Let the pARTy begin!!!
nedelja, 4. januar 2015
10 let = 10 years
Let the pARTy begin!!!
Dan na dan / Day By Day
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| Miha Perne / Serious Research of Nonsense foto: Dejan Habicht |
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| Beli sladoled / Don't Look Back foto: Dejan Habicht |
več fotk / more photos >> HERE <<
12. 12. 2014 – 15. 1. 2015
Galerija Škuc, Stari trg 21, Ljubljana
Umetniki: Bariş B. Atal (Turčija), Avgust Černigoj, Beli sladoled / White ice cream (Miha Perne & Leon Zuodar), Neža Jurman, Miha Perne, Leon Zuodar (Slovenija).
Kuratorici: Saša Nabergoj, Simona Žvanut
Asistentki: Nina Jesih, Zala Kurinčič
Dan na dan se osredotoča na raziskovanje risbe kot oblike dnevniškega zapisa, torej risbe, ki nastaja v nekem bolj ali manj organiziranem zaporedju ter beleži vsakodnevne vtise, zamisli, spomine ali tok misli. Risbe so nastajale v različnih kontekstih (živžav javnega vsakdana milijonskega turškega mesta, domača miza ob jutranjem ritualu pitja čaja, bolnica in rehabilitacijski center …), na različnih podlagah (računih iz trgovine, rokovnikih, listkih različnih formatov in barv, zvitkih papirja ...), v različnih obdobjih (najnovejše so iz časa priprave razstave, najstarejše iz sredine sedemdesetih let prejšnjega stoletja). Risbe tako sestavljajo kakofonično podobo osebnih in javnih svetov petih sodelujočih umetnikov, ki se med sabo občasno prepletajo.
Umetniški tandem Beli sladoled razstavlja delo Don't Look Back (2012), 21 metrov dolgo risbo, ki je rezultat enomesečne risarske akcije, pravzaprav eksperimentalnega preizkusa drugačne, nove oblike sodelovanja. Namesto ustaljenega skupnega ustvarjanja sta si umetnika zadala nalogo "sodelovanja na daljavo"; po principu dnevniških zapiskov sta vsak dan ob določenem času vsak na svojem domu risala vsak na svojo polo papirja, ne da bi se ozrla nazaj. Nato sta poli prinesla v galerijo, ju skupaj odvila, pritrdila na steno in presenečena ugotovila, da sta risbi pravzaprav enako dolgi. Sodobni friz tako govori o individualnih umetniških praksah, ki se prepletajo tako glede načina dela in forme kakor tematike. V tem in tudi drugih njunih bolj ali manj skupnih delih so namreč v ospredju smisel za paradoks, zabavljaški humor, samoironija, gosta in igriva ikonografija sodobne družbe, duhoviti in pomenljivi komentarji ter fluidna in v resnici natančna risba.
Deli 8 O'Clock Drawings in 10 O'Clock Drawings Leona Zuodarja sta seriji risb, ki jih umetnik od leta 2010 riše vsako jutro ob prvi skodelici čaja; spočetka je bilo to ob desetih, nato pa se je z leti meja premaknila na osmo zjutraj (pač, starejši kot smo, bolj zgodaj vstajamo). To so risbe z različno motiviko, saj beležijo raznovrstne predmete, ki ga obdajajo, razgled skozi okno, humorne in samoironične domislice s poudarkom na figuraliki ali pa povsem abstraktne risbe, ki so rezultat tokov podzavesti in vključitve avtomatizma.
Miha Perne s serijo Serious Research of Nonsense (od 2009) razstavlja risbe, ki spontano nastajajo vsak dan čez cel dan. Še več, zanje si mora čas krasti, ker nikoli natančno ne ve, kdaj bo čas dejansko imel; kot oče dveh malih otrok riše (tudi) v drobnih ukradenih trenutkih družinskega življenja (ko otroka gledata risanko ali se kopata, itn). Veliko mora risati tudi po njunem naročilu, včasih pa začeto risbo celo pozabi na kuhinjski mizi in jo dokončata otroka. Njegove risbe tako nikoli niso nameravale biti "resne" v smislu vnaprej določenega motiva ali namena, drugače kot njegova siceršnja slikarska in risarska produkcija, ki se je loteva nadvse sistematično. Serious Research of Nonsense nastajajo kot odziv na vsakodnevno dogajanje, predvsem pa se mu prilagajajo in umetnika "silijo" v delo zunaj ustaljenih okvirjev. In to ponavadi še pred jutranjo kavo; v čakanju na to, da zavre voda, je namreč nastal precejšen del razstavljenih risb ...
Avgust Černigoj, utemeljitelj slovenskega konstruktivizma in najvidnejši predstavnik zgodovinske avantgarde pri nas, se nam predstavlja s skoraj nepoznano serijo risb (1977–1979). Huda prometna nesreča leta 1975 ga je za več mesecev priklenila na postelje bolnišnic v Sežani in Valdoltri, kjer je za krajšanje dolgčasa vsak dan risal značilen bolnišnični vsakdan. Tako je nastala serija dvajsetih risb (razstavljen bo izbor desetih), na katerih enakovredno človeški figuri nastopajo različni predmeti in zdravniški instrumenti: vozički, bergle, opornice, naprave za fizioterapijo itn. Z močno konturo in enostavnimi potezami so risbe blizu stripovski potezi in delujejo izrazito sodobno.
Bariş B. Atal je turški umetnik mlajše generacije, ki na razstavi (njegovem prvem mednarodnem gostovanju) sodeluje z risbami. Turško razumevanje časa se razlikuje od našega – mi ga čedalje bolj dojemamo kot dragoceno dobrino in si ga zato poskušamo čim bolj učinkovito organizirati tako v javnem kot zasebnem življenju. V Turčiji je že razumevanje urnika kot takega precej bolj fleksibilno in nedoločeno ... zato se zelo veliko čaka. V uradih, pri zdravniku, (v prometnih konicah) na avtobusu, v trgovini, na faksu, na sestankih. Bariş B. Atal je tako začel v beležke ob zapiskih, idejah in skicah redno risarsko beležiti svoje pogosto čakanje na različnih krajih in ob različnih časih dneva, in sicer tako, da (vedno) riše le svoje noge in tla ter k risbam dopiše kratke komentarje v turščini. Tako so od leta 2013 do danes nastali trije zvezki risb, ki sledijo njegovemu vsakodnevnemu življenju, s prepoznavanjem tal (tla mošeje, tržnice, asfaltna tla …) pa razbiramo tudi drobce turške kulture.
Po vabilu na razstavo je umetnik začel po enakem principu ustvarjati četrti zvezek, v katerega pa se namesto turških vrivajo angleški zapiski – tako kot v njegovem vsakdanjem življenju, ko je zavoljo priprave razstave precejšen del svojega časa komuniciral z nama in z drugimi umetniki. Predvsem z Nežo Jurman, tudi umetnico mlajše generacije. Kuratorici sva ju namreč povabili k prav posebnemu sodelovanju: skupnemu delu. V njunem delu sva namreč prepoznali podoben princip, ki se kaže v intenzivni vsakodnevni risarski produkciji, eksperimentiranju z risbo kot medijem, pa tudi v iskanju (in izumljanju) novih načinov delovanja v umetnostnem sistemu. Njun dialog se je začel v virtualnem svetu in se nadaljuje med Barişevo štirinajstdnevno rezidenco v Ljubljani pred otvoritvijo razstave. Predstavljeno delo bo rezultat prepleta njunih praks in osebnega dialoga: dnevniški zapis njunega skupnega vsakdana.
Nežo Jurman sva hkrati povabili k novi produkciji, ki bo izraz njene komunikacije z izhodiščem razstave ter izbranimi deli drugih umetnikov. V zadnji sobi galerije bo ustvarila svojevrstno situacijo; prostor bo v času pred razstavo rabil predvsem skupnemu delu z Barişem in bo tako nekakšen križanec med prostorom za produkcijo in prezentacijo, nato pa bo razstavljeno umetniško delo ves čas trajanja razstave spreminjala. Dan za dnem bo posegala v postavitev: kaj dodala, kaj odvzela in tako še dodatno s časovno komponento poudarila dnevniško beleženje vsakdana, ki ga na razne načine in z raznimi formati postavlja v ospredje pričujoča razstava.
Ob razstavi bo nastal tudi katalog v obliki zina, ki ga bosta pod okriljem knjižne produkcije Belega sladoleda skupaj pripravila Leon Zuodar in Neža Jurman.
Saša Nabergoj in Simona Žvanut
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Day by Day
Bariş B.
Atal (Turkey), Avgust Černigoj, Beli sladoled / White Ice Cream (Miha Perne
& Leon Zuodar), Neža Jurman, Miha Perne, Leon Zuodar (Slovenia)
12. 12. 2014–15. 1. 2015
Day by Day focuses on the exploration of drawing in the form of
a diary entry, drawing that is therefore produced in a more or less organized
sequence and records daily impressions, ideas, memories or flow of thoughts.
The drawings have been produced in different situations (the hustle and bustle
of the daily life of a 4-million Turkish city, the domesticity of the early
morning ritual of drinking tea, the hospital and rehabilitation centre ...), on
various supports (from receipts, diaries, scraps of paper of different sizes
and colours, rolls of paper ... ), during different times (the most recent stem
from the time of preparing the exhibition, the oldest date from the mid-1970s).
The drawings thus compose a cacophonic image of the personal and public worlds
of the five participating artists, which even intertwine with one another from
time to time.12. 12. 2014–15. 1. 2015
The Beli sladoled (White Ice Cream) art duo is showing their piece Don't Look Back (2012), a 21 metres-long drawing that was the result of their one month long drawing action, which is actually an experimental test of a different, new way of collaborating. Instead of their established joint creative process, the artists set themselves the task of “a long-distance collaboration”. Like writing a diary entry, they decided to make a drawing every day at a certain time, each in their own home and on their own roll of paper, without looking back. They then proceeded to bring the rolls into the gallery, unravelled them together, attached them to the wall, only to be surprised by the finding that the two drawings were actually of the same length. In such a way the contemporary frieze speaks of individual art practices that intertwine in terms of working style and form, as well as topic. This, as well as their other more or less joint works are imbued with a relaxed, sometimes grotesque and macabre humour, by which they tease and respond to contemporary everyday life.
The works 8 O'Clock Drawings and 10
O'Clock Drawings by Leon Zuodar are a series of drawings, which the artist
has been making since 2010 every morning with his first cup of tea; initially
at 10 am, before the time moved to 8 am over the years (the older we get, the
earlier we get up). These are drawings with different motifs, since they note a
variety of objects around him – the view through the window, humorous and
self-ironic musings with an emphasis on the figurative, or totally abstract
drawings that spring from the currents of the subconscious and automated
drawing action.
With his series Serious Research of Nonsense (since 2009), Miha Perne is exhibiting drawings that are created spontaneously every day during the course of the entire day. Moreover, he must steal time for them, because he never really knows when he will actually have the time. As a father of two young children, he (also) makes drawings during the tiny stolen moments of family life (as the children watch a cartoon or take a bath, for instance). He is also required to make many a drawing according to their wishes, and sometimes even forgets a half-done drawing on the kitchen table, which the children promptly complete themselves. His drawings have therefore never meant to be “serious” in the sense of a predetermined motif or intent like his other painted and drawn works, which he works on in a very systematic way. The Serious Research of Nonsense drawings are produced in response to his daily events, but more than that, they adapt to him and “force” the artist to work outside the established frameworks. And this is usually before morning coffee … a considerable number of the exhibited drawings have actually been produced whilst waiting for the water to boil ...
Avgust Černigoj, the founder of Slovenian constructivism and the most prominent representative of the historical avant-garde in Slovenia, is presented with an almost unknown series of drawings (1977–1979). A serious traffic accident in 1975 chained him to the beds of the hospitals in Sežana and Valdoltra for several months, where he drew the daily hospital life usually hidden to the eyes of outsiders in order to relieve his boredom. This is how the series of twenty drawings (a selection of ten will be exhibited) was created, in which various objects and medical instruments appear as equals to the human figure: wheelchairs, crutches, splints, physiotherapy devices, etc. Featuring a strong contour and a simple line, the drawings resemble comic strips and have a distinctly contemporary air to them.
Bariş B. Atal is a Turkish artist of the younger generation, who is taking part in the exhibition (his first international show abroad) with his drawings. The Turkish notion of time is different to our own, as we increasingly see time as a precious resource – which is why we try to organize ourselves as efficiently as possible, in public as well as in private life. In Turkey, already the understanding of a timetable as such is much more flexible and indefinite ... giving rise to a lot of waiting. In offices, at the doctor’s, on the bus (in rush hour), in the shop, in college, in meetings. In such a way, Bariş B. Atal started to regularly record his frequent waiting at different places and at different times by adding drawings besides the notes, ideas and sketches in his notebooks. He does this by (always) drawing just his feet and the ground, annotating the drawings with a few brief comments in Turkish. This is how three notebooks of drawings (brought together under the title The Adventures of Legs) have been produced since 2013 that follow his daily life, whereas by identifying the ground (the mosque, the market, the concrete ground...), we may also decipher certain fragments of Turkish culture. After being invited to take part in the show, the artist began to make a fourth notebook following the same principle, in which, however, English instead of Turkish notes began to appear – like in his everyday life as he was spending a considerable amount of time communicating with us and the other artists about the preparations for the show. Particularly with Neža Jurman, also an artist of the younger generation. As curators, we invited them to take on a very special collaboration: a joint piece. Namely, we recognized a similar principle in their work, which is reflected in an intensive daily drawing production, experimentation with drawing as a medium, as well as a quest (and invention) of new modes of operation within the art system. Their dialogue began in the virtual world and continued during Bariş’s two-week residency in Ljubljana before the exhibition. They created a unique situation in the back room of the gallery. Before the exhibition, the space was predominantly used for working together with Barış, and was a kind of crossover between a space of production and presentation. The presented work entitled Kurba vrag vrag is the result of the intertwining of their practices and personal dialogue: a diary entry of their common everyday (The title of the piece stems from the Slovenian phonetic record of the Turkish phrase “kurba virak virak” meaning “žaba rega kvak” in Slovenian or “frog croak croak” in English, with an additional meaning in the title provided by the play on words which ensues in the Slovenian language and means “whore, devil, devil”).
Afterwards, Neža Jurman will continue working on the piece by implementing constant changes to the exhibited artwork throughout the duration of the exhibition. Day after day she will add or take something away from the installation, thus using the time component to further highlighting the recording of daily life in diary form – something that the exhibition at hand sets to the fore in its various ways and formats.
With his series Serious Research of Nonsense (since 2009), Miha Perne is exhibiting drawings that are created spontaneously every day during the course of the entire day. Moreover, he must steal time for them, because he never really knows when he will actually have the time. As a father of two young children, he (also) makes drawings during the tiny stolen moments of family life (as the children watch a cartoon or take a bath, for instance). He is also required to make many a drawing according to their wishes, and sometimes even forgets a half-done drawing on the kitchen table, which the children promptly complete themselves. His drawings have therefore never meant to be “serious” in the sense of a predetermined motif or intent like his other painted and drawn works, which he works on in a very systematic way. The Serious Research of Nonsense drawings are produced in response to his daily events, but more than that, they adapt to him and “force” the artist to work outside the established frameworks. And this is usually before morning coffee … a considerable number of the exhibited drawings have actually been produced whilst waiting for the water to boil ...
Avgust Černigoj, the founder of Slovenian constructivism and the most prominent representative of the historical avant-garde in Slovenia, is presented with an almost unknown series of drawings (1977–1979). A serious traffic accident in 1975 chained him to the beds of the hospitals in Sežana and Valdoltra for several months, where he drew the daily hospital life usually hidden to the eyes of outsiders in order to relieve his boredom. This is how the series of twenty drawings (a selection of ten will be exhibited) was created, in which various objects and medical instruments appear as equals to the human figure: wheelchairs, crutches, splints, physiotherapy devices, etc. Featuring a strong contour and a simple line, the drawings resemble comic strips and have a distinctly contemporary air to them.
Bariş B. Atal is a Turkish artist of the younger generation, who is taking part in the exhibition (his first international show abroad) with his drawings. The Turkish notion of time is different to our own, as we increasingly see time as a precious resource – which is why we try to organize ourselves as efficiently as possible, in public as well as in private life. In Turkey, already the understanding of a timetable as such is much more flexible and indefinite ... giving rise to a lot of waiting. In offices, at the doctor’s, on the bus (in rush hour), in the shop, in college, in meetings. In such a way, Bariş B. Atal started to regularly record his frequent waiting at different places and at different times by adding drawings besides the notes, ideas and sketches in his notebooks. He does this by (always) drawing just his feet and the ground, annotating the drawings with a few brief comments in Turkish. This is how three notebooks of drawings (brought together under the title The Adventures of Legs) have been produced since 2013 that follow his daily life, whereas by identifying the ground (the mosque, the market, the concrete ground...), we may also decipher certain fragments of Turkish culture. After being invited to take part in the show, the artist began to make a fourth notebook following the same principle, in which, however, English instead of Turkish notes began to appear – like in his everyday life as he was spending a considerable amount of time communicating with us and the other artists about the preparations for the show. Particularly with Neža Jurman, also an artist of the younger generation. As curators, we invited them to take on a very special collaboration: a joint piece. Namely, we recognized a similar principle in their work, which is reflected in an intensive daily drawing production, experimentation with drawing as a medium, as well as a quest (and invention) of new modes of operation within the art system. Their dialogue began in the virtual world and continued during Bariş’s two-week residency in Ljubljana before the exhibition. They created a unique situation in the back room of the gallery. Before the exhibition, the space was predominantly used for working together with Barış, and was a kind of crossover between a space of production and presentation. The presented work entitled Kurba vrag vrag is the result of the intertwining of their practices and personal dialogue: a diary entry of their common everyday (The title of the piece stems from the Slovenian phonetic record of the Turkish phrase “kurba virak virak” meaning “žaba rega kvak” in Slovenian or “frog croak croak” in English, with an additional meaning in the title provided by the play on words which ensues in the Slovenian language and means “whore, devil, devil”).
Afterwards, Neža Jurman will continue working on the piece by implementing constant changes to the exhibited artwork throughout the duration of the exhibition. Day after day she will add or take something away from the installation, thus using the time component to further highlighting the recording of daily life in diary form – something that the exhibition at hand sets to the fore in its various ways and formats.
A catalogue in the form of a zine will also be produced to accompany the exhibition, which will be prepared jointly by Leon Zuodar and Neža Jurman under the auspices of the book production of Beli sladoled (White Ice Cream).
Curators: Saša Nabergoj, Simona Žvanut
Assistants: Nina Jesih, Zala Kurinčič
Production: SCCA,
Center for Contemporary Arts – Ljubljana / World of Art, School for Curators
and Critics of Contemporary Art
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