Tone Stojko: Portreti / Portraits

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1997

MAJA NOVAK JERNEJ ŠUGMAN ALOJZ AJDIČ

Prepojeno z novo svežino, s humorjem in Skoraj nedoumljivo širok razpon, ki ga je mladi /.../ Ajdičeva Tretja simfonija je kontrastna
z ironijo zapisuje sodobno slovensko igralec Jernej Šugman izkazal v letih, ko je skladba, ki inventivno uporablja tolkala
kriminalko mlada pisateljica Maja Novak. zavzel dramski oder, ga uveljavlja kot izvirnega in ustvarja izjemno eksotično barvitost
Potem ko je pozornost vzbudila že s svojim in inovativnega umetnika. Sproščenost, ki priča s posebnim poudarkom na oblikovanju tonskih
prvencem, z romanom Izza kongresa ali Umor tako o nadarjenosti kot o studiozni poglobitvi vzorcev. V celotnem poteku odkriva nenavadne
v teritorialnih vodah (1993), je s svojima v značaj upodobljenih likov, o magistralnem in sijajno izpeljane dogodke, obenem pa na
naslednjima deloma, z romanom Cimre (1995) igralskem instinktu kot o doumevanju utripa zanimiv in zvočno atraktiven način prepleta
in z zbirko kratke proze Zverjad (1996), časa, katerega odrski izpovedovalec je, mu barve najrazličnejših tolkalnih instrumentov.
dokazala, da zna prepričljivo zapisovati ne zagotavlja posebno mesto med ustvarjalci Tretja simfonija predstavlja Alojza Ajdiča kot
le priljubljeni kriminalni žanr, temveč da današnjega gledališkega izraza. Prepričal je samosvojega ustvarjalca, ki ustvarja iskreno
suvereno obvladuje tudi številne literarne v številnih vlogah v razponu od evropske in zavzeto.
prijeme, ki iz pisanja navadnih napetih zgodb klasike do moderne antične dramatike. /.../
narede umetnost. /.../ Povzeto po besedilu v zborniku Prešernov sklad 1997.
Povzeto po besedilu v zborniku Prešernov sklad 1997. Ljubljana: Upravni odbor Prešernovega sklada, 1997.
Povzeto po besedilu v zborniku Prešernov sklad 1997. Ljubljana: Upravni odbor Prešernovega sklada, 1997.
Ljubljana: Upravni odbor Prešernovega sklada, 1997.

Young writer Maja Novak writes contemporary The astonishing variety of character roles /.../ The Third Symphony (Tretja simfonija)
Slovenian crime novels in an inventive, that the young actor Jernej Šugman has by Alojz Ajdič is a contrasting musical
humorous and ironic manner. Having attracted performed in all the years since he first composition using percussion in an inventive
attention with her debut novel Behind the stepped on stage, presents him as an way and creating exceptional exotic variety
Congress, or Murder in Territorial Waters (Izza ingenious and innovative artist. He holds which highlights the formed tonal patterns.
kongresa ali Umor v teritorialnih vodah, 1993), a special place among the modern theatre Unusual and brilliantly played parts can be
she proved with her following work artists due to his relaxed manner which heard throughout the composition, while
Roommates (Cimre, 1995) and a collection speaks of both his talent and intensive study a variety of percussion instruments are
of short stories Wild Beasts (Zverjad, 1996) of the characters he portrays, of his major intertwined in a unique and sonically attractive
that she is not only eloquent in the popular acting instinct and his comprehension of manner. The Third Symphony represents
genre of thriller but that she masters various the zeitgeist he narrates on stage. He Alojz Ajdič as an innovative artist with an
literary methods which transform writing has performed numerous convincing honest and enthusiastic creative stance.
of ordinary thrilling stories into an art. /.../ interpretations ranging from European
classics to modern antique dramatics. /.../ From the publication Prešeren Fund 1997. Ljubljana: Prešeren
From the publication Prešeren Fund 1997. Ljubljana: Prešeren Fund Board, 1997.
Fund Board, 1997. From the publication Prešeren Fund 1997. Ljubljana: Prešeren
Fund Board, 1997.

49

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1997

BJANKA ADŽIĆ URSULOV

kostumografka / costume designer
50

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1997

M ATJA Ž P O G R A J C

režiser / director

51

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1997

TUGO ŠUŠNIK

slikar / painter
52

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1997

MAJA NOVAK

pisateljica / writer

53

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1997

JERNEJ ŠUGMAN

igralec / actor
54

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1997

ALOJZ AJDIČ

skladatelj / composer

55

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 1998

Arhitektka Meta Hočevar se je v zadnjih petindvajsetih letih formirala nesporno kot vodilna
in najizrazitejša scenografka v sodobnem slovenskem gledališču, zanesljivo pa se je uveljavila tudi
v mednarodnem gledališkem prostoru. Njen izredno obsežen, v konceptu in izvedbi dobro premišljen
in teoretsko podprt umetniški opus z veliko vitalnostjo in domiselnostjo potrjuje, da je scenografija med
temeljnimi in merodajnimi določili modernega odrskega izraza. Tako je scenografsko delo Mete Hočevar
zasnovano na misli, da je gledališče integralna umetnost, katere temelj sta igra in prostor. Zato odrska
arhitektura ali v najširšem smislu likovna dimenzija uprizoritev ni le stvar funkcionalne »zunanje«
opreme, ampak samosvojega in izvirnega oblikovanja primarnega ambienta za igro in je zato bistveni
sestavni del gledališke umetnine. Za scenografski opus Mete Hočevar je značilna izredno občutljiva,
natančna in duhovita selekcija likovnih materialov, zmeraj v polnem estetskem soglasju z dramsko
predlogo in režijo. Posebej pomembno je njeno sistematično raziskovanje »dramaturgije prostora« –
semantičnih vrednosti, ki jih vzpostavlja razmerje med igralčevo figuro in odrskim volumnom, med
gibljivimi in statičnimi odrskimi znaki. Ni naključje, da njene scenografske zamisli v zadnjih letih zato
vse pogosteje in uspešno preraščajo v samostojno in celovito režijsko oblikovanje. /.../

Povzeto po besedilu v zborniku Prešernov sklad 1998. Ljubljana: Upravni odbor Prešernovega sklada, 1998.

In the last 25 years, architect Meta Hočevar has built an undisputed reputation as a leading and
most prominent set designer in the contemporary theatre of Slovenia, while also establishing herself
internationally. Well-thought-out in both concept and execution and built on a firm theoretical
background, her massive body of work has proven with its vitality and ingenuity that set design is one
of the fundamental, most definitive determinants of modern theatre expression. Meta Hočevar’s set
designs are based on the idea that theatre is an integral art grounded on acting and space. Therefore,
stage architecture or the visual dimension of a performance in the broadest sense is not merely about
practical “exterior” design, but about creating an original space with character, a primary setting for
acting. As such, it makes an essential part of a theatrical piece of art. The set designs of Meta Hočevar
are known for their highly sensitive, careful, witty choice of materials, which are invariably in full
aesthetic sync with the play and the direction. Another aspect of special importance is her systematic
exploration of the “dramatic structure of the space” – the semantic meanings created in the interplay
between the actor’s figure and the volume of the stage, between moving and static theatre signs.
It is therefore no coincidence that in the recent years, her set design ideas have increasingly started
to grow, and successfully so, into fully-fledged, comprehensive designs of her as a director. /.../

From the publication Prešeren Fund 1998. Ljubljana: Prešeren Fund Board, 1998.

56

META HOČEVAR

arhitektka / architect

57

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 1998

Saša Vuga se je zapisal v slovensko književnost zadnjih desetletij kot avtor, ki ustvarja z estetsko
rafiniranostjo in jezikovno inventivnostjo obsežen, raznolik, samosvoj literarni svet. Pisateljev opus
obsega vse od mladinske proze, novelističnih zbirk, dveh obsežnih knjig radijskih in televizijskih iger –
Vuga sodi pri nas med njihove pionirske ustvarjalce – do osrednjih del tega opusa: romanov. V svojih
velikih pripovednih tekstih, v trilogiji Erazem Predjamski (1978) in romanu v dveh delih Krtov kralj (1987),
je pisatelj ustvaril na zgodovinsko preverljivem ozadju izvirno izmišljijsko pripoved in to s skrajno
osredotočenim, minuciozno ubesedenim čutom, posluhom in darom za upodabljanje veličastnih
zgodovinskih fresk in globoko pretresljivih človeških usod, ki so v najbolj žlahtnem smislu »starožitne«,
kakor tudi sodobne, celo boleče aktualne. Travmatični dogodki iz naše polpretekle zgodovine so zaživeli
na poseben način v pisateljevem najnovejšem romanu Opomin k čuječnosti (1997). Gre za pretresljivo
pripoved in izpoved, ki s subtilnim presojanjem in tehtanjem odstira ideološke ločitve in sovražne
antagonizme, travmatične pajčolane človeške groze in tragike v pisateljevem Posočju ob koncu druge
svetovne vojne. Saša Vuga dviguje z jezikom pesnika grozo zla, niča in človeške reve v odrešujoč opomin
k čuječnosti. /.../

Povzeto po besedilu v zborniku Prešernov sklad 1998. Ljubljana: Upravni odbor Prešernovega sklada, 1998.

Saša Vuga has been recognised in the Slovenian literary landscape of the last few decades as an
author who has employed an aesthetically refined and linguistically ingenious approach to create a vast,
versatile, distinct literary world. His body of work extends across a broad range, from youth fiction,
collections of novellas, two vast collections of radio and TV dramas – in this field Vuga is considered
a national-level pioneer – to the core of his writing: novels. In his voluminous narrative works, trilogy
Erazem Predjamski (1978) and two-volume novel The Mole King (Krtov kralj, 1987), the author built
against a historically verifiable background an original fictional story, using his carefully focused,
meticulously articulated sense, feel and talent for bringing to life glorious historical frescoes and
poignant human destinies, which could be referred to as ancient in the noblest sense of the word but
also speak almost painfully to this day. The traumatic events of Slovenia’s recent past were depicted
in a new light in the author’s latest novel A Reminder to Mindfulness (Opomin k čuječnosti, 1997),
a harrowing account that subtly weighs and balances to speak about ideological barriers and hostile
antagonisms, lifting the traumatic veils of human terror and exploring the tragedies that unfolded in
the author’s home region of Posočje towards the end of World War II. Using a poetic language, Saša Vuga
raises the terror of evil, nothingness and human misery into a liberating reminder to mindfulness. /.../

From the publication Prešeren Fund 1998. Ljubljana: Prešeren Fund Board, 1998.

58

SAŠA VUGA

pisatelj / writer

59

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

IGOR ŠTERK ETA SADAR BREZNIK MILADA KALEZIĆ

Celovečerni prvenec režiserja Igorja Šterka Eta Sadar Breznik v svojem unikatnem Milada Kalezić se je po zelo zapaženem
Ekspres, ekspres predstavlja dosežek oblikovanju tkane prostorske objekte osvobaja začetku z vlogo Darinke v Šeligovi Čarovnici
slovenskega filma devetdesetih let. tradicionalne vezanosti na steno in ustvarja iz Zgornje Davče povzpela med nosilce
Z avtorjevim rokopisom ponovno vstopamo s posegi v prostor povsem nove skulpturalno repertoarja v celjskem gledališču. Posebni
v polje, kjer je umetniška govorica temeljni občutene in barvno intenzivne rešitve. kov temperamenta, ki je v na videz prvinskih
instrument za ustvarjanje in priklic emocij, Njene prosto padajoče senzibilne površine izbruhih enako prepričljiv kot v mrzlo
za sprožanje miselnih stanj in za oblikovanje so prepletajoča se, iz svilenih niti stkana, racionalnih diskurzih ali v pretanjeno
idej. Ekspres, ekspres v prvi vrsti sloni na ritmično vzvalovana prostorska telesa. erotičnem spogledovanju, ji omogoča zelo
podobi in zvoku, na verižnih učinkih med Gledalca zvabljajo v imaginarne svetove, širok igralski razpon, pri čemer se tako
podobami ter na soglasju in kontrapunktu zajete med glasbo stkanega ostenja, ki klasičnih kot sodobnih dramskih in komedijskih
med podobami in zvokom. /.../ v prosojnosti tkanine izgublja materialno likov loteva z enako visoko profesionalnostjo,
eksistenco in se mehko spaja s prostorom disciplinirano in studiozno. /.../
Povzeto po besedilu v zborniku Prešernov sklad 1998. v sugestivno, poetično ambientalno in
Ljubljana: Upravni odbor Prešernovega sklada, 1998. sanjsko občuteno celoto. /.../ Povzeto po besedilu v zborniku Prešernov sklad 1998.
Ljubljana: Upravni odbor Prešernovega sklada, 1998.
Povzeto po besedilu v zborniku Prešernov sklad 1998.
Ljubljana: Upravni odbor Prešernovega sklada, 1998.

Igor Šterk’s feature debut Express, Express With her original design, Eta Sadar Breznik After her very prominent debut with the role
(Ekspres, ekspres) marks a milestone in the frees woven spatial objects of their traditional of Darinka in Rudi Šeligo’s play The Witch from
Slovenian cinema of the 1990s. The position on the wall, intervening in space to Zgornja Davča (Čarovnica iz Zgornje Davče)
filmmaker’s signature style enables us to arrive at new colour intense solutions that Milada Kalezić rose to become one of the
re-enter the field where the artistic language appear as sculptures. Her freely cascading leading members of the Celje theatre resident
is the essential tool for generating and evoking sensitive surfaces are intertwining, acting company. Being of a special kidney,
emotions, inducing mental states and forming rhythmically undulating spatial bodies woven which is as convincing in seemingly primal
ideas. Express, Express primarily relies on of silk threads. They lure the spectator into outbreaks as in a cold rational discourse or
image and sound, on chain reactions between imaginary worlds found in the music of the a subtle erotic flirtation, she can take on a
images, and on the accord and counterpoint woven walls, which in the translucence of the wide array of character roles, from classic
between images and sound. /.../ fabric lose their material existence and softly to contemporary drama or comedy, invariably
merge with the space into a suggestive, investing the same high degree of
From the publication Prešeren Fund 1998. Ljubljana: Prešeren poetically ambient, dream-like whole. /.../ professionalism, discipline and study. /.../
Fund Board, 1998.
From the publication Prešeren Fund 1998. Ljubljana: Prešeren From the publication Prešeren Fund 1998. Ljubljana: Prešeren
Fund Board, 1998. Fund Board, 1998.

60

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

MATJAŽ FARIČ JAKOV BRDAR UROŠ KALČIČ

Plesalec in koreograf sodobne plesne smeri Kipar Jakov Brdar sodi v generacijo slovenskih Uroš Kalčič se je v slovenski literarni zavesti
Matjaž Farič nam je v nekaj več kot desetih kiparjev, ki so se oblikovali v sedemdesetih, usidral kot mojstrski novelist že s knjigama
letih svoje plesne kariere ustvaril med svojimi svoja vrhunska dela pa ustvarili v osemdesetih Mehika (1979) in Dokumenti o čričkih (1987).
kolegi najštevilnejši in vseskozi visoko in devetdesetih letih. Generacija predstavlja V Numerih (1996) ostaja zvest svoji dotedanji
kvaliteten avtorski opus. Labodje jezero, kvalitetni vrh povojne slovenske skulpture, pisateljski govorici, za katero sta značilna
Romeo in Julija ter Posvečenje pomladi so ki odmeva tudi zunaj nacionalnih meja. ukvarjanje z novelo in izrazita težnja po
temeljna dela baletne klasike, ki jih je Farič V Brdarjevem kiparskem opusu bi težko slogovnem perfekcionizmu. Hkrati pa se Kalčič
po nekajletnem intenzivnem delu, temelječem govorili o več različnih obdobjih, celo slogovni kaže kot pretanjen raziskovalec lastne pisave;
na spoštljivi fascinaciji s plesno zgodovino, razvoj je zanemarljiv. Že od samega začetka je zbirka novel je tokrat s pomočjo pretehtane
preinterpretiral in strukturiral skozi pogled namreč v ospredju gib, poteza roke, ki izbrani kompozicije in skupnega miselnega ozadja
svojega časa in združena predstavil v Trilogiji. materiji, največkrat glini, oživi skulpturo nadgrajena v enovito zgradbo, ki je še najbližje
Če pomeni Trilogija vrhunec koreografovega na skrajno čuten, ekspresiven, a hkrati romanu kot po svoji naravi izrazito odprti
dotedanjega dela, je v Klonu postavil svoj inteligibilen, poduhovljen način. /.../ literarni formi. /.../
presežek. /.../ Z njim je Matjaž Farič dosegel
svojo plesno popolnost. Povzeto po besedilu v zborniku Prešernov sklad 1998. Povzeto po besedilu v zborniku Prešernov sklad 1998.
Ljubljana: Upravni odbor Prešernovega sklada, 1998. Ljubljana: Upravni odbor Prešernovega sklada, 1998.
Povzeto po besedilu v zborniku Prešernov sklad 1998.
Ljubljana: Upravni odbor Prešernovega sklada, 1998.

In just over ten years of his career in dance, Sculptor Jakov Brdar is a member of the Uroš Kalčič first came to be recognised
dancer and contemporary dance generation of Slovenian sculptors who in the Slovenian literary landscape as a
choreographer Matjaž Farič has created emerged in the 1970s and reached the masterful novella writer with his works
a bigger body of original work than any of pinnacle of their creativity in the 80s and 90s. Mexico (Mehika, 1979) and Records on crickets
his colleagues, all the while invariably The generation marks the qualitative climax (Dokumenti o čričkih, 1987). In Numeri (1996),
maintaining a high level of quality. The Swan of the Slovenian post-WWII sculpture, which he remains true to his long-term literary
Lake, Romeo and Juliet, and The Rite of resounds beyond the country’s borders. language characterised by his interest in
Spring are the ballet classics which Farič Brdar’s body of work could hardly be divided the novella and marked aspirations towards
reinterpreted and structured from the into phases, even his stylistic evolution stylistic perfection. At the same time, Kalčič
perspective of his time to bring them together has been insignificant. From the very start, comes across as a subtle explorer of his own
in a choreography entitled Trilogy (Trilogija), the focus has been on hand positions and writings: the well-thought-out composition
following several years of intense creative gestures, which bring the sculpture in the and a common underlying idea raise the
endeavours permeated by respectful material of choice, most often clay, into life collection of novellas into a work of a uniform
fascination with the history of dance. If Trilogy in a highly sensual, expressive, yet intelligible, structure reminiscent of a novel as a literary
marked the pinnacle of the choreographer’s spiritual way. /.../ form of a distinctly open nature. /.../
career until then, Clone (Klon) went beyond
this /.../ It was with this performance that From the publication Prešeren Fund 1998. Ljubljana: Prešeren From the publication Prešeren Fund 1998. Ljubljana: Prešeren
Matjaž Farič found his creative perfection. Fund Board, 1998. Fund Board, 1998.

From the publication Prešeren Fund 1998. Ljubljana: Prešeren
Fund Board, 1998.

61

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

IGOR ŠTERK

režiser / director
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

ETA SADAR BREZNIK

oblikovalka / designer

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

MILADA KALEZIĆ

igralka / actress
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

M ATJA Ž FA R I Č

plesalec in koreograf / dancer and choreographer

65

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

JAKOV BRDAR

kipar / sculptor
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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1998

UROŠ KALČIČ

pisatelj / writer

67

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 1999

Glasba, ki jo je skozi petinštirideset let ustvarjal Alojz Srebotnjak, je nastajala kot sad navdiha
in razmišljujočega odnosa do tonskega okolja. Svojo strokovno neomajnost je dokazoval z izbrušeno
kompozicijsko tehniko in danostjo odmerjenega umetniškega oblikovanja. Raznovrstnost kompozicijskih
tehnik in sloga, različnost oblikovalnega pristopa in vsebin, vznemirjenost duha v prostoru, ki mu je bil
v spodbudo, so tiste osnovne značilnosti Srebotnjakove umetniške sugestivnosti, ki jih najdemo tako
v zgodnjih kot v poznih delih, tako v intimno ubranih komornih in v koncertantno kontrastnih klavirskih
kot v široko zasnovanih orkestrskih, glasbeno-scenskih in vokalno-instrumentalnih delih. Čas je pokazal,
kako umetniško čisto je njegovo tonsko doživljanje besed, ki najdejo novo in drugačno ekspresivnost
glasu, trpkost pomenov in vsebin. Beseda, ki jo je Srebotnjak ozvočil, je bila največkrat Kosovelova,
nekajkrat Kettejeva, Prešernova, Gregorčičeva, Gradnikova in Balantičeva, pa tudi ljudska. In tako so
nastajale drobne zborovske umetnine – med njimi Bori, Pridi, dobri oče, cikli samospevov – med njimi
Mati za glas in godalni kvartet, Soneti, Portret pesnika – za glas in klavir, pa tudi kantate – Naivni Orfej,
Ekstaza smrti in Zjasni zvezde mu temne. /.../

Povzeto po besedilu v zborniku Prešernov sklad 1999. Ljubljana: Upravni odbor Prešernovega sklada, 1999.

The music written by Alojz Srebotnjak over the last 45 years has been inspired by and results from
his contemplative approach to the tonal environment. Attesting to his professional firmness are his
refined composition technique and measured artistic treatment. The variety of composition techniques
and styles, the diversity of creative approaches and subjects, the spiritual excitement in the
surroundings that inspired him; these are the core features of Srebotnjak’s artistic evocativeness, found
in his early and more recent works alike, in intimate chamber and concerted piano compositions as well
as lavishly conceived works for orchestra, music theatre, and vocal & instrumental ensembles. Time
has shown the refined level of his tonal experiencing of words, which take on a new, different expression
and reveal the bitterness of meanings and subjects. Most of the words to which Srebotnjak has given
a new life in music were written by Kosovel, some by Kette, Prešeren, Gregorčič, Gradnik and Balantič,
others still were taken from folk literature. This has given rise to small choral music masterpieces
such as Pine Trees (Bori), Come, Good Father (Pridi, dobri oče), cycles of songs, including Mother (Mati)
for voice and string quartet, Sonnets (Soneti), The Portrait of a Poet (Portret pesnika) for voice and piano,
and cantatas A Village Orpheus (Naivni Orfej), Ecstasy of Death (Ekstaza smrti), and Dark Stars,
Brighten Up! (Zjasni zvezde mu temne). /.../

From the publication Prešeren Fund 1999. Ljubljana: Prešeren Fund Board, 1999.

68

ALOJZ SREBOTNJAK

skladatelj / composer

69

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 1999

/.../ Šalamunovi verzi se kljub modernizmu, kateremu pripadajo, niso nikoli dotaknili skrajnega roba
moralnega, socialnega in duhovnega nihilizma. V njegovi pesniški vezenini je zaznavna sled božanskega,
katerega navzočnosti se zapisovalec nikoli ne odreče. Razmerje med pesnikom in božanstvom je odprto,
ambivalentno, paradoksalno in izmuzljivo. Včasih bogokletno, sarkastično, izzivalno, drugič spet igrivo,
ljubeznivo. Ta odnos je protejski, spremenljiv kot tok reke, ki je ob izviru hitra, živahna in poskočna,
ob izlivu mirna, spokojna in počasna. Pesnikova domišljija združuje nasprotja v pare, ki so v vsakdanji
resničnosti nezdružljivi. Z roko v roki vstopajo v čudežno poetično pojavnost nežnost in ironija, svetost
in blasfemija, igra in nevarnost, izzivanje in milost. Resnični protagonist Šalamunove poezije je jezik,
ki resničnosti ne posnema, temveč jo ustvarja v izvirni in neponovljivi obliki. /.../

Povzeto po besedilu v zborniku Prešernov sklad 1999. Ljubljana: Upravni odbor Prešernovega sklada, 1999.

/.../ Even though they are rooted in modernism, Šalamun’s verses have never touched the far edges
of moral, social and spiritual nihilism. His poetic fabric shows traces of the divine, the presence of
which the author never surrenders. The relation between the poet and the deity is open, ambivalent,
contradictory, elusive. At times blasphemous, sarcastic, provocative, at other times playful, affectionate.
This is a protean relationship, changing like the course of a river: brisk, lively, frisky at the spring
and calm, tranquil, sluggish towards the outfall. The poet’s imagination combines opposites in couples
that are irreconcilable in everyday reality. Affection and irony, sacredness and blasphemy, playfulness
and danger, provocation and grace go hand in hand into a magical poetic objectivity. The true protagonist
of Šalamun’s poetry is language, which rather than imitating reality creates it anew in an original,
unparalleled form. /.../

From the publication Prešeren Fund 1999. Ljubljana: Prešeren Fund Board, 1999.

70

TOMAŽ ŠALAMUN

pesnik / poet

71

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

MARCOS FINK, NATAŠA VALANT ANDREJ ZDRAVIČ ZVONKO ČOH, MILAN ERIČ

/.../ Zgodil se je dan, ki ga je svet posvetil 200. Andrej Zdravič s kamero omogoča gledalcu, Socializacija bika, animirani film Zvonka Čoha
obletnici Schubertovega rojstva. In na ta dan da vidi reko Sočo hkrati pod vodo in nad njo. in Milana Eriča, je v naši kinematografiji
sta basbaritonist Marcos Fink in pianistka Vendar tisto, kar je posnel, ne sodi na področje zagotovo povsem izjemen dosežek. /.../
Nataša Valant pred Evropo in zanjo poustvarila znanosti, saj noče biti objektiven zapis. Poglavitne in izjemne so notranje umetniške
Schubertov pevski ciklus Labodji spev. Glas V spreminjajočem ritmu se vrstijo podobe kvalitete Čohove in Eričeve filmske
se je poistovetil s Schubertovo glasbo, in se kakor v kalejdoskopskih premikih mojstrovine. Z več kot domiselno in duhovito,
z besedami in pevskim izrazom, z vsebino spreminjajo iz konkretnih v abstraktne, izvrstno animirano risbo avtorja uprizarjata
in neločljivo senzibilnostjo. Glas pa je dopolnil iz prepoznavnih v neprepoznavne, učinkovito zgrajeno, dramatično igrivo filmsko
svoj umetniški izraz z odbrano klavirsko igro, iz zemeljskih in vodnih v oblike, podobne zgodbo o perečih in komičnih pojavih naše
ki je dala pesmim harmonsko lebdenje živalim, rastlinam, ljudem. Dojemanje izgublja sodobnosti, v širokem tematskem razponu
in muzikalno sopotništvo. vodoravno-navpične oporne točke. /.../ med ljubeznijo in politiko, realnostjo
in fantastiko – vseskozi z občudovanja vredno
Povzeto po besedilu v zborniku Prešernov sklad 1999. Povzeto po besedilu v zborniku Prešernov sklad 1999. lucidnostjo in blesteče natančnim satiričnim
Ljubljana: Upravni odbor Prešernovega sklada, 1999. Ljubljana: Upravni odbor Prešernovega sklada, 1999. humorjem.

Povzeto po besedilu v zborniku Prešernov sklad 1999.
Ljubljana: Upravni odbor Prešernovega sklada, 1999.

/.../ The day came when the world celebrated By means of a camera, Andrej Zdravič enables Socialisation of the Bull (Socializacija bika),
the 200th anniversary of Schubert’s birth. his audience to see the river Soča above an animated film by Zvonko Čoh and Milan
It was on this day that bass-baritone Marcos and below the water’s surface. Yet what Erič, is without doubt an outstanding
Fink and pianist Nataša Valant staged, before Zdravič captures is not science, refusing to be achievement in the Slovenian cinema /.../
Europe and for Europe, a performance an objective document. Images are sequenced What makes Čoh and Erič’s masterpiece stand
of Schubert’s Swan Song. The voice identified in a changing rhythm, transforming as in out are its remarkable internal artistic
with Schubert’s music, with the words a kaleidoscope from concrete into abstract, qualities. With their striking animated drawing
and artistic expression, with the subject from recognisable into undistinguishable, from that goes beyond original and witty,
matter and immanent sensitivity. The voice earthly and watery into shapes reminiscent of the authors tell an effectively structured,
was complemented in its expression by animals, plants and people. Perception starts dramatically playful story about pressing,
refined piano playing, taking the songs to a to lose its horizontal and vertical pointers. /.../ comical phenomena of today, ranging from
state of harmonious levitation and providing love to politics, reality to fantasy – always
them with musical companionship. From the publication Prešeren Fund 1999. Ljubljana: Prešeren with admirable shrewdness and brilliantly
Fund Board, 1999. spot-on satirical humour.
From the publication Prešeren Fund 1999. Ljubljana: Prešeren
Fund Board, 1999. From the publication Prešeren Fund 1999. Ljubljana: Prešeren
Fund Board, 1999.

72

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

JANI VIRK KOMORNI GODALNI ORKESTER ŽIVKO MARUŠIČ
SLOVENSKE FILHARMONIJE
Jani Virk v najnovejši zbirki kratkih zgodb Slikar Živko Marušič je vstopil v sodobno
s pomenljivim naslovom Pogled na Tycho Štirinajst godalcev, in med njimi kot umetniški slovensko likovno umetnost v začetku
Brache v svoji mojstrski maniri odstre pogled vodja violončelist Andrej Petrač, je svoje sedemdesetih let in jo do danes zaznamoval
na razklanega in osamljenega človeka, izkušnje in sposobnosti iz simfoničnega z izrazito svojskim, osebnim pristopom, kar
razpetega med fizično nujnost in hrepenenje orkestra preneslo v bolj intimno zasnovano ga postavlja med vodilne slovenske umetnike,
srca. Materijo svoje umetniške raziskave nam druženje komornega godalnega orkestra. /.../ ki odmevajo tudi zunaj nacionalnih meja,
avtor razkrije že v samem naslovu zbirke, S sijajno godalno tehniko, s pronicljivim predvsem v Italiji. Značilnosti Marušičevega
v katerem se skriva ime slavnega danskega glasbeniškim navdihom je v zadnjih dveh letih slikarskega opusa so (p)oseben tretma
astronoma, nadaljevalca kopernikanske poglobil sposobnost poustvarjanja, pri tem likovnega prostora, ekspresivna gesta,
revolucije, ki je s svojim delom še poglobil pa se je zavestno bogatil s skladbami značilen »divji« kolorit in izviren pristop k
razkol s staro metafiziko. /.../ slovenskih skladateljev ter z nastopi, ki so figuraliki, ki ga umešča med vodilne evropske
glasbo približevali poslušalcem po slovenskih predstavnike figuralnega slikarstva. /.../
Povzeto po besedilu v zborniku Prešernov sklad 1999. mestih in jo v soočenju z najboljšimi med
Ljubljana: Upravni odbor Prešernovega sklada, 1999. sijajnimi ostrili tudi na tujih odrih. Povzeto po besedilu v zborniku Prešernov sklad 1999.
Ljubljana: Upravni odbor Prešernovega sklada, 1999.
Povzeto po besedilu v zborniku Prešernov sklad 1999.
Ljubljana: Upravni odbor Prešernovega sklada, 1999.

In his latest collection of short stories tellingly THE SLOVENE PHILHARMONIC After entering the Slovenian contemporary
entitled A View of Tycho Brache (Pogled na STRING CHAMBER ORCHESTRA fine art scene in the early 1970s, painter
Tycho Brache), Jani Virk employs his masterly Živko Marušič has left a mark with his distinct
skill to portray a lonely man torn between Fourteen string players with violoncellist signature-style approach and grown to
physical urgency and longings of the heart. Andrej Petrač as the artistic director have become one of the leading artists in Slovenia,
The subject of his artistic exploration is first transferred their experience and skills from who is also recognised outside the country,
revealed in the title, which contains the a symphony orchestra into a more intimately particularly in Italy. Known for special
name of a famed Danish astronomer and structured company of a string chamber personal treatment of the artistic landscape,
continuator of the Copernican revolution orchestra /.../ In the last two years, the an expressive gesture, a “wild” colour palette,
whose work further deepened the split with orchestra has honed its interpretative and an original approach to figuration,
the old metaphysics. /.../ abilities with its brilliant string technique Marušič’s body of work makes him one
and perceptive musical inspiration, while of the leading European representatives
From the publication Prešeren Fund 1999. Ljubljana: Prešeren consciously adding to its character with works of figurative painting. /.../
Fund Board, 1999. by Slovenian composers and with live
performances that have brought their music From the publication Prešeren Fund 1999. Ljubljana: Prešeren
to people in towns across Slovenia and Fund Board, 1999.
in encounter with the best of the best on
foreign stages.

From the publication Prešeren Fund 1999. Ljubljana: Prešeren
Fund Board, 1999.

73

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

NATAŠA VAL ANT, MARCOS FINK

pianistka in basbaritonist / pianist and bass-baritone
74

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

ANDREJ ZDRAVIČ

video umetnik / video artist

75

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

MILAN ERIČ, ZVONKO ČOH

animatorja-ilustratorja / animators and illustrators
76

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

JANI VIRK

pisatelj / writer

77

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

KOMORNI GODALNI ORKESTER SLOVENSKE FILHARMONIJE

THE SLOVENE PHILHARMONIC STRING CHAMBER ORCHESTRA
78

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 1999

ŽIVKO MARUŠIČ

slikar / painter

79

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2000

Pesniški svet Svetlane Makarovič je eden najbolj samosvojih in izrazitih pesniških svetov v naši sodobni
liriki. Pesnica je v njem ustvarila prepričljivo in pretresljivo različico temne moderne lirike. Njena poetika
korenini v melosu, leksiki in simboliki slovenske ljudske, še posebej baladne pesmi, pri čemer arhaična,
mitska tematika prehaja v srhljiva občutja modernega sveta. V pesniških zbirkah, kot so Volčje jagode,
Srčevec, Pelin žena, Vojskin čas, Izštevanja, Sosed gora, Tisti čas, sodobni človek prepoznava svojo kruto,
sebično naravo, svojo moralno klavrnost in tujost. Tudi erotika se v pesmih Svetlane Makarovič sprevrača
v tujstvo, trpljenje, sovraštvo. Velika in izjemna umetniška moč te poezije je v tem, da niti za hip ne
moralizira, saj avtorica ustvarja z nenavadnim prepletom tragičnih in ironičnih tonov svojevrsten pesniški
svet. Gre za umetniško polnokrvno liriko, ki je daleč od abstraktne, umovalne poezije. Odlikujejo jo besedna
in pomenska intenzivnost, slikovita baladnost, grotesknost, sanjskost in magična ritmičnost. Čeprav pesmi
Svetlane Makarovič prinašajo temno vizijo sveta, so, ko upesnjujejo eksistencialni položaj modernega
človeka, hkrati obsijane s posebno svetlobo. Le-ta sije iz spoznanja, da je človek rojen za svobodo,
sije iz lepote in poguma, s katerima pesnica izpisuje svoj individualizem, svojo enost, samost. /.../

Povzeto po besedilu v zborniku Prešernov sklad 2000. Ljubljana: Upravni odbor Prešernovega sklada, 2000.

The poetry of Svetlana Makarovič makes up one of the most innovative, unconventional voices in
contemporary poetry in Slovenia. Within this world, the poet has created a compelling, poignant version
of sombre modern lyricism. Her poetics is rooted in the mood, vocabulary and symbolism of the
Slovenian folk song, ballad in particular, with archaic, mythical subjects giving way to eerie sentiments
of the present day reality. In her poetry collections such as The Deadly Nightshades (Volčje jagode),
The Heart Potion (Srčevec), The Wormwood Woman (Pelin žena), Time of War (Vojskin čas), Count Out
(Izštevanja), Neighbour Mountain (Sosed gora), That Time (Tisti čas), modern humans can recognise
the cruelness, selfishness of their nature, their moral poverty and alienation. Eroticism, too, turns
in Svetlana Makarovič’s poems into estrangement, suffering, hatred. The great, remarkable power
of this poetry lies in the fact that it is in no way moralistic, the author building a unique poetic world
by unconventionally combining tragic and ironic tones. This artistically full-blooded lyricism is far from
abstract, ratiocinative poetry. Its qualities include the intensity of language and subject matter, ballad-
style vividness, grotesqueness, a dreamlike mood, and a magical rhythm. While painting a dark vision
of the world, Makarovič’s poems are, when putting into words the existential position of the modern
human being, enveloped by a special aura of light. This light comes from the realisation that humans
are born to be free; it stems from the beauty and courage the poet demonstrates to convey her
individualism, her oneness, her singularity. /.../

From the publication Prešeren Fund 2000. Ljubljana: Prešeren Fund Board, 2000.

80

SVETLANA MAKAROVIČ

pesnica / poetess

81

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2000

V mozaični poslikavi kapele Odrešenikove Matere v Vatikanu se je akademski slikar pater Marko Rupnik
kot velik poznavalec vzhodnega krščanstva simbolično oprl na bizantinsko likovno in duhovno izročilo
in nanj cepil ekspresivnost sodobnega likovnega izraza. Zato njegova poslikava ni historični posnetek,
marveč starodavno dediščino suvereno prereja z ustvarjalnim pogumom in otroško vero ter vanjo vnaša
avtorjevo osebno izkušnjo in milenijsko zazrtost v skrivno prihodnost, ki jo med motivi najbolj jasno
naznanja Kristusov drugi prihod na vhodni strani kapele. Ritmično razgibani žareči slap živo barvitih
figuralnih svetopisemskih vizij, vpetih v abstraktno, celoto povezujočo mozaično osnovo, s svojo
izraznostjo nagovarja tudi gledalca, ki ni poučen v večplastnosti vseh vanj vtkanih teoloških pomenov.
Obiskovalca kapele optimistično oblije utripanje podob, ki priklicujejo v zračni prostor onstransko vizijo,
v kateri se srečujejo pogledi davnih očakov in predstave sodobnega ustvarjalca. /.../

Povzeto po besedilu v zborniku Prešernov sklad 2000. Ljubljana: Upravni odbor Prešernovega sklada, 2000.

In mosaicking the Redemptoris Mater Chapel in Vatican City, academy-trained painter Marko Rupnik
as a connoisseur of Eastern Christianity symbolically drew on the Byzantine art and spiritual heritage,
combining it with the affective nature of the contemporary expression in art. Rather than imitating
history, his mosaic confidently rearranges the ancient heritage with creative courage and a naive faith,
completing it with the author’s personal experience and the end-of-millennium fixation on the
mysterious nature of the future, most notably symbolised by the motif of Christ’s second coming on
the entrance side of the chapel. Figurative biblical visions pour in glaring, vivid colours and a dynamic
rhythm against an abstract overarching mosaic background, speaking with their expressiveness even
to those who are unfamiliar with the complexity of all the implied theological meanings. A visitor is
encouragingly overwhelmed by a pulsation of images evoking a vision of the afterlife in which the
beliefs of ancient fathers meet the ideas of a contemporary artist. /.../

From the publication Prešeren Fund 2000. Ljubljana: Prešeren Fund Board, 2000.

82

MARKO RUPNIK

slikar / painter

83

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

VINKO MÖDERNDORFER SAŠA PAVČEK MIRAN KOLBL

/.../ Svoj umetniški vrh je nedvomno dosegel Igralka Saša Pavček je v minulih dveh sezonah Violinist in koncertni mojster orkestra
s knjigo Nekatere ljubezni, dvodelno zbirko ustvarila raznovrstno galerijo zares odličnih, Slovenske filharmonije Miran Kolbl je
zgodb o čustvu iz naslova. Gre za nekakšne domiselno in natančno izoblikovanih vlog. /.../ v lanskem letu poustvaril vrsto vrhunskih
variacije na temo, ki nam posredujejo bolj ali Med drugimi se še posebej odlikujeta vlogi solističnih delov v orkestrskih partiturah
manj izmišljene biografije znamenitih Estrelle v Calderónovi baročni drami Življenje (posebej velja omeniti izvedbo in posnetek suite
osebnosti našega časa v koordinatah resničnih je sen in Varje v tragikomediji Češnjev vrt Žlahtni meščan Richarda Straussa v Ljubljani
podatkov in v drugem delu večinoma v prvi Antona Pavloviča Čehova. /.../ Nič manj izrazita in izvedbo Ruskega plesa Petra Iljiča
osebi izpovedane doživljaje za kulisami ni solistična figura Luče v komediji Marjana Čajkovskega na gostovanju v Angliji), kjer je bil
zgodovine ali mimo njih, ko je v drobni Tomšiča Bužec on, bužca jaz, ki jo je Pavčkova violinski part enakovreden mnogim solističnim
vsakdanjosti pomemben samo odnos med odigrala v dialektu ne le z radoživim komičnim violinskim koncertom. /.../ Vrhunec njegovih
bitjema, ki se privlačita ali odbijata. /.../ zamahom, ampak hkrati tako, da je umetniških dosežkov pa predstavlja izvedba
z neponovljivim humorjem spregovorila tudi Violinskega koncerta Felixa Mendelssohna
Povzeto po besedilu v zborniku Prešernov sklad 2000. o skritih, temnejših razsežnostih življenja. in zlasti krstna izvedba Violinskega koncerta
Ljubljana: Upravni odbor Prešernovega sklada, 2000. Alojza Ajdiča z orkestrom Slovenske
Povzeto po besedilu v zborniku Prešernov sklad 2000. filharmonije pod taktirko Milana Horvata, ki sodi
Ljubljana: Upravni odbor Prešernovega sklada, 2000. med najvidnejše glasbene dogodke leta 1999.

Povzeto po besedilu v zborniku Prešernov sklad 2000.
Ljubljana: Upravni odbor Prešernovega sklada, 2000.

/.../ Möderndorfer’s creativity peaked with his Actress Saša Pavček has portrayed a wide Miran Kolbl, violinist and concertmaster of the
book Some Loves (Nekatere ljubezni), a two- array of outstanding, innovatively and Slovenian Philharmonic Orchestra, emerged
part collection of stories on the title emotion. meticulously crafted roles. /.../ Among them, last year as an interpreter of a number of
The stories could be considered variations on two particularly notable were Estrella in outstanding solos in orchestral scores (most
a theme, dealing with more or less fictitious Calderón’s baroque drama Life Is a Dream, notably performance and recording of Richard
biographies of celebrated personalities of our and Varya in Anton Pavlovich Chekhov’s Strauss’s suite Le bourgeois gentilhomme
time in real-life coordinates in the first part, tragicomedy The Cherry Orchard. /.../ No less in Ljubljana, and performance of the Russian
and delivering in the second part what are noteworthy is the solo character of Luča in Dance by Pyotr Ilyich Tchaikovsky on a tour
mostly first-person accounts of experiences Marjan Tomšič’s comedy Poor Him, Poor Me in England), with the violin part on a par with
from behind the scenes of history or far away (Bužec on, bužca jaz) which Pavček portrayed numerous solo violin concerts /.../ The two
from this, where in the silent everyday life all in dialect not only with jovial comical vitality, performances that mark the climax of Kolbl’s
that matters is the relationship between two but also by employing inimitable humour to creative achievements are the Violin Concerto
beings, their mutual attraction or repulsion. speak out about the more covert, bleaker by Felix Mendelssohn and particularly the
/.../ angles of life. first-ever performance of the Violin Concerto
by Alojz Ajdič with the Slovenian Philharmonic
From the publication Prešeren Fund 2000. Ljubljana: Prešeren From the publication Prešeren Fund 2000. Ljubljana: Prešeren Orchestra under Milan Horvat, one of the most
Fund Board, 2000. Fund Board, 2000. prominent musical events in 1999.

From the publication Prešeren Fund 2000. Ljubljana: Prešeren
Fund Board, 2000.

84

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

JANI GOLOB MIRSAD BEGIĆ VITO TAUFER

Jani Golob je s Koncertom za violino in /.../ Skrajno obvladanje metjeja, izjemen etični Režiser Vito Taufer je z vrsto svojih uprizoritev,
orkester svojo inventivnost usmeril v dovršeno in estetski čut do sredstev, materialnosti, postavljenih v Slovenskem mladinskem
oblikovanje izbranega minimalnega tonskega v kateri oblikuje svojski svet onstranstva, gledališču, v ljubljanski Drami, Prešernovem
materiala. Monotematska gradnja se pojavlja zavezanost in neverjetna vera v poslanstvo gledališču v Kranju in Primorskem dramskem
v vseh stavkih tako, da se spreminja paleta umetnine postavlja Begića v sam vrh gledališču v Novi Gorici, brez dvoma izrazito,
različnih razpoloženj, ki se v največji meri sodobnega slovenskega kiparstva. z neponovljivo suverenim in celovitim
prilagajajo violinski koncertantnosti: od lirične Z razstavama v galeriji Zveze društev avtorskim izrazom, hkrati pa z zavezanostjo
atmosfere do virtuoznosti solističnega slovenskih likovnih umetnikov in v kostanjeviški veliki dramski literaturi odločilno zaznamoval
instrumenta, ki se najbolj razraste v zadnjem cerkvi nadaljuje cikel Ohraniti sanje, vendar naše gledališko življenje zadnjih let. Pri tem
stavku v celovit, briljantni finale. /.../ na zadnji postavitvi na nov, prenovljen način je Tauferjev poglavitni oblikovalni interes
v pristopu in realizaciji skulpture v prostoru, usmerjen v komedijo, in to v človeško komedijo
Povzeto po besedilu v zborniku Prešernov sklad 2000. ki je formalno desakraliziran, a omogoča v najširšem, prvobitnem smislu te besede. /.../
Ljubljana: Upravni odbor Prešernovega sklada, 2000. avtorju, da v njem vzpostavi novo svetost
in religioznost. /.../ Povzeto po besedilu v zborniku Prešernov sklad 2000.
Ljubljana: Upravni odbor Prešernovega sklada, 2000.
Povzeto po besedilu v zborniku Prešernov sklad 2000.
Ljubljana: Upravni odbor Prešernovega sklada, 2000.

With his Concerto for violin and orchestra, /.../ Absolute mastery of the métier; Theatre director Vito Taufer has left a distinct,
Jani Golob invested his ingenuity in perfecting remarkable ethical and aesthetic sensitivity strong mark on the theatre landscape of
the minimal sound material of choice. to the means, the materiality in which he Slovenia in the recent years with a matchless
The monothematic structure of the work shapes his curious afterworld; commitment command of his all-round original expression
is apparent in each movement through the and striking belief in the mission of an artwork as well as commitment to the greatest works
changing palette of moods, which largely make Begić one of the leading names of drama, creating a series of performances
adapt to concert-quality violin: from a lyrical in contemporary Slovenian sculpture. in the Mladinsko Theatre, Slovenian National
atmosphere to virtuosity of the solo His exhibitions in the gallery of the Slovenian Theatre Drama Ljubljana, Prešeren Theatre
instrument, the latter reaching its pinnacle Association of Fine Arts Societies and the Kranj, and Slovenian National Theatre Nova
in the last movement to culminate in Kostanjevica church are a continuation of his Gorica. In this process, Taufer’s primary
a sweeping, brilliant finale. /.../ cycle Preserving Dreams (Ohraniti sanje). The creative interest has been comedy, i.e. human
latter display, however, uses a new, reviewed comedy in the broadest, most primal sense
From the publication Prešeren Fund 2000. Ljubljana: Prešeren way of approaching and implementing of the word. /.../
Fund Board, 2000. sculpture in a space that has formally been
desacralized, yet enables the author to build From the publication Prešeren Fund 2000. Ljubljana: Prešeren
sacredness and religiousness anew. /.../ Fund Board, 2000.

From the publication Prešeren Fund 2000. Ljubljana: Prešeren
Fund Board, 2000.

85

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

VINKO MÖDERNDORFER

pisatelj / writer
86

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

SAŠA PAVČEK

igralka / actress

87

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

MIRAN KOLBL

violinist / violinist
88

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

JANI GOLOB

skladatelj / composer

89

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

MIRSAD BEGIĆ

kipar / sculptor
90

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2000

VITO TAUFER

režiser / director

91

PREŠERNOVA NAGRADA / PREŠEREN AWARD, 2001

Gnamuševa umetnost zrcali avtorsko vsebino in svetovni nazor predvsem s svojo mirnostjo. Slike
lahko imenujemo meditativne, saj se navezujejo na kontinuiteto te posebne ustvarjalne usmeritve skozi
zgodovinska razdobja. Tisto, kar gledalec na njih prvi hip vidi, jih zapira vsemu jasno razvidnemu,
saj ne odslikujejo nobene druge prepoznavnosti razen resničnosti, ki je v njih samih. Oblike in barve ne
napotujejo na nič zunaj sebe, ampak samo nase in torej sestojijo zgolj iz nazornosti svojih elementov
in pigmentov. Ker so povsem nereferenčne, je njihovo vizualno učinkovanje na samem robu dojemanja,
kar velikokrat pokaže že dejstvo, da vse odtenke težko zazna nešolano gledalčevo oko. Vendar se izrazna
moč krepi prav z naporom, ki ga mora oko vložiti v ločevanje in razpoznavanje podobotvornih prvin.
Vidno, ki ga ne moremo navezovati na nobene prepoznavne oporne točke in pomene iz izkustvenega,
čutom dojemljivega zunanjega sveta, se pusti asociativno določati in dojemati le počasi, kar lahko
v ustreznih okoliščinah pripelje do čiste, notranje meditativne izkušnje. /.../

Dr. Jure Mikuž, povzeto po besedilu v zborniku Prešernov sklad 2001. Ljubljana: Upravni odbor Prešernovega sklada, 2001.

The art of Gustav Gnamuš conveys the subject matter and the author’s world view most notably through
its serenity. His paintings could be referred to as meditative, speaking of the continuity of this special
artistic current throughout history. The first thing one sees in them shuts them off to anything clearly
discernible, they being a reflection of no other recognisable substance than the reality within
themselves. Shapes and colours suggest nothing outside themselves, being composed of nothing else
than their telling components and pigments. Containing no references whatsoever, their visual impact
is at the very edge of comprehension – as is often proven by the sheer fact that all the shades are hardly
detectable by the eyes of a nonprofessional. Yet the expressive power grows precisely with the effort
the eye has to put into discerning and recognising the elements that make up the image. The visible that
can be related to no recognisable references and meanings from the empirical, perceivable objective
reality allows only a slow process of identification and comprehension by means of associations.
In the right environment, this can induce a pure, intimate meditative experience. /.../

Dr Jure Mikuž, in Prešeren Fund 2001. Ljubljana: Prešeren Fund Board, 2001.

92

GUSTAV GNAMUŠ

slikar / painter

93

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

GREGOR BAKOVIĆ NATAŠA PROSENC IVO PRANČIČ

/.../ Najuspešnejše in najbolj izrazito pa je Nataša Prosenc se je izšolala v prvi generaciji Slikarstvo Iva Prančiča s svojim rafiniranim
Bakovićevo igralsko zlitje obeh profilov študentov oddelka za oblikovanje ljubljanske vodoravno ali pokončno nanizanim barvnim
v enotno komedijantsko fiziognomijo. To mu likovne akademije in se je v devetdesetih letih plastenjem učinkuje kot duhovna simfonija
je najbolje uspelo v obeh nagrajenih delih, že uveljavila kot ena najpomembnejših slikarske snovi. V geometrijskem risu nosilnih
Arielu v Shakespearovem Viharju v režiji ustvarjalk, ki združujejo izkušnje tradicionalnih linij drhteče živi v otipljivosti svoje materije
Janusza Kice in Vladimirju v Beckettovi igri medijev likovne umetnosti, njenih novih in s tem asociira na panorame sveta v njegovi
Čakajoč Godota v režiji Dušana Jovanovića. /.../ izraznih načinov, filma in videa. Njena dela so prvobitnosti, ki priklicuje na poljane zavesti
Podoba Bakovićevega igralstva je jasna in povsod zbudila veliko pozornost in ji prinesla sanje o zemeljski zgodovini. /.../ Snov in duh
razločna v vseh, tako telesnih kot govornih že veliko uglednih, predvsem mednarodnih sta v njegovih slikah zajeta v eno in vpeta
in miselnih pogledih, odlikuje pa jo priznanj. Tako video instalacije kot filmi v prostor kot nema ustvarjalna prisotnost,
kontinuirana pot od začetkov pred desetimi vsebujejo veliko samosvojih izraznih ki dopolnjuje ali preureja duhovno izročilo
leti do tvornega zaokroženja dognanega značilnosti, ki kažejo avtoričine svojske z znamenji današnjega obstoja. /.../
v prvi zreli postaji na njej. osrednje likovne prijeme, s katerimi razvija
njihove vsebine. /.../ Dr. Milček Komelj, povzeto po besedilu v zborniku Prešernov
Blaž Lukan, povzeto po besedilu v zborniku Prešernov sklad sklad 2001. Ljubljana: Upravni odbor Prešernovega sklada,
2001. Ljubljana: Upravni odbor Prešernovega sklada, 2001. Dr. Jure Mikuž, povzeto po besedilu v zborniku Prešernov 2001.
sklad 2001. Ljubljana: Upravni odbor Prešernovega sklada,
2001.

/.../ What is most effective and most striking One of the first-generation students of The refined horizontal or vertical layering
is Baković’s merger of both profiles in the Department of Design at the Ljubljana of colours make the paintings of Ivo Prančič
a homogeneous comedian physiognomy. Academy of Art, Nataša Prosenc achieved comparable to a spiritual symphony of the
This has most notably been achieved in the recognition in the 1990s as one of the leading painting matter. Within a geometric pattern
two awarded works, Ariel in Shakespeare’s artists combining the traditional media of fine of leading lines, he lives a trembling life in
The Tempest, directed by Janusz Kica, arts with their new modes of expression as the palpability of his own matter, thus
and Vladimir in Beckett’s Waiting for Godot, well as with film and video. Her works have suggesting landscapes of the world at its
directed by Dušan Jovanović. /.../ Clear invariably attracted attention, winning her most pristine, evoking dreams of the Earth’s
and distinguishable in terms of body, speech several prestigious awards, mostly at history in the planes of consciousness. /.../
and mind, the image of Baković’s acting has international level. Her video installations In his paintings, the matter and spirit come
seen continuous progress from his beginnings and films contain a number of innovative together as one, functioning in space as
a decade ago to inspired encapsulation of his expressive features, pointing to the originality a silent creative presence that complements
findings at the first stop of maturity along of the main creative approaches the author or rearranges the spiritual heritage with
this path. employs to explore the subject matter. /.../ the symbols of today’s existence. /.../

Blaž Lukan, in Prešeren Fund 2001. Ljubljana: Prešeren Fund Dr Jure Mikuž, in Prešeren Fund 2001. Ljubljana: Prešeren Dr Milček Komelj, in Prešeren Fund 2001. Ljubljana: Prešeren
Board, 2001. Fund Board, 2001. Fund Board, 2001.

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NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

PETER SEMOLIČ KARMINA ŠILEC GODALNI KVARTET TARTINI

/.../ Krogi na vodi so res nova Semoličeva /.../ Enega najprepričljivejših glasbeno- /.../ Godalni kvartet Tartini je v svojem
pesniška celina, ki je čista radost pesniške poustvarjalnih viškov je Karmina Šilec dosegla dosedanjem delovanju, še zlasti v sklopu
govorice. Kljub temu, da tokrat pogosto govori s projektom Vampirabile, izvedenim z zborom koncertov iz cikla Večeri komorne glasbe,
tudi o neveselih oziroma žalostnih rečeh. Carmina Slovenica. /.../ Precizna pevska uspel oblikovati prepričljiv in svež pristop,
O človeških ranah in trpljenju, ki ga vojna, disciplina, mladostna energija, glasbeno- ki je novost ne le po izvajalski tehtnosti
posebno tista, ki je pred kratkim divjala na tleh scenska domiselnost in umetniška in dodelanosti programa, temveč tudi
naše nekdanje skupne države, še poveča ne le prepričljivost odlikujejo predstavo, ki se srhljivo v repertoarni odprtosti in smelosti.
tistim, ki so z njo neposredno prizadeti, temveč in intenzivno širi v tišino in krik glasbenega Pri oblikovanju koncertnih programov se člani
tudi vsem, ki niso ravnodušni do nesreče bajanja. S projektom Vampirabile v izvedbi kvarteta sicer seveda ne odpovedujejo
drugega. V tem, da so z enako radostjo zbora Carmina Slovenica je Karmina Šilec »klasičnim« delom železnega repertoarja
govorice napisane tudi Semoličeve žalostinke, izoblikovala dosežek, ki je v vseh segmentih te zvrsti, vendar jih izbirajo previdno in
ni nič paradoksnega. Zanj in še za primerljiv z najbolj dovršenimi zborovskimi premišljeno, tako da tudi z njihovo pomočjo
marsikaterega pesnika je govorica »radost in scenskimi predstavami zadnjih let. interpretativno zorijo in se kalijo. /.../
bivanja«. /.../
Dr. Matjaž Barbo, povzeto po besedilu v zborniku Prešernov Dr. Matjaž Barbo, povzeto po besedilu v zborniku Prešernov
Josip Osti, povzeto po besedilu v zborniku Prešernov sklad sklad 2001. Ljubljana: Upravni odbor Prešernovega sklada, sklad 2001. Ljubljana: Upravni odbor Prešernovega sklada,
2001. Ljubljana: Upravni odbor Prešernovega sklada, 2001. 2001. 2001.

/.../ Circles Upon the Water (Krogi na vodi) is /.../ For Karmina Šilec, the project Vampirabile, TARTINI STRING QUARTET
Semolič’s brand new continent of poetry, pure performed by the Carmina Slovenica choir,
joy of the poetic language. Even if, unlike in the has been one of the most impressive /.../ Since its beginnings, the Tartini String
past, he often discusses unhappy, sad topics. interpretative pinnacles in her career so far. Quartet has succeeded in developing an
Hurt and suffering caused by war, especially /.../ Eerily, intensely growing towards the impressive new approach, innovative in terms
the war which has recently plagued the lands silence and scream of musical narration, the of not only performative gravity and
of our former common country, not only for performance boasts precise singing discipline, programming perfection, but also openness
those affected by it directly, but also for youthful energy, and imaginative and of the repertoire and boldness, particularly
everyone who cannot be indifferent to other artistically striking music and set design. evident in the concert cycle Evenings of
people’s misfortunes. There is no paradox in Vampirabile, a project performed by Carmina Chamber Music. In shaping their concert
the fact that Semolič’s threnodies use the Slovenica, is a tour de force by Karmina Šilec programmes, members of the quartet do not
same joy of language. For him, as for many that in every respect is comparable to shun “classic” works of the canon, yet they
a poet, language is “the joy of living”. /.../ the most accomplished choral and scenic make careful, prudent choices that help them
performances of the recent years. grow and mature as interpreters. /.../
Josip Osti, in Prešeren Fund 2001. Ljubljana: Prešeren Fund
Board, 2001. Dr Matjaž Barbo, in Prešeren Fund 2001. Ljubljana: Prešeren Dr Matjaž Barbo, in Prešeren Fund 2001. Ljubljana: Prešeren
Fund Board, 2001. Fund Board, 2001.

95

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

GREGOR BAKOVIĆ

igralec / actor
96

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

NATAŠA PROSENC

video umetnica / video artist

97

NAGRADA PREŠERNOVEGA SKLADA / PREŠEREN FUND AWARD, 2001

IVO PRANČIČ

slikar / painter
98