2007. Ljubljana: Prešeren Fund Board, 2007.

162

RADKO POLIČ - RAC

igralec / actor

163

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

ANTON BOGOV SUZANA TRATNIK JOŽE SLAK - ĐOKA

/.../ Bogov je živ dokaz trditve, da je klasični /.../ Temeljni prijem, na katerem so Slikarstvo Jožeta Slaka - Đoke velja
balet v svojem bistvu vzgoja telesa, tega Vzporednice zasnovane, je potujitev, ki jo v slovenski umetnosti zadnjih treh desetletij
edinega plesalčevega instrumenta, in da implicira privzeta otroška perspektiva. /.../ za izjemno. Z rabo izrezljanih formatov, pisanih
plesalec z ustrezno in vztrajno negovanim Vzporednice govorijo o trku dveh svetov, o trku in bleščečih lakastih barv, množičnega,
gibom lahko pleše tudi v sodobnih dveh nezdružljivih interpretacij sveta: otroške banalnega, kičastega in subkulturnega
koreografijah, medtem ko sodobni plesalci in odrasle logike, na tem pa v veliki meri podobja, spektakularno naslikanih pokrajin
v klasičnih baletih ne morejo. /.../ Anton Bogov, temelji tudi večplastnost dela. Bralec, čigar in najdene predmetnosti je razvil specifičen,
plesalec ruskega rodu, je dosegel umetniško interpretacijo navsezadnje usmerja širša zelo kompleksen model slike in vpeljal močno
zrelost, kakršno zmorejo vzpostaviti samo vednost, namreč po svoje nadgrajuje tudi ironično distanco in dekonstruktivne težnje
najbolj predani in nadarjeni plesalci. nekatere kontekstualne smernice, ki so v obravnavo prevladujočih resnih in strogih
Prepoznavne so njegove obrazne poteze v posameznih besedilih zgolj nakazane načel abstraktnega, zlasti primarnega
klasičnega princa, skorajda umetniško (njegova identifikacija z malo junakinjo pa slikarstva sedemdesetih let 20. stoletja. /.../
izklesano telo, lebdeči skoki in izpiljena zato v resnici nikoli ni popolna). /.../
tehnika, ki meji na popolnost. /.../ Igor Španjol, povzeto po besedilu v zborniku Prešernov sklad
Tina Kozin, povzeto po besedilu v zborniku Prešernov sklad 2007. Ljubljana: Upravni odbor Prešernovega sklada, 2007.
Janez Mejač, povzeto po besedilu v zborniku Prešernov sklad 2007. Ljubljana: Upravni odbor Prešernovega sklada, 2007.
2007. Ljubljana: Upravni odbor Prešernovega sklada, 2007.

/.../ Bogov is living proof that classical ballet /.../ The basic approach that the author used In the last three decades, the painter Jože
is in its essence rearing of the body, the only in Parallels (Vzporednice) is alienation implied Slak - Đoka has established a preeminent
tool a dancer has, and that by employing by the adopted child perspective. /.../ Parallels position among Slovenian artists.
adequately and persistently nurtured is a story about the collision of two worlds, By employing carved formats, motley
movement a ballet dancer can also dance two incompatible interpretations of the world: and brilliant glossy colours, images which
in modern choreographies, while modern the logic of a child and that of a grown-up, are massive, banal, kitschy and subcultural,
dancers cannot dance in classical ballets. /.../ which gives grounds for the multifaceted spectacularly drawn landscapes and identified
Anton Bogov, a dancer of Russian origin, aspect of the work. Readers are guided in objectivity, he designed a specific, utterly
reached the level of artistic maturity known their interpretation by a broader knowledge, complex painting model, and introduced
only to most devoted and talented dancers. furthermore, they individually complement a strongly ironic distance and deconstructive
Known for his facial features of a classic some contextual guidelines that are merely aspiration into the predominant strict and
prince, his body carved nearly into an art, his drafted in the text (their identification with the serious principles of the abstract painting,
levitating jumps and the technique polished little heroine never being entirely complete). mainly in the minimalism movement of
into perfection. /.../ /.../ the 1970s. /.../

Janez Mejač, in Prešeren Fund 2007. Ljubljana: Prešeren Fund Tina Kozin, in Prešeren Fund 2007. Ljubljana: Prešeren Fund Igor Španjol, in Prešeren Fund 2007. Ljubljana: Prešeren Fund
Board, 2007. Board, 2007. Board, 2007.

164

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

VESNA VOZLIČ, MATEJ VOZLIČ MARKO PELJHAN URŠKA POMPE

/.../ Vesna in Matej Vozlič sta arhitekta, ki že /.../ Makrolab je tako projekt, ki kompleksno /.../ Radovednost odkrivanja novih pretanjenih
leta sodita v sam vrh sodobne slovenske presega različne meje med umetnostjo odnosov med instrumentalnimi, tonsko
arhitekture. Študirala sta na Fakulteti za in znanostjo, je hkrati konceptualno umetniško pogosto sorodnimi pari ter ustvarjanje barvno
arhitekturo v Ljubljani, v osemdesetih letih delo in znanstveni laboratorij, je arhitekturni zniansiranih ter ritmično izostrenih monologov
prejšnjega stoletja pa sta se izpopolnjevala objekt in svojevrstno gledališče upora, za solo instrumente izraža del njene glasbene
v ateljeju Borisa Podrecce na Dunaju. /.../ je realizirana utopija in obenem strateški poetike, drugi, komplementarni, jo tesno veže
Svoja dela sta večkrat razstavljala in v zadnjih objekt sodobnega globalnega pogajanja. /.../ na besedila. Urške Pompe pri ustvarjanju
petnajstih letih ju ni prezrl noben resnejši Govorimo lahko namreč tudi o estetski vokalne glasbe ne vodijo le tkanje besed,
pregled slovenske arhitekture. Spomladi 2005 emancipaciji tehnoloških intenzitet, sporočilnost teksta, notranja izraznost. /.../
sta se odmevno predstavila na samostojni o uprizarjanju njihovega neposrednega Melodijo izbranega jezika skladateljica podčrta
razstavi v Ceggii pri Benetkah. /.../ senzornega in afektivnega odtisa v tok z jasno ritmiko in dramaturško natančno
globalnega življenja, ki odpira možnosti razdelano razporeditvijo besed, namenjenih
Andrej Hrausky, povzeto po besedilu v zborniku Prešernov za drugačno uporabo, odgovornost in etiko posameznim solistom v zboru ali, še težje,
sklad 2007. Ljubljana: Upravni odbor Prešernovega sklada, sodobnega sveta povezav. prepuščeni iznajdljivosti pevskega solista. /.../
2007.
Dr. Bojana Kunst, povzeto po besedilu v zborniku Prešernov Veronika Brvar, povzeto po besedilu v zborniku Prešernov
sklad 2007. Ljubljana: Upravni odbor Prešernovega sklada, sklad 2007. Ljubljana: Upravni odbor Prešernovega sklada,
2007. 2007.

/.../ Vesna and Matej Vozlič have reached the /.../ Makrolab is therefore a project which /.../ Part of her musical poetics is made of
pinnacle of modern Slovenian architecture exceeds manifold boundaries between art curiosity for discovering new refined relations
years ago. They studied at the Faculty and science in its complexity. It is a conceptual between instrumental couples which are often
of Architecture in Ljubljana, and further work of art and a scientific laboratory at related in their tonality, and of creating
upgraded their knowledge at Boris Podrecca the same time, an architectural facility and monologs for solo instruments which
Studio in Vienna in 1980s. /.../ Their works a unique theatre of revolt, a realised utopia are nuanced in colour and rhythmically
have been exhibited numerous times and and a strategic establishment of sharpened. Another part is complementary
included in every significant review of the contemporary global negotiation. /.../ We may to the first and closely related to texts.
Slovenian architecture in the last fifteen years. also speak of the aesthetic emancipation of When creating vocal music Urška Pompe is
In spring 2005, they presented a much- intensive technologies, demonstration of their not focused merely on words, the message
noticed independent exhibition in Ceggia immediate sensor and affective imprint into of the text, the internal expression /.../
near Venice. /.../ the flow of global life, which gives way to the She underlines the melody of the selected
possibility of a change in usage, responsibility language with a clear rhythm and
Andrej Hrausky, in Prešeren Fund 2007. Ljubljana: Prešeren and ethics of the modern connected world. dramaturgically precise distribution of words
Fund Board, 2007. for individual soloists in the choir, or even
Dr Bojana Kunst, in Prešeren Fund 2007. Ljubljana: Prešeren more demanding, for the solo singer left to
Fund Board, 2007. his or her own inventiveness. /.../

Veronika Brvar, in Prešeren Fund 2007. Ljubljana: Prešeren
Fund Board, 2007.

165

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

ANTON BOGOV

baletni plesalec / ballet dancer
166

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

SUZANA TRATNIK

pisateljica / writer

167

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

JOŽE SLAK - ĐOKA

slikar / painter
168

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

VESNA VOZLIČ, MATEJ VOZLIČ

arhitekta / architects

169

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

MARKO PELJHAN

intermedijski umetnik / interdisciplinary artist
170

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2007

URŠKA POMPE

skladateljica / composer

171

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2008

Janez Gradišnik, pisatelj, književni prevajalec, urednik in jezikoslovec, je vsestransko ustvarjalna
osebnost, jedrnato povedano, humanist sedanje dobe. /.../ Njegov opus zaznamujejo izjemna obsežnost,
mnogovrstnost in dognanost ter odpiranje kulturno-jezikovnega vpliva v dve smeri: iz območij tuje
kulturne ustvarjalnosti na domače, slovensko, in obenem delovanje navzven, predstavitev slovenske
literature v svetovnem prostoru, zlasti angleškemu in nemškemu bralstvu. Janez Gradišnik je ne samo
sledil merilom odličnosti v izvirni in prevodni književnosti, temveč jih je s svojim tehtnim delom tvorno
pomagal oblikovati in soustvarjati. /.../ Osrednje področje Janeza Gradišnika, ki osupne z razponom
znanja tujih jezikov po eni strani in z žanrsko širino, reprezentativnostjo ter vedno znova z aktualnostjo
na drugi, je njegovo vrhunsko književno prevajalstvo. /.../ V ospredje stopa njegova umetniška intuicija,
s pomočjo katere je specifično gradnjo tuje umetnine adaptiral tako, da se je brez razpok prilegala
značilnostim slovenske strukture. /.../ V slovenski jezik je prevedel več kot sto leposlovnih del, romanov,
povesti in novel klasičnih in modernih avtorjev, za bralce vseh starosti (Hemingwayev roman Komu zvoni,
roman Mojster in Margareta ruskega pisatelja Mihaila Bulgakova, Joyceov Ulikses …). /.../

Miriam Drev, povzeto po besedilu v zborniku Prešernov sklad 2008. Ljubljana: Upravni odbor Prešernovega sklada, 2008.

Writer, literary translator, book editor and linguist Janez Gradišnik is an all-round creative mind, in
short: a present-day humanist. /.../ His body of work is known for its astounding volume, versatility and
accomplishment, and for activating cultural and linguistic influences in two ways: from the areas
of foreign cultural creativity to the domestic, Slovenian soil, and in the opposite direction, introducing
Slovenian literature to the global arena, particularly to English- and German-speaking readers. Rather
than merely attaining the standards of excellence in original Slovenian literature and translations,
the consequential work of Janez Gradišnik has actively helped shape and build them. /.../ Outstanding
literary translations are at the core of Janez Gradišnik’s work, remarkable for their range of languages
on the one hand and for their breadth of genres, representativeness and unfailing relevance on the other.
/.../ Coming to the fore is his artistic intuition, which he uses to adapt the specific fabric of a foreign piece
of work in a way that it fits seamlessly a typical Slovenian structure. /.../ His translations into Slovenian
comprise more than one hundred works of fiction, novels, stories and novellas by classical and modern
authors, for readers of all ages (Hemingway’s For Whom the Bell Tolls, novel The Master and Margarita
by Russian author Mikhail Bulgakov, Joyce’s Ulysses, etc.). /.../

Miriam Drev, in Prešeren Fund 2008. Ljubljana: Prešeren Fund Board, 2008.

172

JANEZ GRADIŠNIK

književni prevajalec in književnik / literary translator and writer

173

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2008

Miljenko Licul je eden najbolj prepoznavnih slovenskih grafičnih oblikovalcev. Njegov prispevek h
kakovosti slovenskega oblikovanja, predvsem pa k njegovi preusmeritvi od strogega modernističnega
oblikovalskega sloga v razširitev likovne govorice z uvajanjem historičnih prvin in zgledov, je nemogoče
prezreti. Je del generacije oblikovalcev, ki je analogno govorico uspešno prelevila v digitalno. /.../
Je človek, ki je slovenskemu grafičnemu oblikovanju pomagal utirati sloves v mednarodnem prostoru.
Na svojem ustvarjalnem polju se je spoprijel in dosegel zavidljive rezultate prav na vseh področjih
grafičnega oblikovanja, kar v našem okolju ni ravno pogosto. /.../ Miljenko Licul deluje tako na področju
predstavitve umetnosti kot na področju vizualne identitete komercialnih, pa tudi državnih subjektov.
V sklopu celostnih grafičnih podob omenimo le najpomembnejše: Iskraemeco, Pivovarna Laško,
Zavarovalnica Vzajemna, Narodna galerija v Ljubljani, Galerija Božidarja Jakca v Kostanjevici na Krki,
Mesto Ljubljana, Univerza v Ljubljani itd. /.../ Drugi nadvse obsežni ustvarjalni opus je oblikovanje
umetniških monografij in knjižne opreme. /.../ Slovenija je, po njegovi zaslugi, dobila vizualne elemente
državne identitete, oblikovane na najvišji možni kakovostni ravni. Na videz vsakdanje, a funkcionalno
in tehnološko zahtevne izdelke je uspelo Miljenku Liculu z izjemno občutljivo in ustvarjalno naravo ter
z veliko duhovno kulturo povzdigniti na visoko kulturno in umetniško raven.

Milan Pajk, povzeto po besedilu v zborniku Prešernov sklad 2008. Ljubljana: Upravni odbor Prešernovega sklada, 2008.

Miljenko Licul is one of the most widely recognised graphic designers in Slovenia. His contribution to
the level of design in Slovenia, most notably to its shift from a strictly modernist style to a broader scope
of its artistic language by bringing in historical elements and examples, is impossible to miss. He is part
of the generation of designers who have made a successful transformation from an analogue language
to the digital age. /.../ Licul is someone who has helped Slovenian graphic design build an international
reputation. In his creative domain he has worked, with enviable success, across all areas of graphic
design, which is a rare phenomenon in the Slovenian environment. /.../ Miljenko Licul’s work includes
designs associated with the visibility of art as well as visual identities for commercial and national
organisations. His key works in the corporate identity category include Iskraemeco, Pivovarna Laško
brewery, Vzajemna health insurance company, National Gallery of Slovenia, Božidar Jakac Art Museum
in Kostanjevica na Krki, The City of Ljubljana, University of Ljubljana, to name a few. /.../ His second
voluminous body of work comprises designs for art books and other literary works. /.../ It is thanks to
him that the visual elements of Slovenia’s national identity are designed according to the highest
standards. With his remarkably sensitive, creative nature and a refined, generous ethos, Miljenko Licul
has been able to take the seemingly mundane, yet functionally and technologically complex products
to a higher cultural and artistic level.

Milan Pajk, in Prešeren Fund 2008. Ljubljana: Prešeren Fund Board, 2008.

174

MILJENKO LICUL

oblikovalec / graphic designer

175

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

BOR TUREL UROŠ SMOLEJ SEBASTIJAN HORVAT

/.../ Bor Turel je v zadnjih dveh letih ustvaril /.../ Uprizoritev muzikala Kabaret, ki jo je /.../ Ob vnaprejšnjem pristajanju na pogoje,
več del elektroakustične glasbe, radiofonskih v Mestnem gledališču ljubljanskem leta 2006 ki jih (mlademu) gledališkemu ustvarjalcu
in akustičnih glasbenih del – ars acustica, režiral Stanislav Moša, je že v izhodišču postavlja institucija, se je Horvat torej odločil
ki presegajo ustaljene meje zvočne umetnosti, zgrajena tako, da obstoji ali pade na svojem tudi za izvirno in nepredvidljivo obliko
odkrivajo pretanjena zvočna razmerja med osrednjem protagonistu. /.../ Vrhunsko »samoinstitucionalizacije«, ki jo je dosegel
inštrumenti in elektroakustičnim posnetkom, izvedene igralske, pevske in plesne nastope z nevezanim in gledališko zaznamovanim
ustvarjajo inventivne in inovativne povezave Uroša Smoleja določata tako natančno eksperimentalnim delovanjem. /.../ Ob tem
med radiofonskimi in naravnimi zvočnimi obvladovanje njegovega obraza in telesa kot je treba priznati, da je tudi za Horvatove režije
elementi ter poslušalcem odpirajo nove jasna notranja misel, ki Konferansjeja iz v institucijah /.../ značilno prehajanje iz
zvočne svetove. /.../ »Skladatelj improvizira, bleščeče srede prikazanega sveta postopoma, obvezujoče, čeprav nikdar v resnici žanrsko
kombinira, gnete zvočni material, iz katerega vendar neizogibno privede na njegov bridki standardizirane ali konvencionalne forme
gradi in nadgrajuje strukturo arhitekture in ponižujoči rob. /.../ v temeljno preizkušanje njene ontološke
elektroakustične skladbe. Iz grobega, surovega narave. /.../
zvočnega platna nastaja fina tkanina, ki bo Petra Pogorevc, povzeto po besedilu v zborniku Prešernov
odela novo umetniško podobo in postala sklad 2008. Ljubljana: Upravni odbor Prešernovega sklada, Dr. Blaž Lukan, povzeto po besedilu v zborniku Prešernov
glasba.« 2008. sklad 2008. Ljubljana: Upravni odbor Prešernovega sklada,
2008.
Uroš Rojko, povzeto po besedilu v zborniku Prešernov sklad
2008. Ljubljana: Upravni odbor Prešernovega sklada, 2008.

/.../ In the last two years, Bor Turel has created /.../ The Cabaret musical, which was directed /.../ Given the anticipatory conformation
several Ars Acustica works: electroacoustic, by Stanislav Moša in Ljubljana City Theatre to conditions imposed on a (young) theatre
radiophonic and acoustic musical in 2006, is initially designed so that it depends artist by the institution, Horvat went for an
compositions, which exceed the conventional wholly on its central protagonist /.../ Superb original and unpredictable form of “self-
borders of the sound art, unveil delicate sonic acting, dancing and singing performances institutionalisation”. He decided for
relations between instruments and an of Uroš Smolej are marked by his sweeping independent and theatre-oriented
electroacoustic recording, create inventive facial and body control as well as his clear experimental work. /.../ One must admit that
and innovative connections between reflection bringing the Master of Ceremonies also Horvat’s direction in the frame of theatre
radiophonic and natural sound elements, gradually but inevitably from the blissful institutions /.../ employs transgression from
and open a whole new sonic world to their centre of the staged world to its bitter and the obligatory form, which is in truth never
listeners. /.../ “The composer improvises, humiliating edge. /.../ actually standardised or conventional in its
combines and kneads the sound material to genre and Horvat likes to test the ontological
build and complement the structure of the Petra Pogorevc, in Prešeren Fund 2008. Ljubljana: Prešeren nature of the form. /.../
electroacoustic work. The rough, raw sonic Fund Board, 2008.
canvas will turn into a fine fabric of new Dr Blaž Lukan, in Prešeren Fund 2008. Ljubljana: Prešeren
artistic image and evolve into music.” Fund Board, 2008.

Uroš Rojko, in Prešeren Fund 2008. Ljubljana: Prešeren Fund
Board, 2008.

176

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

EMA KUGLER PRIMOŽ ČUČNIK BOŠTJAN LIPOVŠEK

Ema Kugler je umetnica, ki s svojim delom /.../ Čučnikova poezija v celoti je prepoznavna /.../ Glavno poslanstvo svojega poklica je
dokazuje, da je celostna umetnina ultimativni po konstrukciji omejenega, obrobnega, Boštjan Lipovšek izpolnil s številnimi krstnimi
umetniški izraz. V njenih delih je napetost distanciranega, včasih skoraj nevidnega, izvedbami del slovenskih skladateljev in še
med življenjem in smrtjo inscenirana do skoraj vendar izjemno duhovitega subjekta. ambiciozneje, z naročili za skladatelje zrele
otipljive prezence. Čutno jo doživljamo V omenjeni zbirki je opazovalec, ki piše in tudi mlajše, še neuveljavljene generacije
na performansih v ogromnih izpraznjenih komentarje, opombe, poročila, zapisuje slutnje ustvarjalcev. Interpretacije komornih del
in podhlajenih industrijskih halah, tovarnah, in zbira spominske drobce, sestavlja scenarije, Primoža Ramovša, Uroša Kreka, Iva Petriča
kamnolomih ali na projekcijah v popolni temi, z glasom množinskega subjekta, pripadnika in Lojzeta Lebiča so postavile nova merila
napolnjeni z zvokom ali/in podobami, ki so ušle generacije, ali slehernika skicira atmosfero, in vzbudile upanje v razcvet sodobne
vsakršnim žanrskim opredelitvam. Doživljanje izreka ironična navodila in nasvete ali govori slovenske literature za rog. /.../
njenih dogodkov v nas pusti čutne odtise, ki se s sabo in fingiranim naslovnikom posvetila. /.../
nam kot podobe prikazujejo v pravih pomenih Zato je zbirka Delo in dom hkrati preprosta Veronika Brvar, povzeto po besedilu v zborniku Prešernov
te besede. /.../ in zapletena, polifonična in sintetična, sklad 2008. Ljubljana: Upravni odbor Prešernovega sklada,
aktualna in ironično potujena. /.../ 2008.
Jurij Krpan, povzeto po besedilu v zborniku Prešernov sklad
2008. Ljubljana: Upravni odbor Prešernovega sklada, 2008. Dr. Irena Novak Popov, povzeto po besedilu v zborniku
Prešernov sklad 2008. Ljubljana: Upravni odbor Prešernovega
sklada, 2008.

Ema Kugler is an artist demonstrating with /.../ Overall, Čučnik’s poetry exhibits the /.../ Boštjan Lipovšek complemented the
her work that comprehensive art is the construction of a limited, marginal, distanced, calling of his profession with numerous first-
ultimate artistic expression. The tension occasionally nearly invisible, but extremely ever performances of Slovenian compositions,
between life and death in her works is staged witty subject. In this collection, he is the and even more ambitious, by ordering new
so intensely, its presence is nearly tangible. observer writing down comments, remarks, compositions from both mature and young,
Her performances in vast empty and reports, recording his premonitions, and not yet established composers. His
undercooled industrial halls, factories collecting pieces of memories, constructing interpretations of chamber works by Primož
and quarries or her projections in complete scenarios, conceiving an atmosphere by using Ramovš, Uroš Krek, Ivo Petrič and Lojze Lebič
darkness, filled with sounds or/and images the voice of a plural subject, representative set new standards and raised hope for the
beyond any genre definition are always of a generation or everyman, giving ironic spring of contemporary Slovenian works
a sensuous experience. To witness her instructions and advice or speaking to himself for horn. /.../
performance is to be left with sensuous and to the simulated addressee of the
impressions like a vision of images in their inscription. /.../ Work and Home (Delo in dom) Veronika Brvar, in Prešeren Fund 2008. Ljubljana: Prešeren
true meaning. /.../ poetry book is thus equally simple and Fund Board, 2008.
complex, polyphonic and synthetic,
Jurij Krpan, in Prešeren Fund 2008. Ljubljana: Prešeren Fund up-to-date and ironically alienated. /.../
Board, 2008.
Dr Irena Novak Popov, in Prešeren Fund 2008. Ljubljana:
Prešeren Fund Board, 2008.

177

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

BOR TUREL

skladatelj in zvokovni umetnik / composer and sound artist
178

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

UROŠ SMOLEJ

igralec / actor

179

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

SEBASTIJAN HORVAT

gledališki režiser / theatre director
180

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

EMA KUGLER

intermedijska umetnica / interdisciplinary artist

181

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

PRIMOŽ ČUČNIK

pesnik / poet
182

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2008

B O ŠTJA N L I P OVŠ E K

hornist / horn player

183

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2009

/.../ Štefko Drolc uvrščamo v antologijo največjih slovenskih igralcev dvajsetega stoletja in zagotovo tudi
v prvo dekado enaindvajsetega stoletja. Njeno ime je in bo za vselej zapisano med najpomembnejšimi
imeni slovenskega igralstva. /.../ Z enako silovitostjo, kot ustvarja vloge v dramskih gledališčih, z izjemno
inteligentno in sijajno občuteno igro gospa Štefka vstopa tudi v različne svetove igranja na alternativni
in neinstitucionalni sceni. /.../ Bila je Ismena v Smoletovi Antigoni, Francka v Cankarjevih Hlapcih,
dr. Zahndova v Dürrenmattovih Fizikih, tragična junakinja v Evripidovi Medeji in Klitajmestra v Ajshilovi
Oresteji, pa Winnie v Beckettovi igri O, srečni dnevi. Njena pretresljivo, estetsko in slogovno pretanjeno
upodobljena Winnie, ki jo je zaigrala ob svoji osemdesetletnici, pomeni še enega vrhov igralske izpovedne
moči. /.../ Njena ponotranjena igra je mojstrsko upodobljena v številnih kreacijah gledaliških in radijskih
uprizoritev tragedij, dram, komedij, poetičnih iger, v groteskah, v psiholoških in karakternih igrah …;
prepričljivo nam govori s filmskega platna in televizijskih zaslonov. S svojo živostjo podobe, glasu,
kretnje in pogleda nas tako silno prevzame, da začenjamo verjeti v mitske razsežnosti igralskega poklica.
/.../ Bogata bibliografija ter najvišja gledališka in filmska priznanja odsevajo svojstveno igralsko poetiko,
etos in estetskost Štefkine predanosti umetnosti. /.../

Mojca Kreft, povzeto po besedilu v zborniku Prešernov sklad 2009. Ljubljana: Upravni odbor Prešernovega sklada, 2009.

/.../ Štefka Drolc is one of the greatest Slovenian actors of the 20th century, and certainly also of the
first decade of the 21st century. Her name is and will forever be enshrined among the leading names
of Slovenian drama. /.../ She has portrayed a wide array of fervently crafted, highly intelligent and
emotionally brilliant roles, not only in institutional theatres but also in alternative and non-institutional
scene. /.../ She was Ismene in Smole’s Antigone (Antigona), Francka in Cankar’s The Serfs (Hlapci),
Doctor von Zahnd in Dürrenmatt’s The Physicists (Fiziki), the tragic heroine of Euripides’ Medea,
Clytaemnestra in Aeschylus’ The Oresteia, and Winnie in Beckett’s Happy Days. Her stunning,
aesthetically and stylistically refined depiction of Winnie, which Drolc made at her eightieth anniversary,
was yet another pinnacle of her expressive acting potency. /.../ Drolc conveys masterly internalised
acting in numerous theatre and radio performances of tragedies, dramas, comedies, poetic plays,
grotesques, psychological and character dramas, etc. She is just as convincing in cinema and television
features. The vividness of her character, voice, gesture and look mesmerises us into believing that the
acting profession possesses truly mythic dimensions. /.../ Extensive bibliography and the highest theatre
and film acting awards reflect the unique acting poetics, ethos and aesthetics of Štefka Drolc’s
dedication to the arts. /.../

Mojca Kreft, in Prešeren Fund 2009. Ljubljana: Prešeren Fund Board, 2009.

184

ANA ŠTEFANIJA DROLC

igralka / actress

185

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2009

Zmago Jeraj se je s svojim prispevkom vidno uveljavil skoraj na vseh področjih likovne umetnosti. /.../
Poleg slikarstva se je Jeraj ukvarjal tudi s konceptualno in študijsko risbo, s črno-belo in z barvno
fotografijo, z različnimi grafičnimi tehnikami, s filmskimi eksperimenti in z izvrstno premišljeno in
psihološko učinkovito gledališko scenografijo. /.../ Univerzalni panoptikum avtorjeve domišljije se je
silovito sprostil v času, ko so se uveljavile nova podoba in njene izpeljanke, ki so spodbudile razmah
umetnikovega čuta za ironijo in humor. Prepletanje različnih domišljijskih in resničnih ravni je v teh delih
zelo prepričljivo tudi zato, ker ga osmišlja poseben Jerajev likovni izraz, povezan s takratnim delom pri
gledališki scenografiji. /.../ Jerajeva duhovitost ni vedno enostavna, pogosto je trpka, morda kdaj celo
posmehljiva. Zato je tudi v slikah navadno prikrita in dvoumna. /.../ V njegovem zadnjem ciklu Sosednje
hiše barve z izrednim občutkom, pogosto kalejdoskopsko lazurno, nanaša na platno, pri čemer so njihova
soočenja včasih tako drzna, da segajo prav do meja teoretično in izkustveno opredeljenih sozvočij, in tako
ustvarjajo nove, še nevidene domišljijske svetove. /.../ Zadnja Jerajeva platna postajajo barvni spektri,
subjektivne opne, v katerih je vložena umetnikova tako metjejska kakor filozofska življenjska izkušnja.
Prav zato so kot zasloni, kjer se lahko sreča ustvarjalčevo subjektivno z gledalčevim. /.../

Dr. Jure Mikuž, povzeto po besedilu v zborniku Prešernov sklad 2009. Ljubljana: Upravni odbor Prešernovega sklada, 2009.

Zmago Jeraj has achieved significant recognition in almost all fields of visual arts. /.../ In addition
to painting, Jeraj also pursued conceptual drawing, drawing studies, black-and-white and colour
photography, various printmaking techniques, film experiments and prudent, psychologically effective
stage design. /.../ The universal compendium of the author’s imagination was forcefully released at the
time when new figural painting developed with all its spin-offs prompting the expansion of the artist’s
sense of irony and humour. The interplay of different imaginary and realistic levels is very convincing
in these works also due to Jeraj’s signature artistic expression influenced by his work in theatre scenic
design at that time. /.../ Jeraj’s wit is not always light, it is often bitter, at times even scornful. Also
in his paintings, it is often disguised and ambiguous. /.../ In his latest cycle The Neighbouring Houses
(Sosednje hiše), he applied colours to canvas with an extraordinary feeling, often achieving kaleidoscopic
transparency, their juxtaposition at times so daring as to reach the limits of theoretically and empirically
defined harmonies, thus creating new, yet unseen imaginary worlds. /.../ Jeraj’s latest canvases become
colour spectra, subjective membranes in which the artist incorporated his experience of the metier as
well as his philosophy of life. This is what transforms them into screens where the artist’s subjective
can meet with the spectator’s. /.../

Dr Jure Mikuž, in Prešeren Fund 2009. Ljubljana: Prešeren Fund Board, 2009.

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ZMAGO JERAJ

slikar / painter

187

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

SABINA CVILAK MARKO MANDIĆ GORAN VOJNOVIĆ

/.../ Gre za glasbenico, ki jo je Mitja Rotovnik /.../ S sosledjem njegovih predstav je rasla tudi /.../ V romanu vidimo, kako nastane in deluje
opisal takole: »Slovenci smo v Sabini Cvilak njegova veščina oblikovanja; poglabljal je svoje nov jezik, zvrtinčen z vseh vetrov, ujet
Damjanovič dobili umetnico, ki gre po razumevanje, izgrajeval igralsko tehniko, širil v posameznika. Lepota tega jezika je v tem,
stopinjah naših velikih in mednarodno izrazne načine in se brez slehernih zadržkov da opravlja svojo nalogo zelo prepričljivo,
uveljavljenih opernih in koncertnih pevk, kot podajal v odkrivanje novega. Že od začetka ga hkrati pa bridko lepoto odseva prav njegova
sta Marijana Lipovšek in Bernarda Fink.« /.../ je odlikoval natančen študij lika in psiholoških minljivost: ta jezik je dober samo za svojega
- The Straits Times, 11. 11. 2003: »... najbolj motivacij, ki jih je znal oblikovati v izrazito junaka, samo za ta roman. Vrenje jezika se
impresivna med vsemi pa je bila Sabina Cvilak, odrsko figuro; pozneje pa je razvil sposobnost, dobro ujema z drugim, usodnejšim vrenjem
ki ni le pela … z bogatim, čvrstim tonom in da svojo fizično prezenco uporabi tudi v izrazito v romanu – z vrenjem identitet. /.../ Goran
neverjetno kontrolirano dinamiko, temveč je stiliziranih, estetiziranih in sugestivnih okvirih, Vojnović je napisal dobro knjigo. Kratko. Veliko.
nastopila s pristno prepričljivostjo operne drže, ki presegajo sodobno realistično igro. /.../ Učinkovito. Ki zadene. Lahko se bere kot fora,
ki se odlikuje po iskrenosti emocije …« lahko kot metafora. Tudi če ne razumeš vseh
Diana Koloini, povzeto po besedilu v zborniku Prešernov sklad besed, še kako razumeš, za kaj gre. /.../
Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov 2009. Ljubljana: Upravni odbor Prešernovega sklada, 2009.
sklad 2009. Ljubljana: Upravni odbor Prešernovega sklada, Dr. Marko Stabej, povzeto po besedilu v zborniku Prešernov
2009. sklad 2009. Ljubljana: Upravni odbor Prešernovega sklada,
2009.

/.../ Mitja Rotovnik described the great /.../ His skill of role formation grew with each /.../ His novel brings a language in the making,
musician: “Sabina Cvilak Damjanovič is a of his performances. He broadened his influenced profoundly by so many, captured
talented artist following the footsteps of great understanding, upgraded his acting technique, inside a man. The beauty of this language
Slovenian opera and concert singers with expanded ways of expression and discovered is that it is very convincing in its task, and
international acclaim, such as Marijana the unknown without any hesitation. From painfully beautiful in its transience, at the
Lipovšek and Bernarda Fink.” /.../ the very beginning, he has been distinguished same time: it can only be of use for this
- The Straits Times, 11 November 2003: “… the for a detailed study of characters and their character, in this novel. Language eruption
most impressive of them all was Sabina Cvilak psychological motives which provided him is closely related to the eruption of identities,
who did not only sing … with a beautiful, pure with grounds for formation of the character a much more fatal part of the novel. /.../
tone and incredible dynamic control, but acted on stage. Later he developed the ability of Goran Vojnović wrote a good book. Brief.
with a naturally compelling mien distinguished using his physical presence also in distinctly Great. Efficient. Influential. It can be read
for true emotions …” stylised, aesthetic and suggestive frames as a joke, or as a metaphor. Even if you don’t
surpassing the contemporary realistic acting. understand all the words, you know very well
Dr Leon Stefanija, in Prešeren Fund 2009. Ljubljana: Prešeren /.../ what is it about. /.../
Fund Board, 2009.
Diana Koloini, in Prešeren Fund 2009. Ljubljana: Prešeren Dr Marko Stabej, in Prešeren Fund 2009. Ljubljana: Prešeren
Fund Board, 2009. Fund Board, 2009.

188

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

TOBIAS PUTRIH MIRAN ZUPANIČ NENAD FIRŠT

/.../ Z vsakim prototipom ali projektom, ki ga je /.../ Kljub strahotam, ki so se dogajale /.../ Firštova ustvarjalna moč izhaja nemara
zgradil in izdelal, je zaključil zgodbo. Takšen spomladi in poleti leta 1945 na idiličnih predvsem iz dveh med seboj povezanih virov:
način dela se razlikuje od znanstvenega travnikih in hribčkih okrog Savinje, ter kljub iz bogate izvajalske izkušnje in iz na videz
raziskovanja, kjer prototip postane prva skoraj neopisljivemu trpljenju nastopajočih staromodnega iskanja vrednot v klasičnih
stopnja nadaljnjega testiranja, serijske v dokumentarnem filmu pa iz njih sevajo estetskih idealih. Po eni plati mu je osebna
proizvodnje in dokaz uspešnosti ideje. Putriha neverjetna življenjska moč, modrost ter izkušnja poklicnega violinista izostrila uho
ne zanima serialnost, saj njegovi objekti lahko zmožnost odpuščanja; in tudi avtorjev osnovni za skladateljske rešitve, ki jih sicer redko
obstajajo le kot nedovršene, nedokončane princip ni revanšizem, ampak sočutje do žrtev, zasledimo pri sodobnih ustvarjalcih: glasbo
in ne dovolj preizkušene umetnine, okolja, ki so za grehe staršev plačale tako okrutno ustvarja brez izrazitih filozofskih naziranj,
situacije, atmosfere ali vsaj kot abstraktni ceno. Soočanje z zamolčanim delom narodove ki so velik del glasbe dvajsetega stoletja (tako
koncepti z intenco, da razvijejo uporabne zgodovine oziroma lastno travmatično popularne kot resne) pripeljala v nekakšno
rešitve. /.../ preteklostjo ne more biti drugačno kot boleče, »kulturo pozabljanja« (Nada Švab - Đokić),
in vendar se Miran Zupanič kot avtor v kjer se novosti hitro postarajo. /.../
Božidar Zrinski, povzeto po besedilu v zborniku Prešernov dokumentarnem filmu loteva nezaceljenih ran
sklad 2009. Ljubljana: Upravni odbor Prešernovega sklada, in intimnih tragedij s skrajno občutljivostjo. /.../ Dr. Leon Stefanija, povzeto po besedilu v zborniku Prešernov
2009. sklad 2009. Ljubljana: Upravni odbor Prešernovega sklada,
Gorazd Trušnovec, povzeto po besedilu v zborniku Prešernov 2009.
sklad 2009. Ljubljana: Upravni odbor Prešernovega sklada,
2009.

/.../ Building and completing any prototype /.../ People portrayed in the documentary film /.../ Firšt’s creative potency just might
or project, he ended a story. This way of work radiate incredible vitality, wisdom and ability originate in two closely related sources:
is different from scientific research with to forgive despite horrors that took place in the wealth of his performance experience
a prototype as the first stage of further in the spring and summer of 1945 in the idyllic and in the seemingly old-fashioned search
testing, serial production and a proof of plan meadows and hills around the Savinja river, for values in classical aesthetic ideals. His
feasibility. Putrih is not interested in seriality, and despite the almost indescribable hurt it personal experience of a professional violinist
for his objects can only exist as incomplete, caused them. The author himself is also not sharpened his ear for composing solutions
unfinished and insufficiently tested artwork, driven by revanche, but by compassion for rarely found with contemporary artists: he
environment, situation, atmosphere, or at the victims who suffered the consequences creates music without distinct philosophic
least, as an abstract concept with the of their parents’ sins. Facing the hidden part stands which managed to bring a great part
intention of evolving effective results. /.../ of the national history and personal traumatic of the 20th-century music (popular as well as
past can be nothing but painful, and yet Miran serious) into a kind of “oblivion land” (Nada
Božidar Zrinski, in Prešeren Fund 2009. Ljubljana: Prešeren Zupanič as the author of this documentary Švab - Đokić) where any novelty grows old
Fund Board, 2009. treats the unhealed wounds and intimate fast. /.../
tragedies with extreme delicacy. /.../
Dr Leon Stefanija, in Prešeren Fund 2009. Ljubljana: Prešeren
Gorazd Trušnovec, in Prešeren Fund 2009. Ljubljana: Prešeren Fund Board, 2009.
Fund Board, 2009.

189

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

SABINA CVILAK

sopranistka / soprano
190

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

MARKO MANDIĆ

igralec / actor

191

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

GORAN VOJNOVIĆ

pisatelj / writer
192

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

TOBIAS PUTRIH

kipar / sculptor

193

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

MIRAN ZUPANIČ

scenarist in režiser / screenwriter and director
194

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2009

NENAD FIRŠT

skladatelj / composer

195

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2010

/.../ Kompleksni opus Kostje Gatnika je zaznamovalo razpiranje pojma vizualnega in vizualnih komunikacij
zadnje četrtine dvajsetega stoletja. S svojim ustvarjanjem je posegel na različna področja – od slikarstva,
grafičnega oblikovanja in ilustracije do fotografije, ki jih združujejo izjemna inteligenca in redko
izpostavljena visoka merila kvalitete. /.../ Gatnik je bleščeče vstopil na likovno prizorišče skozi popart
in nato hiperrealizem, ki ga je v ravnotežju držala konceptualna umetnost sedemdesetih let. /.../ Likovna
podoba Tribune, strip, plakat, ovojnice vinilnih glasbenih albumov in kaset, ilustracija, karikatura, vse to
je v Gatnikovih rokah spreminjalo vizualno komunikacijo v trdo, uporniško, skregano s svojim časom
in epohami pred njim. /.../ Ravnotežje tej uporniški drži in zunanjemu hrupu pa so vzdrževala sublimna
hiperrealistična platna, ki so nastajala za varnimi stenami v tišini ateljeja. /.../ Iz te tišine nas je v poznih
osemdesetih letih presenetila poudarjena osebnoizpovedna in refleksijska poetika s svojo ostrino,
neposrednostjo in brezkompromisnostjo. /.../ Čeprav ga je fotografija spremljala vse življenje, se je šele
v zadnjem času odločil pokazati svoje fotografske posnetke, ki razodevajo občutljivost slikarske optike
tudi v tej zvrsti. Spet sta kvaliteta in zasledovanje popolnosti tista, ki legitimirata njegovo ustvarjalno
intervencijo. /.../

Dr. Andrej Smrekar, povzeto po besedilu v zborniku Prešernov sklad 2010. Ljubljana: Upravni odbor Prešernovega sklada, 2010.

/.../ The complex oeuvre of Kostja Gatnik was influenced by the expansion of the concept of visual arts
and visual communications in the last quarter of the 20th century. He created in various categories
ranging from painting, graphic design and illustration to photography. In all of them, he demonstrated
great intelligence and exceptionally high standards of quality. /.../ Gatnik entered the visual arts scene
with excellent pop art and hyperrealism, balanced by the conceptual art of the 1970s. /.../ In his hands,
art design of the Tribuna magazine, comics, posters, record covers, illustrations and caricature changed
visual communications in a way that was tough, rebellious and uncompromising with his era and the
time before that. /.../ He balanced his rebellious stance and noise of the world outside with his sublime
hyperrealistic canvases created in the safe haven of his studio. /.../ In the late 1980s, we were surprised
to see him convey profoundly personal and reflective content, which was sharp, direct and
uncompromising. /.../ Although he has been involved in photography his whole life, he has only just
recently decided to expose his photographs which reveal the painter’s sensitivity also in this genre.
Pursuing quality and perfection identifies his creative intervention in this area, too. /.../

Dr Andrej Smrekar, in Prešeren Fund 2010. Ljubljana: Prešeren Fund Board, 2010.

196

KO STJA GAT N I K

slikar / painter

197

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2010

Plesni opus Mateje Rebolj, ki je po srednji glasbeni in baletni šoli v Ljubljani na začetku sedemdesetih let
študij nadaljevala na Rambert School of Ballet v Londonu in ki je od leta 1972 do leta 1996 kot solistka
baleta Opere in baleta SNG Ljubljana plesala v več kot petinštiridesetih solističnih vlogah, začne najprej
z delom modernega baletnega koreografa Milka Šparembleka, predvsem pa z njenim vstopom v sodobne
scenske umetnosti – z Gledališčem sester Scipion nasice in s Plesnim teatrom Ljubljana je začela
sodelovati sredi osemdesetih let – dobivati konture plesnega koncepta. /.../ Prav v srečanju s sodobnimi
scenskimi in vizualnimi umetnostmi so se njeni nastopi razplastili, saj se je register njenega nastopa
v vseh teh kontekstih na eni strani zavezoval disciplini reprezentacijskega režima umetnosti z baletnimi
in dramsko-plesnimi vlogami, na drugi strani pa se je razpiral h kreiranju prezenc različnih estetskih
umetniških režimov (retrogarda, sodobno plesni formati, participacijski formati, performans itn.). /.../
Razširitev polja motoričnih orodij in logik je Mateji Rebolj odprla možnosti za najrazličnejša gibalna
in plesna utelešenja in forme, razširila ji je plesni vokabular in omogočila njegovo spajanje z drugačno
plesno sintakso, kakršne je bila dotlej vajena v baletu. Res je, da Mateja Rebolj ni edina slovenska
baletna plesalka, ki je opravila prehod med klasičnimi in modernimi plesnimi paradigmami, a prav ona
je tista, ki se je na tej poti odpravila najdlje. /.../

Rok Vevar, povzeto po besedilu v zborniku Prešernov sklad 2010. Ljubljana: Upravni odbor Prešernovega sklada, 2010.

Finishing the Music and Ballet School in Ljubljana at the beginning of 1970s, Mateja Rebolj continued
her studies at the Rambert School of Ballet in London and went on to dance more than forty-five solo
roles as a soloist of the Slovenian National Theatre Opera and Ballet Ljubljana from 1972 to 1996.
After she danced the modern ballet choreography by Milko Šparemblek, and particularly after she
entered the contemporary performing arts – she joined the Scipion Nasice Sisters Theatre and the
Dance Theatre Ljubljana in the middle of 1980s – her dance oeuvre started to evolve into a dance
concept. /.../ Having encountered contemporary performing and visual arts, she diversified her
performances as the register of her dance was bound to the discipline of the representational art regime
of ballet and drama-dance roles on one hand, and free to create presentations of various aesthetic art
regimes (retrogarde, modern dance formats, participation formats, performance, etc.) on the other hand.
/.../ By expanding the field of motoric tools and logic, Mateja Rebolj discovered opportunities for a wide
array of movement and dance forms, spread her vocabulary of dance and allowed it to merge with a rare
syntax of dance, which she had not been previously accustomed to in ballet. It is true that Mateja Rebolj
is not the only Slovenian ballet dancer who has made the transition between classical and modern
dance paradigms, but she is the one who ventured the furthest. /.../

Rok Vevar, in Prešeren Fund 2010. Ljubljana: Prešeren Fund Board, 2010.

198