FOLIO volume 1 / number 2 (2010)

Pilot za intermedijsko umetnost, kulturo in veselje do 탑ivljenja / Guide to intermedia art, culture and the joy of life no. 2, letnik 1 (2009), Maribor / Volume 1 (2009), Maribor, Slovenia

folio Pilot za intermedijsko umetnost, kulturo in veselje do življenja / Guide to intermedia art, culture and the joy of life Letnik 1 (2009), Maribor / Volume 1 (2009), Maribor, Slovenia Folio izhaja sezonsko – štiri številke letno. / Folio is published quaterly – four issues per year.

Folio izhaja v slovenskem in angleškem jeziku. / Folio is published in Slovenian and English language. Časopis Folio je vpisan v razvid medijev pod zaporedno številko 1455. / Folio magazine is entered in the mass media register under order No 1455.

Urednica / Editor: Snežana Štabi Uredništvo / Editorial staff: Peter Tomaž Dobrila, Aleksandra Kostič, Dejan Pestotnik Maja Vuksanovič Prevodi / Translation: Alenka Ropret Sodelavci / Contributors: Nika Logar, Lidija Pačnik, Mirjana Predojevič, Srdžan Trifunović Fotografije / Photographs: arhiv Kibla / Kibla archives Prelom / Layout: Luka Cimolini Svetovanje / Support: Dejan Štampar Tisk / Printing: Naklada / Print run: 15.000 izvodov / 15,000 copies Tiskano v Sloveniji. / Printed in Slovenia.

Izdajatelj časopisa / Publisher: Kulturno izobraževalno društvo Kibla / Asssociation for Culture and Education Kibla Zanjo / Represented by: Aleksandra Kostič, predsednica KID Kibla / President of ACE Kibla Copyright © 2009 ACE Kibla Photographs Copyright © Authors and ACE Kibla Vse pravice pridržane. / All rights reserved.

Finančna podpora / Supported by: Ministrstvo RS za kulturo Mestna občina Maribor

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Kibelin menu 2009 Maja Vuksanović

Kibela, prostor za umetnost je prostor za umetnostne sladokusce, galerija, ki povezuje nove in klasične medije, stičišče tradicije s sodobnostjo, igrišče za avantgardo in eksperimente. V slovenskem prostoru predstavljamo umetnike, ki zasedajo pomembno mesto na evropskem ali svetovnem umetnostnem zemljevidu in ki se domačemu občinstvu predstavljajo premierno. Gostimo tako mlade, inovativne kot tudi že uveljavljene slovenske umetnike. Vsako leto za svoje obiskovalce pripravimo bogat nabor raznolikih vsebin ter se trudimo zadovoljiti še tako zahtevne okuse. Ker tudi leto 2009 ni izjema, je Kiblin komite za umetnost (Aleksandra Kostič, Petra Kapš, Peter Tomaž Dobrila, Dejan Pestotnik in Maja Vuksanović) tudi tokrat sestavil pisan jedilnik. Del dogajanja je predstavljen v časopisni obliki za Folio, v pogovorih z umetnicami in umetniki.

Naš letošnji menu obsega uravnoteženo ponudbo priznanih mednarodnih in domačih umetnikov.

Glavnina je posvečena intermediji, vsekakor pa ne manjka klasike s pridihom sodobnosti. Spremljavo tvorijo dodatni projekti, ki vključujejo druge umetnostne zvrsti ter tako zaokrožajo bogato aromo okusov. Ključne sestavine so zmeraj kvaliteta, inovativnost in brezkompromisnost. Poslastice, ki jih na našem jedilniku nikoli ne manjka, si obiskovalci izbirajo po lastnem okusu. To so bodisi interaktivna dela, ki intenzivno vključujejo gledalca in zahtevajo njegov angažma, bodisi ambientalne postavitve, ki dajejo gledalčevi domišljij prosto pot ali pa klasika v sodobni preobleki, začinjena s ščepcem provokativnosti.

Otvoritev sezone smo začeli s praznovanjem 10. obletnice delovanja galerije in gostovanjem kanadskega umetnika Dona Ritterja. Po interaktivni uverturi sta sledila mlada slovenska intermedijska ustvarjalca Robertina Šebjanič in Luka Frelih.

Ambientalna postavitev Natalije Črnčec, ki je za tem Kibelo spremenila v čaroben prostor sveta barve, je zagotovo eden od vrhuncev letošnje razstavne sezone. Kontrast ambientu, ki je temeljil na klasičnih izhodiščih, je bil sofisticiran, tehnološko izpopolnjen ambient hrvaške umetnice Ivane Franke. Sledila je razstava mladega slikarja Mateja Pečnikarja, ki se

v svojem opusu posveča izključno slikarstvu in ki s svojo brezkompromisnostjo ter provokativnostjo ni pustil ravnodušnega nobenega obiskovalca.

Jasna Kozar je povezala tradicijo s sodobnostjo, klasično sliko z umetnostjo grafitov. Stefan Doepner je obiskovalce prepričal in očaral z družbo svojih robotov. Kiblin 13. rojstni dan smo praznovali v družbi igrive, ironične in kritične Lare Busch. Prvi del sezone pa smo zaključili z multimedijsko razstavo Tanje Vujinović, ki je povezala galerijski prostor in prostor ožjega mestnega jedra. Ker je eno od Kiblih poslanstev tudi promocija slovenskih umetnikov v tujini, se bomo julija kot edina slovenska galerija udeležili umetnostnega sejma v letošnji evropski prestolnici kulture, litvanskem Vilniusu, kjer se bosta s svojimi deli predstavila kipar Boštjan Novak in slikar Jure Zadnikar.

Uvod v jesenski del Kibeline kulinarične fuzije bo gostovanje medijskega zvezdnika med intermedijskimi umetniki Marka Peljhana. Sledil bo obisk iz New Yorka, ko vas bo Kristian Kožul začaral z magičnim svetom kiča. Vmes bomo odpotovali v Beograd na gostovanje v galerijo New Moment v družbi brezkompromisne Mirjane Rukavine. Za tem pa nam bo obisk vrnila udarna beograjska slikarka Biljana Đurđević. Kibelo bo nato zasedel zmeraj intrigantni Marko Košnik. Predstavili vam bomo interaktivno namestitev Travel in Europe, ki je prikaz možnega kreiranja virtualnega prostora v kulturne in umetniške namene ter vam postregli s porcijo odprto kodne umetnosti v okviru festivala Kiblix. Dela nemške umetnice Anne Anders z rahlo voajersko noto bodo meje razstavišča razširila na ulico in zagotovo pritegnila tudi naključne mimoidoče. Leto pa bomo zaključili z interaktivno zvočno namestitvijo korejskega umetnika Kima Kichula.

Privoščite si svojo dozo umetniških užitkov in jo zajemite z veliko žlico. Umetnost ne povzroča holesterola, lahko pa pomembno prispeva k vašemu zdravju in ugodju.

Kibela Art Gallery Menu 2009

Kibela, space for art is a space for art gourmets, a gallery integrating new and traditional media, a juncture of tradition with contemporaneity, a playground for the avant-garde and experiments.

To the Slovenian environment, it presents for the first time artists occupying important positions on European and World art maps. Also hosted are young and innovative as well as established Slovenian artists. Each year an extensive programme of diverse contents is offered to our visitors, seeking to satisfy the most demanding tastes. The year 2009 is no exception to that, therefore Kibla Art Committee (Aleksandra Kostič, Petra Kapš, Peter Tomaž Dobrila, Dejan Pestotnik and Maja Vuksanović) has again composed a colourful menu. A portion of it has been presented in written form for the Folio magazine as discussions with artists.

This year our menu comprises a balanced array of renowned international and domestic artists.

The major part is dedicated to the intermedia, yet there is no shortage of the traditional with a hint of contemporariness. Additional accompanying projects integrate other art forms, thus completing the rich aroma of flavours. As always, the key ingredients are quality, innovation and uncompromisingness. Our menu is abundant in specialities, which can be picked to one’s taste.

Among them are interactive pieces integrating the viewer in an intense manner and demanding their engagement, as well as ambiental installations unleashing the viewer’s imagination, and traditional art made modern, spiced up with a pinch of provocation.

The season was opened by the celebration of the 10th anniversary of the gallery, hosting the Canadian artist Don Ritter. The interactive overture was followed by two young Slovenian intermedia artists Robertina Šebjanič and Luka Frelih. Later, the ambiental installation by Natalija Črnčec transformed Kibela into a magical world of colour, certainly one of this year’s highlights. A contrast to the ambient based on traditional principles was posed by the sophisticated, technologically perfected ambient by the Croatian artist Ivana Franke. Then came the exhibition by the young painter Matej Pečnikar

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whose opus is dedicated to painting exclusively.

His uncompromisingness and provocation left no visitor cold. Jasna Kozar integrated the tradition with contemporaneity, the traditional art with the art of graffiti. Stefan Doepner and his robots won the trust and admiration of visitors. Kibla’s 13th birthday was celebrated in the company of the playful, ironic and critical Lara Busch. The first part of the season was completed with the multimedia exhibition by Tanja Vujinović who has connected the gallery with the city core. One of Kibla’s missions is the promotion of Slovenian artists abroad, therefore Kibela will be the only Slovenian gallery to attend the art fair in July in Vilnius, Lithuania, the current European capital of culture. Presented will be the works of the sculptor Boštjan Novak and the painter Jure Zadnikar.

The autumn part of Kibela’s culinary fusion will begin with the visit of Marko Peljhan, a media star among intermedia artists. This will be followed by a visit from New York – Kristian Kožul with his magical world of kitsch. In the meantime, we will travel to Belgrade to the New Moment gallery, accompanied by the uncompromising Mirjana Rukavina. In turn we will be visited by the striking Belgrade-based painter Biljana Đurđević. Kibela will afterwards be occupied by the always-intriguing Marko Košnik. Further on, we will show you the interactive installation Travel in Europe, a display of the possibilities in creating a virtual environment for cultural and art purposes. You will be served a portion of open-code art within the Kiblix festival. The works of the German artists Anne Anders, featuring a hint of voyeurism, will extend the gallery to the street, undoubtedly attracting the attention of random passers-by. The season will be finished with an interactive sound installation by the Korean artist Kim Kichul.

Indulge in your chosen spoonful of art pleasures. Art is cholesterol-free, yet it can provide an important contribution to your health and well-being.

Ceren Oykut, Istanbul Biljana Djurdjević, Beograd / Belgrade Luka Frelih, Ljubljana Robertina Šebjanič, Ljubljana Kristian Kožul, New York Natalija R. Črnčec, Maribor Matej Pečnikar, Nova Gorica Ivana Franke, Zagreb Jasna Kozar, Maribor Mirjana Rukavina, Maribor

Jure Zadnikar: Proti soncu / Towards the Sun (foto: Dino Screilechner)

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Biljana Djurdjević, Beograd Slikarstvo je moja obsesija

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Poletja je konec / Summer time is over, 195 x 300 cm 2005 Biljana Djurdjević je umetnica, ki jo veselijo predvsem dobri ljudje in delo. Pravi, da se najbolj pogosto smeji kar sama sebi, sicer pa jo veseli, če so ljudje pripravljeni na to, da poiščejo tudi smešno plat v življenju, “namesto da bi šli skozi življenje z lopato v roki”. “Če te veseli to, kar počneš in delaš, je to strast.

Slikarstvo je moja obsesija, preprosto nemogoče je živeti brez slikanja,” pojasnjuje svojo življenjsko filozofijo. “Strast je veliko več, kot se lahko opredeli z besedami, in s to strastjo do slikanja je prepleten ves moj svet. Moja življenjska filozofija je precej cinična – pametnemu ni potrebno pojasnjevati, drugim pa nima smisla.”

Ima tudi menedžerja, s katerim sodelujeta že dalj časa in imata zelo korekten odnos – sodelovanje z Davidom Gallom je po njenem mnenju redkost v galerijskem svetu. “Živim od umetnosti, in zelo sem srečna zaradi tega. Čeprav je to na več ravneh boj v okopih.”

O sodobni umetnosti “Danes je sodobna umetnost v precepu med željami in možnostmi. Želja kustosa, da postane umetnik, in želje umetnikov, da postanejo kustosi; v tem pomanjkanju talenta za eno ali drugo in poudarjanjem ega nastaja nova povprečnost, pri kateri trpijo izvedba, tehnika in koncept dela. Vendar čas odstrani tudi te anomalije.”

Avtorski pečat “Pri mojem delu ni prostora za pretirano filozofiranje, gre za veliko dela in manj govorjenja. V trenutku, ko likovno delo pojasnjuješ z daljšim tekstom o tem, kaj hoče delo povedati, nisi več likovni umetnik temveč diagnostik.

Najpomembnejše je, da v procesu ustvarjanja uživam in s tem v sami sliki naredim odmik od turobnosti tem, s katerimi se ukvarjam. Za upodabljanje žrtve se ne moreš poistovetiti z žrtvijo, temveč s postavljanjem v kožo rablja, za nekaj takega pa potrebuješ dozo humorja – v nasprotnem primeru je slika uničena.

Prav tako mi je pomembno, da za vse moje slike nisem nikoli uporabila modelov, ker bi na ta način postala več kot slikar, in bi se morala spopasti z moralnim problemom pojasnjevanja takih pojavov kot je nasilje z izkoriščenjem pravih živih ljudi. Mogoče daje avtorski pečat mojim slikam moj cinizem do sodobnega življenja, v katerem je človek postal odveč.”

Medijska sodobnost, nove mediji in vloga klasične forme slike “Sodobni mediji so krasna stvar, ker na številne načine dokazujejo, kako se lahko manipulira s človekom. Tudi slika sama ni nič drugega kot optična manipulacija. Tu nastane meja z moralo, ki je že davno postavljena ad acta in sedaj živimo v novi postmoralni družbi, kjer so vsa sredstva dovoljena.

Klasična slika bo v tem procesu doživela svojo preobrazbo, saj ni bistven medij, ki je uporabljen, temveč način uporabe. Pri tem nimam občutka, da en medij lahko ogroža druge medije, v tem primeru klasično sliko – samo obupno slaba ideja predstavlja nevarnost za katero koli delo, tudi za sliko.”

Razen s slikarstvom se ukvarja tudi z risbo, loteva se tudi drugih medijev – vendar o tem več, ko bo čas. Za intermedijsko umetnost nam je odgovorila, da nima predstave o njej, vendar bi jo bilo simpatično spoznati.

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Biljana Djurdjević is an artist who particularly likes to deal with good people and work. She says she most often laughs at herself and is generally glad if people are ready to seek the funny side to life “instead of going through life with a spade in their hand.”

“If you like what you do, it’s a passion. Painting is

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V hotelski sobi / In Hotel Room, 115 x 147 cm 2006

my obsession, it is simply impossible to live without painting,” she explains her life philosophy. “Passion is much more than can be described in words. My whole world is intertwined with my passion for painting. My life philosophy is pretty cynical – there is no need to explain things to the smart ones and no use to explain to others.”

She also has a manager with whom she has been cooperating for a long time on a fair basis – in her opinion working with Davide Gallo is a rare opportunity in the world of galleries. “I live off art, which makes me very happy. Although on more levels, it is a battle in trenches.”

On contemporary art “Today contemporary art is divided between desires and possibilities. The desire of a curator to become an artist and of artists to become curators. Within this lack of talent for one or the other and this emphasis of the ego, a new mediocrity has been forming to the detriment of execution, technique and concept of work. But time eliminates even these anomalies.”

Signature style “My work does not allow much space for philosophy, there is much work and little talk. In the moment when you explain a visual work with a lengthy text on what it wants to say, you are no longer a visual artist but diagnosticist.

For me it is the most important to enjoy the creative process, so in the picture I deviate from the morbidity of the topic I deal with. To depict the victim you cannot identify with it, but assume the position of an executioner, and that requires a dose of humour – otherwise the painting is destroyed. What also matters to me is that I never use models for my paintings, as that would make me more than a painter and I would have to face the moral problem of explaining such phenomena like violence in exploiting real living people. Maybe the signature style of my paintings is provided by my cynical attitude towards contemporary life in which the human being has become redundant.”

Media contemporaneity, new media and the role of traditional painting “Contemporary media are great as they prove in various ways how human beings can be manipulated.

A painting as such is nothing else but optical manipulation. This is where the limit of morality is formed, which has long ago been set ad acta. Now we live in a new post-moral society when any means are allowed.

In this process the traditional painting will experience its transformation, as it is not the medium applied that counts, but the method of using it. With regard to this I don’t think that one medium can be a threat to others, to traditional painting in this case – only a terribly bad idea is a threat to any kind of work, painting included.”

Apart from painting she practices drawing and has started using other media – but more about that when the time is right. As regards intermedia art she has no idea about it, but would be interested in learning about it.

Peter Tomaž Dobrila

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Božičkovi zadnji dnevi / The Last Days of Santa Claus, 176 x 200 cm, 2001

Križanje (požrešnost) / Crucifixion (Gluttony), 2004

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Robertina Šebjanič, Luka Freli Kaj te spravi v smeh?

Smejim se ob dobrem, zabavnem in iskrivem sogovorniku. Velikokrat se to odvije ob dobri kavi, pa finem traču. Življenjska filozofija?

Ekperimentiraj in uživaj.

Kaj bereš?

Trenutno se trudim, da bi bila v kratkem tudi diplomirana, tako da je literatura, ki jo prebiram, predvsem taka, da bi me vzpodbudila k pisanju.

Uživam predvsem v prebiranju znanstveno fantastičnih del, ki so mi velikokrat tudi inspiracija, recimo pred kratkim sem ravno zopet vzela v roke Asimova.

Ali živiš od umetnosti?

Zgolj od lastnih projektov in razstavljanja ne preživim. Kot svobodnjak delujem v video mediju in sem ogromno naokrog s kamero ter se tudi ukvarjam s postprodukcijo dokumentacije predstav in festivalov, vodim video tečaje in občasno naredim tudi še kakšno gledališko scenografijo.

Seveda bi si želela, da bi se lahko preživljala izključno s svojo umetnostjo, vendar bom morala še malce potrpet in dočakat slavo in z njo seveda tudi bogastvo ;-)...

Imaš managerja?

Ne ga/je nimam, bi ga/je pa bila zelo vesela. Sodelujem z različnimi institucijami, npr. Scca, ki predstavlja slovenske video umetnike, Kiberpipo, kjer so bili producent dela Pufination, in s posameznimi kuratorji. Poiskušam se tudi sama aktivno dogovarjati za projekte in razstave in še ljubše mi je, da me tudi povabijo na festivale, predstavitve, razstave, v galerije. Skratka, treba je fino “zaplavat”, se mrežit, pogovarjat, predstavljat... Velikokrat tudi brskam po objavah na Artservisu in njemu podobnih web straneh.

Kaj te veseli?

Eksperimentiranje, raziskovanje, spajkanje, hekanje, gibljiva slika, ...

Kaj je intermedijska umetnost?

Sem tudi jaz pogledala po japonskem učbeniku, ki ga ima Luka doma, vedar je v japonščini, ki je na žalost ne znam. Skratka, zame sta področji znanosti in umetnosti kot magneta, ki se glede na določeno obdobje odbijata ali privlačita. Trenutno sta si zelo všečna... sem radovedna, kako se bo razvil ta odnos še v nadaljnje.

Avtorski pečat, prepoznavnost?

“Konstruiranje novih imaginarnih svetov – iskanje razmerja med resničnim in iracionalnim ter preverjanje meja naše čutne percepcije”. Sem to vrstico zasledila v članku Mihe Colnerja o mojem delu in se pod to res lahko podpišem.

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What makes you laugh?

I laugh when I enjoy a good, entertaining and witty conversation with somebody. It often happens while having a good coffee and a nice gossip.

Do you have a life philosophy?

Experiment and enjoy.

What do you read?

At this moment I am working to become a graduate soon, so the literature I read is mostly the type to encourage me to write. I particularly enjoy reading science fiction, which often inspires me. Just recently I again started reading Asimov.

Do you live off art?

I cannot live just on my own projects and exhibitions. As a freelancer I work in video and spend much time going around with a video camera, I’m also involved in the postproduction of documenting performances and festivals, I run video courses and occasionally make a theatre scenography. Of course I would want to earn money with my art exclusively, but I will have to wait some more to experience fame and of course the wealth that comes with it ;-)...

Do you have a manager?

No, I don’t, but I would love to. I cooperate with various institutions, such as SCCA representing Slovenian video artists, Kiberpipa who produced Pufination and with individual curators. I also try to be active in making arrangements for projects and exhibitions. I prefer to be invited to festivals, presentations, exhibitions, to galleries. In short, you need to be “in the swim”, to network, talk, present... I also often browse the posts at Artservis and similar websites.

What makes you happy?

Experimenting, research, soldering, hacking, moving image...

What is intermedia art?

I also browsed the Japanese textbook that Luka keeps at home, but it is in Japanese, which I unfortunately don’t understand. However, to me the fields of science and art are like magnets that are either repelled or attracted to each other, depending on the given period of time. At the moment they like each other very much... I am curious at how this relation will develop in the future.

What is your signature style (recognisable element)?

“Constructing new imaginary worlds – seeking the relation between the real and irrational and testing the limits of our sensory perception.”

I encountered this line in an article by Miha Colner on my work and I can really just sign it.

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Kaj te spravi v smeh? xkcd, romantično sarkastično matematično jezikovni web strip. Življenjska filozofija?

Ena ljubših mi je tista iz Perla: “vrline dobrega programerja so lenoba, neučakanost in napuh”.

Verjamem pa tudi v Occamovo britev – od vseh ustreznih razlag izberi najpreprostejšo.

Kaj bereš?

Vsak dan berem planete (zbrane programerske bloge), BoingBoing in AlterSlash. Občasno pa z veseljem požrem tudi kako knjigo, najraje znanstveno fantastiko. Živiš od umetnosti?

Ne ravno. Morda nekoč, ko bom velik in slaven?

Imaš managerja?

Ne. Glej tudi prejšnji odgovor.

Kaj te veseli?

Ko mi kaj rata. Recimo najti čas in veter za spuščanje zmajev.

Kaj je intermedijska umetnost?

O njej imam doma en japonski učbenik, ki ga seveda ne znam brati, rad pa gledam lepe barvne sličice na stodvajsetih karticah, ki so zraven. Izraz intermedijska umetnost mi ni všeč, saj ga je zelo težko zamejiti in razumeti.

Vendar očitno vanjo spada tudi računalniška umetnost, ki bolje opiše večino mojih del.

Avtorski podpis, prepoznavnost?

Mešanica low- in high-techa.

Imaginarn

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What makes you laugh? xkcd, webcomic of romance, sarcasm, math, and language.

Do you have a life philosophy?

One of my favourites is one from Perl: “the virtues of a good programmer are laziness, impatience and hubris.” And I also believe in Occam’s razor – choose the simplest of all appropriate explanations.

What do you read?

Each day I read planets (collected programming blogs), BoingBoing and AlterSlash. Occasionally I enjoy devouring a book, preferably science fiction.

Do you live off art?

Not really. Maybe someday when I’m grown-up and famous?

Do you have a manager?

No. Also see the previous answer.

What makes you happy?

When I succeed in something.

Say to find the time and wind to fly kites.

What is intermedia art?

I have a Japanese textbook on the topic and of course I can’t read it, but I love to look at pretty colour pictures on one hundred and twenty cards that are included. I don’t like the term intermedia art, as it is difficult to define and understand. But obviously it includes computer art, which better describes the majority of my work.

What is your signature style (recognisable element)?

A mixture of low- and high-tech.

Mehurček / Bubble, 2007

Pufinacija / Pufination, 2008 Frida V., 2004

ih, Ljubljana

ni svetovi

Trije elektromagnetni habitati

Three electromagnetic habitats

Pufinacija (Robertina Šebjanič in Luka Frelih) Interaktivna instalacija Pufinacija ponazarja mikroorganizme, ki sobivajo v odprtem ekosistemu.

Skupina objektov deluje kot občutljiva senzorska mreža. Obiskovalec se vplete v umetno uprizorjeno “biosfero” preko aktivne, na senzorjih temelječe interakcije. Brez interakcije Pufinacija ni popolna.

Glavnega akterja ni, vsi sobivamo. Projekt izpostavlja odnos do sobivajočih kot pomemben del lastnega preživetja posameznika. V Pufinaciji se znajdemo znotraj simulirane projekcije našega vsakdana.

Decentraliziran nadzor, odziv na bližnje dražljaje in sledenje preprostim pravilom – to združuje robote in gledalca v Pufinacijo. Roboti Pufi so zasnovani na platformi Arduino. Med sabo komunicirajo po brezžičnem omrežju, z ljudmi pa prek dotika, zvoka, svetlobe in tresenja.

Koncept, realizacija: Robertina Šebjanič Programiranje, svetovanje, realizacija: Luka Frelih Pomoč pri tehnični izvedbi: Alojzij Sinur in Janž Verbančič Vodja produkcije: Daša Lakner Produkcija: Kiberpipa http://www.ljudmila.org/pufination/

Pufination (Robertina Šebjanič and Luka Frelih), interactive installation Pufination interactive installation represents microorganisms living in an open ecosystem, while the collection of objects functions as a sensitive sensory network. The visitor is subsumed into the artificially produced “biosphere” through active sensor-based interaction. Pufination is incomplete without interaction. There is no leading role, we are all just cohabiting.

The project thus highlights our relationship to other life as an important factor to each individual’s own survival. In Pufination, we find ourselves inside a simulated projection of our everyday. Decentralised control, close stimulus response and adherence to simple rules – this is what links robots and visitors in Pufination. Pufi robots are based on the Arduino platform. They communicate with each other by a wireless network and with people by touch, sound, light and vibration.

Concept, design, technical realization: Robertina Šebjanič Programming, advice, technical realization: Luka Frelih Technical support: Alojzij Sinur and Janž Verbančič Production manager: Daša Lakner Produced by: Kiberpipa http://www.ljudmila.org/pufination/

Frida V. (Luka Frelih), participatorna, globalna in javna akcija Frida V. je robustno in udobno kolo, opremljeno za učinkovito raziskovanje in kartiranje javnih urbanih prostorov. Nosi majhen računalnik z brezžičnim omrežnim vmesnikom, GPS sprejemnik, kamero z mikrofonom in baterije. Udeleženec v projektu prevzame vlogo voznika in soustvarjalca digitalnih vsebin. Sistem upravlja in nadzira prek enostavnega vmesnika na krmilu kolesa. Usklajen nabor programske in strojne opreme omogoča samodejno kartiranje odkritih brezžičnih računalniških omrežij, enostavno snemanje z lokacijo in ikono označenih posnetkov in priložnostno sinhroniziranje s strežnikom na internetu. Raziskovalec lahko analizira zbrane podatke in naredi zemljevide raziskanega območja, ki predstavijo nevidna informacijska polja v njem. Vpogled v zbrane podatke in posnetke, analize, zemljevide in zaključke lahko udeleženci in drugi dobijo na razstavi, pa tudi na spletni strani. Iz njih nastajajo karte brezžičnih omrežij in posnetkov, so pa tudi zametek – vhodni podatki – za bodoče proste zemljevide mest. Tudi dokumentacija o strojni in programski opremi, razvita v sklopu projekta, je prosto dostopna na spletni strani. Frida V. je tako popolnoma prosta eksperimentalna platforma primerna za nadgradnje in predelave. (http://twiki. ljudmila.org/bin/view/Luka/FridaV) Bubble (Robertina Šebjanič), video-zvočna instalacija “... Video Bubble, čeprav je v osnovi posnet s kamero, nima namena prikazovati zunanjega resničnega sveta. Referencialni objekt uporablja le kot gradni element vizualne govorice, dalje pa ga transformira po logiki animacije. Tu živi v popolnoma svojem, na novo skonstruiranem svetu. A vendar gre za svet stvarnosti, za svet, ki gledalca ne odpelje popolnoma v čudežno deželo. Bubble je pravzaprav nekakšno ljubkovalno ime za nenavadno bitjece, ki se pojavlja na zaslonu. Ves čas je njegova prisotnost negotova.

Premika se, pulzira, pojavlja se in izginja v prav takšni nestabilnosti, v kakršni se kažejo tudi življenja bitij, ki jih poznamo iz naše zemeljske izkušnje...” (Vasja Nagy, iz teksta ob prvotni postavitvi v Galeriji Alkatraz)

Frida V. Free Ride Data Acquisition Vehicle (Luka Frelih), participatory, global and public campaign Frida V. is a rugged and comfortable bicycle equipped for efficient exploration and mapping of public urban spaces. It carries a small computer, GPS positioning device, 802.11 wireless network transceiver and a basic audiovisual recording unit.

A project participant assumes the role of the rider and co-creator of digital contents. The system is managed and controlled using a simple interface on the bicycle handlebar. The consolidated software and hardware assembly enables automated mapping of stumbled wireless networks, easy creation of location-tagged media and opportunistic synchronization with a server resource on the Internet. The researcher can analyse the collected data and make maps of the researched area showing the invisible information fields in it. The insight into the data and recordings, analyses, maps and conclusions is available to participants and others at the exhibition and at the webpage. All of this is used to create maps of wireless networks and recordings, yet it also represents the basis – input data – for future free city maps. The documentation on hardware and software developed within the project is available freely on the website. Frida V. is thus a completely open experimental platform available for upgrades and conversions. (http://twiki.ljudmila. org/bin/view/Luka/FridaV) Bubble (Robertina Šebjanič), video-audio installation “... Bubble video, although recorded with a video camera, has no intentions to present the real external world. The referential object is only used as a construction element of the visual language, transforming it further according to the animation logic. Here it lives in a completely newly constructed world of its own. Yet it is a world of reality, a world that doesn‘t immerse the observer in the wonderland. Bubble is actually a pet name for an uncommon creature appearing on the screen. Its presence is constantly unpredictable.

It moves, pulses, appears and disappears in the same instability as is shown by the lives of creatures that we know from our experience on the earth...”

(Vasja Nagy, from the text written for the original installation in Alkatraz Gallery)

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Kristian Kožul, New York Magični svet kiča Mediji ga označujejo kot enega najzanimivejših, najprodornejših, celo najbolj radikalnih umetnikov hrvaške sodobne umetnostne scene. Ko sem se pred leti v eni od zagrebških galerij prvič srečala z njegovimi deli, se mi je zdelo, da za njimi zagotovo stoji zanimiva osebnost. Ko pa sem ga med lanskoletnim potepanjem po New Yorku imela priložnost spoznati in ko sem preživela prijetno popoldne v njegovem ateljeju (ki se je končalo z večernim raziskovanjem barov v Williamsburgu), sem videla, da je dejansko prava faca. Prijeten sogovornik – zgovoren in zabaven, poln domišljije, ki kar frči na vse strani … in vsi ti elementi se tako ali drugače odražajo tudi v njegovem delu.

Kristian trenutno v New Yorku pridno dela, ker se pripravlja za predstavitev na vodilnem umetnostnem sejmu v ZDA, posvečenem izključno sodobni umetnosti (PULSE), tako da tokrat na žalost nisva prijetno kramljala v kateri od newyorških kavarn, ampak zgolj virtualno – po elektronski pošti...

Glede na to, da živiš in delaš v New Yorku, ki je želja mnogih umetnikov (pa ne samo slednjih:), me zanima, kako je prišlo do te odločitve. Zdi se mi, da oditi s trebuhom za kruhom zahteva veliko poguma. Kakšni so bili začetki, katere so prednosti/slabosti življenja v velemestu? Kakšna je razlika v sodelovanju z galerijami tam in doma?

V čem je skrivnost uspeha preživetja v NY? “Sploh ni potrebno veliko poguma! Moje tedanje dekle, sedanja soproga, se je odločilo, da je to veliko boljši prostor za najino skupno življenje, kariero in prihodnost. Tako so moji razlogi precej prizemljene človeške narave in glede na to, da nisem imel izbire, je bil element poguma zanemarljiv. Rezidenca v ISCP-ju (International Studio & Curatorial Program, op. a.) je predstavljala začetek, od tam naprej pa iskanje galerije in možnosti za nadaljnje bivanje.

Sodelovanje z galerijami je precej drugačne narave kot doma. V prvi vrsti zato, ker gre za privatne galerije, ki so usmerjene v vodenje uspešnega “biznisa”, torej absolutna svoboda, ki smo je vajeni doma, ne obstaja, ali pa je zelo redka. Celotne zadeve sploh ni treba romantizirati, je namreč precej enostavna – če ljudje mislijo, da lahko prodajo tvoja dela, bodo sodelovali s tabo, če mislijo, da to ni mogoče, ne bodo. Kategorije kot je kvaliteta dela so sekundarne, ampak to je značilnost scene in mnoge stvari doma se zdaj zdijo veliko lažje in veliko bolj idealne. Vsako okolje ima svoje prednosti, ampak mislim, da je skrivnost preživetja enaka kot doma: biti pripravljen živeti v super majhnem stanovanju in biti na kontinuirani dieti!”

Kako gledaš na titulo, ki ti jo pripisujejo mediji?

Koliko je provokacije v tvojih delih? Kako tvoja dela sprejema, razume občinstvo?

“Ne vem, če bi lahko rekel, da sem provokativen.

V kolikor se ukvarjaš s problematiko, ki se dotika obrobnih socialnih problemov, se zmeraj najde določena skupina, ki jih dojema kot provokativne.

Od velikosti te skupine, ki ne upošteva perspektive umetnika ali pa bi bila srečnejša, če se tovrstna problematika sploh ne bi pojavljala v javnosti, celo ne v sferi umetniškega interesa – pa je odvisno, v kolikšni meri bo delo sprejeto kot provokativno ...

Sama provokacija kot taka ni moj namen, vendar pa je glede na naravo mojih del nujno prisotna.

Glede na to pa, da sem še vedno živ, čeprav malo podhranjen glede na situacijo v Ameriki, se zdi, da obstaja publika, ki razume in sprejema moje delo.”

Umetnikove skulpture, objekte in inštalacije, ki postavljajo pod vprašaj tradicionalni kiparski medij, zaznamuje minuciozna izvedba in zavedno poigravanje z estetiko kiča. Njegova dela na nov

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MehaniÄ?ni bik / Mechanical bull, 2009 (foto: Jeffrey Sturges)

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Nevidni kavboj / Invisible Cowboy, 2009 Discoware, invalidski voziček / wheelchair, 2003 Asylum, stol za hranjenje / feeding chair, 2004 Asylum, zibelka / cradle, 2004 (foto: Jeffrey Sturges)

način obravnavajo teme pojmovanja tradicije, kulturne in materialne dediščine, identitete, spektakla in moči v sodobnem svetu. Pri svojem delu uporablja in predeluje industrijsko izdelane predmete – npr. perle, satenaste pentlje, perje, čipke ter plastično cvetje, žeblje, ogledala… – , v osnovi cenene materiale, ki pa skozi umetnikovo interpretacijo pridobijo novo simbolično vrednost in pomen. Subtilen pristop, združevanje nezdružljivega in drznost, ki se pogumno približuje meji ne-okusa so skupni imenovalci del Kristiana Kožula. Teme, ki se jih v svojih delih loteva, so refleksija politične in družbene situacije, tako da umetnik z njimi uspeva nagovoriti širše množice občinstva. Zmeraj ostaja provokativen, vendar nikoli ne gre za prazne vizualne forme, ampak za podobe, ki v ozadju nosijo težo zgodovinske, družbene ali politične problematike človeške civilizacije.

“Heh…, od kod simpatija do kiča? ...odvisno, kako definiraš kič,” pojasnjuje. “Če se pogovarjava o množično producirani “robi”, ki zadovoljuje okus meščanskega razreda, se bojim, da bi potem danes morali govoriti o kvazi minimalni umetnosti ali o salonski konceptuali, torej daleč od mojega opusa. Če pa se pogovarjava o čisto estetskem fenomenu, vezanem na svojevrstno “sladkobnost” in trdno definirani kategoriji “ne-okusa” – mislim, da je tak jezik zelo izzivalen glede na svojo inheretntno/ romantično privlačnost, po drugi strani pa odbijajoč glede na naš indoktriniran elitistični okus. Do popolnosti odraža naravo mojega dela ... in tako čudovito amoralen je (čeprav zgolj v krogih, ki resnično cenijo visoko umetnost)!:)” Na razstavi v Kibeli bo Kristian predstavil najnovejšo serijo del, nastalih v času bivanja v New Yorku. V svojem dosedanjem delu se je skoraj izključno ukvarjal z ikonografsko simboliko forme najdenih objektov ali z nasprotjem med inherentno simboliko objekta ter estetiko, ki mu je postavljena nasproti.

Gre za svojevrsten simbolični oksimoron s težnjo h kritičnim političnim ali družbenim konotacijam znotraj določenega družbenega konteksta, v okviru katerega le ta nastaja. V zadnjem letu dni pa se je umetnik posvetil tudi mediju videa, ki je bil del njegovega ustvarjalnega izraza že v zgodnejši fazi umetniškega ustvarjanja. Inštalacija, ki bo realizirana v galerijskem prostoru, sledi estetskim koordinatam cenene trash/cabaret ikonografije. Gre za približek kulisi neokusnega pop tv showa, v kateri se nenehno meša simbolični assemblage znakov, vezanih na show business.

Ena od novosti je video – se vračaš k temu mediju ali je to samo izlet v novo (staro) smer? Vsaj tako od daleč se zdi, da je tema celote nekoliko lahkotnejša, bolj pisana ... gre za vpliv okolja, v katerem živiš in delaš?

“Zagotovo vpliv okolja – ampak verjamem, da tudi dozorevanja. Nekako so se vsi mediji, s katerimi delam, začeli povezovati ... bomo videli, kako bomo preživeli vse to. Bolj pisana? Vsekakor ... zdaj moramo temu poiskati protiutež!”

Kristian bo Kibelo v velikem slogu zasedel v septembru. Dobrodošli v magičnem svetu kiča!

Ω

The media label him one of the most intriguing and piercing, even radical artist coming from the Croatian contemporary art scene. As years ago I

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first encountered his works in a gallery in Zagreb, I thought there must be an interesting personality hiding behind them. And when last summer I had the opportunity to meet him and spend an afternoon in his atelier in New York (which continued into bar research in Williamsburg), I realized he was really a cool guy. Nice to talk to – talkative and entertaining, bursting with imagination flying to all directions ... and all these elements are reflected in his work, one way or another.

Currently, Kristian is working hard in New York, preparing his presentation for PULSE, the leading US art fair dedicated to contemporary art exclusively, therefore we have not been able to have a nice talk in a New York cafe, but just virtually – by email...

Considering the fact you live and work in New York, which many artists would love to do (and not only them), can you tell me how you made this decision. I suppose that to pull up stakes requires a lot of courage. How was it at the beginning, what are the pros/cons of living in a metropolis? What is the difference in working with galleries there or at home? What is the secret of success to survive in NY? “There was not a lot of courage involved! My then girlfriend, now wife, decided that would be a much better place for our common life, career and future.

So my reasons were of pretty down-to-earth human nature and as I had no choice, the element of courage was neglectable. It began with a residence in ISCP (International Studio & Curatorial Program, NA), and that was followed by looking for a gallery and possibilities for future stay. Working with galleries is of very different nature than at home.

Primarily due to the fact that galleries are private therefore focusing on running successful businesses, so the absolute freedom that we were used to having at home practically doesn’t exist, or very rarely. The whole thing deserves no romanticism, it is pretty simple – if people think they would be able to sell your works, they will work with you, if they don’t think so, they won’t. Categories like the quality of work are of secondary importance, but that is what the scene is like and many things at home now seem much easier and much more ideal. Each environment has its advantages, but I think the secret of survival is the same as at home: to be prepared to live in a super small flat and be continually on a diet!”

How do you perceive the label that is ascribed to you by media? How much provocation is there in your works? How are your works regarded, understood by the audience?

“I’m not sure I could say I am provocative. As long as you deal with issues related to marginal social problems, there will always be a certain group perceiving your works provocative. It then depends on the size of the group – who don’t consider the artist’s perspective or wish for such problems not to be present in the public, even not in the sphere of artistic interest – for the work to be deemed provocative to a certain extent...

Provocation as such is not my intention, but due to the nature of my work it is unavoidable. And considering the fact I am still alive although a bit underfed due to the situation in America, it seems there is an audience that understands and welcomes my work.”

The artist’s sculptures, objects and installations that question the traditional sculpture medium are marked by detailed execution and conscious playing with the aesthetics of kitsch. His works offer a new handling of interpreting the tradition, cultural and material heritage, identity, spectacle and power in the contemporary world. In his work he uses and processes industrially manufactured items – e.g. pearls, satin ribbons, feathers, lace and plastic flowers, nails, mirrors ... – basically cheap materials that through the artist’s interpretation acquire a new symbolic value and meaning. Subtle approach, combining what cannot be combined and the daring, bravely nearing the limit of distaste, are the common denominators of works by Kristian Kožul. The topics dealt with in his works reflect the political and social situation, enabling the artist to address the wide general public. He always remains provocative, never succumbing to empty visual forms but using images that are based on the weight of historical, social or political issues of the human civilisation.

“Huh… where does my sympathy towards kitsch originate? ... It depends on how you define kitsch,” he explains. “If we talk about mass produced “staff” that satisfies the taste of the middle class, I am afraid we should then be talking of quasi-minimalist art or salon conceptual work, which is very far from what I do. But if we talk about the aesthetic phenomena, related to certain “sweetness” and the strictly defined category of “non-taste” – I think such language is very challenging due to its inherent/ romantic appeal, and at the same time repulsive with regard to our indoctrinated elitist taste. It reflects the nature of my work perfectly... and it is so wonderfully amoral (although only in circles that really appreciate high culture)!:)” At the exhibition in Kibela, Kristian shall present his latest series of works created during his stay in New York. His work so far is almost exclusively dedicated to iconographic symbolism of form of found objects, or to the contrast between the inherent symbolism of the objects and the aesthetics facing it. This is a symbolist oxymoron of a kind, striving towards critical political or social connotations within a certain social context, within which it is being created. In the past year the artist focused on video as well, which was part of his artistic expression in the early phase of his creativity. The installation to be realised in the gallery follows aesthetic coordinates of tacky trash/cabaret iconography. It will have the likeness of a tasteless TV pop show, in which the symbolic assemblage of show-business signs will be intermingling all the time.

One of your novelties is video – is this your return to the medium or just a trip to a new (old) direction? At least form afar it seems that the theme of the whole is a bit milder, a bit more colourful ... is this the influence of the environment in which you live and work?

“Certainly it’s the influence of the environment – but also maturing, I believe. In a way all the media that I use started integrating ... we’ll see how we are going to live through this. More colourful? Undoubtedly ... but now we have to find a counterweight for it!”

Kristian will make a grand visit to Kibela in September. Welcome to the magical world of kitsch!

Maja Vuksanović

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Natalija R. Črnčec, Maribor

Barva

Natalija R. Črnčec se je v Kibeli predstavila s prostorsko postavitvijo, naslovljeno Barva. Prostor je zapolnila z barvnimi telesi, ki so poudarjala barvo kot nosilko izraza. Lebdeča okrogla telesa različnih dimenzij, poslikana z enotno flourescentno rdečo barvo, so, osvetljena z UV svetili, zažarela in prostor spremenila v pravljični ambient. Galerija je tako dobila novo, čarobno dimenzijo in postala projekcijsko polje za domišljijo obiskovalca ...

sam. Si pa ne znam predstavljati, kako bi opravljala svoj poklic, če bi ateljejsko delo zamrlo. Prepričljivost v podajanju snovi, motiviranju dijakov mora izhajati iz lastnega prepričanja v živost slikarskega materiala in smiselnost likovnega ustvarjanja. Kot sem vsakodnevno v službi, sem vsakodnevno v ateljeju, z leti je to ritem, ki postane naraven ritem dopolnjevanja.”

“Poslikava je rezultat dolgotrajnega postopka nanašanja drobnih sledi ritma, ki nastaja spontano, kot sledenje liniji – negativnemu prostoru, ki nastaja vmes in oblikuje slikarske površine v disciplinirani pozornosti. Odločitev za okroglo obliko sovpada z načinom poslikave, kot kontinuum, ki se nikjer ne začne in ne konča, hkrati pa teži k popolnosti kot takšni. Postavitev v prostor koncipira na spontanem odnosu ritma, ki se vzpostavi med slikarskimi telesi in prostorom samim. Z realizacijo postavitve bi rada izrazila moč barve v izčiščeni obliki njenega žarjenja v drobcih, ki so kot svetloba položena v dih barve.”

bila tokrat zatemnjena, z žarečimi rdečimi poudarki pa je bil ustvarjen prijeten in udoben domišljijski ambient.

Natalija že vrsto let poučuje likovno umetnost na Prvi in Drugi gimnaziji Maribor, ob tem vodi kreativne delavnice za vse nadebudne mlade ustvarjalce ter z njimi pripravlja umetniške projekte, ki bogatijo dijaški vsakdan. Kratek čas sva bili kolegici na omenjenih šolah in dejstvo je, da je Natalija več kot zgolj profesorica svojim dijakom. Z dobro mero prijateljstva in popolno predanostjo mladim vzbuja ljubezen do umetnosti ter spodbuja in podpira njihovo kreativnost. In pri svojem delu zelo uživa.

Glavni razlog je težko opredeliti: “Mislim, da je to ena izmed lepših služb, s katero si lahko človek služi kruh. Osredotočenost na ustvarjalnost je nekaj, kar živim. Dialog, ki ga vzpostavim z dijaki me postavlja na mnoga ustvarjalna polja. Pogosto zelo iskrena in polna zanosa. Ni nujno, da bodo vsi ti mladi enkrat likovni ustvarjalci, veš pa, da so do le-te vzpostavili resen odnos, ki ne bo nikoli zamrl. Da imajo nekaj, kar ostane; občutek.”

Malo v šali pa vendar nekoliko zares se mi zdi, da se v celotnem projektu delno zrcali Natalijin avtoportret.

Mislim dobesedno, kot (pris)podoba avtorice same – odsev fizičnega in energetskega telesa. Natalija je namreč zmeraj oblečena v temna, črna oblačila, iz te podobe pa žarijo njeni rdečkasti lasje, njene modre oči ter njena topla, pozitivna energija. Tudi Kibela je

Kljub številnim šolskim obveznostim, ki ji vzamejo veliko časa, pa ne zanemarja lastnega ustvarjanja.

Zanimalo me je, kako ji uspeva kombinirati oba pola ter najti čas za vse, saj marsikdo velikokrat na račun službenih obveznosti zanemarja druge ljubezni …

Kot sama pravi, je to najbrž način življenja. “Čas prilagodiš – času, ko si z drugimi – in času, ko si

Ω

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Natalijin ambient, opremljen z meditativno zvočno podobo Andreja Hrvatina, je najbrž navdihnil marsikaterega obiskovalca galerije ter razprl krila različnim sanjarjenjem. Kaj pa je tisto, kar v življenju navdihuje in osrečuje umetnico samo? “Drobne stvari,” pravi. “Nasmeh človeka, srečevanja z živalmi, nebo, upogibajoča drevesa, razpoke v asfaltu, ledene plošče na Dravi … mnogo stvari.”

Ko sva z Natalijo sedeli v njenem ateljeju pod žarečimi rdečimi kroglami, ko je bila razstava še v fazi nastajanja, in sva v prav posebni tišini klepetali o vseh teh drobnih, pomembnih rečeh, je tudi mene zaneslo v eno od paralelnih vesolj ...

In Kibela Natalija R. Črnčec presented her spatial installation titled Colour. She filled the space with coloured bodies emphasizing the colour as the holder of expression. Illuminated with UV lights,

Barva, ambientalna postavitev / Colour, ambiental installation, 2009

the floating circular bodies of various dimensions and of the same fluorescent shade of red were gleaming and transforming the space into a fairy-tale environment. The gallery acquired a new, magic dimension, thus becoming the projection field for the visitor‘s imagination...

“The painted surface is the result of a long-term procedure of applying tiny traces of rhythm emerging spontaneously as if following the line – the negative space emerging in-between and forming painting surfaces in tamed attention. The choice of round shapes is related to the painting technique as a continuum that has no beginning, nor ending, at the same time striving for perfection as such.

The arrangement in space is based on spontaneous relation of the rhythm that is established among painting bodies and the space as such. With the installation, I wish to express the power of colour in the pure form of its glow in tiny bits that are placed as light in the breath of colour.”

Not quite seriously, but not completely joking I could say that the project as such partly reflects Natalija‘s self-portrait. I mean that literally, as a (symbolic) image of the author – a reflection of her physical and energetical body. Indeed, Natalija always wears dark, black clothes, and glowing from this image are her reddish hair, her blue eyes and her warm positive energy. Likewise, Kibela was this time darkened,

but the glowing red accents created a nice and comfortable fantasy environment.

For a number of years, Natalija has been teaching fine arts at the First and Second Grammar School of Maribor, as well as conducting creative workshops for all promising young artists, with whom she also makes art projects to enhance the ordinary student life. For a short time we worked as colleagues at the aforementioned schools and I can say for a fact, that Natalija is more than just a teacher to her students.

With a great deal of friendliness and total devotion, she incites in students the love of art and promotes their creativity. What is more, she really enjoys her work.

The main reason for that is difficult to define: “I think this is one of the nicest jobs a man can have to earn money. The focus on art is something I practice in my life. The dialogue I establish with my students takes me to various creative fields. I am often very honest and full of inspiration. There is no certainty that all these students will once be artists, but I know that they have established a serious relation towards art, which will never disappear. They have something that remains; the feeling.”

Despite numerous tasks in school that fill much of her time, she doesn‘t neglect her own creativity. I was interested in how she could combine the two poles and find the time for everything, as there are many

people who neglect their interests because of their jobs... She says it must be her way of life.

“Time can be arranged – to the time spent with others – and the time spend by yourself. But I cannot imagine how I would be practicing my profession if my work in the atelier had ceased. Convincing lecturing, motivating students has to originate in your own belief into the liveliness of painting material and the importance of fine art. I work in school every day, but likewise I work in the atelier every day. Through all the years it has become a natural complementing rhythm.”

Natalija‘s installation, supported by the meditative sound image by Andrej Hrvatin, possibly inspired many visitors to the gallery and spread their wings of imagination. And what is it that inspires the artist and makes her happy? “Tiny things,” she says. “A smile, spending time with animals, the sky, bending trees, cracks in asphalt, floes on the Drava river... many things.”

As I sat with Natalija in her atelier below the glowing red spheres, when the exhibition was still being created, and there was a special silence while we were chatting about all these tiny, important things, I too was taken into one of the parallel Universes...

Maja Vuksanović

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Matej Pečnikar, Nova Gorica Drznost barvne izpovedi

Molitev / Prayer Matej Pečnikar je študiral slikarstvo na Accademia di belle arti di Brera v Milanu. Študij je nadaljeval ter končal na Dunaju na Akademie der Bildenden Kunste, kamor ga je gnala želja po novih izzivih in izkušnjah.

Veliko časa si živel, študiral in delal v tujini.

Kakšne so tvoje izkušnje iz širnega sveta? S čim si se preživljal? Kako so te izkušnje vplivale nate in na tvoje ustvarjanje?

Moje izkušnje so zelo intenzivne, saj je bilo življenje v zadnjih desetih letih kar pestro. Mogoče zato, ker me je življenje samo poneslo v določene situacije, mogoče pa delno zaradi tega, ker sem jaz izzival življenje in se sam izpostavljal določenim situacijam.

Izzval sem namreč samega sebe in v izziv mi je bilo delati različna dela: od restavracij, tovarn, trgovin, železarn, bil sem prodajalec, pleskar, kmet, čistilec in podobno. Takšnih izkušenj – z različnimi ljudmi, mentaliteto, kulturo in jezikom, še posebno pa konfrontacij po velemestih, ti Slovenija ne more dati, še manj pa samo akademija ali katerakoli specialka.

Umetnost živi vzporedno z življenjem samim, hočem reči, da življenja ne moreš razdeliti na “umetnost” in na vsakdanje življenje. Vse se povezuje, zato je zame

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pomembno na platnu izražati osebne izkušnje in oseben pogled.

Kakšno je življenje mladega umetnika v Sloveniji?

Ali živiš od umetnosti? Imaš menedžerja? Kakšne so tvoje izkušnje z galerijami? Življenje v Sloveniji je lepo in udobno, kar se pa tiče umetnosti, se mi zdi, da ni na nivoju. Še posebno za mladega umetnika. Od umetnosti zaenkrat še ne živim. Na splošno s slovenskimi galerijami nimam preveč dobrih izkušenj – prvič zato, ker je Slovenija tako majhna, njena mentaliteta pa tudi ... drugič pa tudi zaradi tega, ker se slovenske galerije na splošno zanimajo bolj za obrt kot za umetnost. Zanimivo je tudi, da te včasih v tujini bolj častijo in spoštujejo kot v Sloveniji, kjer te gledajo čudno ali pa kritizirajo.

Glavni medij Matejevega ustvarjalnega izraza je slika. Uporablja predvsem tehniko olja na platnu v kombinaciji z akrili. Njegova dela zaznamuje izrazit ekspresionizem, bogati, pastozni nanosi barve, ki slikam dajejo reliefno površino ter močan kolorit in kontrastno nizanje barvnih ploskev. Kompozicije del so zmeraj centralne, saj želi avtor predstaviti in izpostaviti človeka kot posameznika in kot središče vseh stvari, ter njegov odnos do samega sebe, do sočloveka in živali.

Vsebinska rdeča nit slikarske serije, s katero se je Matej Pečnikar predstavil v Kibeli, izraža razkol v človekovi eksistenci, bitko med njegovim duhovnim in živalskim polom, bitko z notranjim jazom, bitko med instinktom, čustvi in razumom ter razkol med kreacijo in evolucijo. Simbolika velikokrat referira na krščansko ikonografijo, vendar pa je simbole potrebno brati v okviru celote, v duhu eksistencializma. Skozi preproste figure in simboliko so namreč predstavljene avtorjeve osebne izkušnje, njegovi pogledi na življenje in doživljanje sveta.

Kakšen je tvoj avtorski pečat, tvoja avtorska prepoznavnost?

Debeli nanosi in uporaba živih barv, eksistencialna tematika, dvom v krščanstvo, nakazan z versko simboliko, na primer križi ...

Katere so glavne teme, ki se jih lotevaš pri svojem ustvarjanju? Od kod črpaš navdih?

Boemsko življenje za moje pojme ne prinese neke večje inspiracije, sam črpam tematiko izrecno iz sebe. Zame pomeni ustvarjanje analizo samega sebe, sem namreč mnenja, da je umetniški “poklic” edina stroka, v kateri se ukvarjaš s samim sabo, vse ostalo je za druge. Zato je zame bistvena tematika,

človek in njegova problematika, obnašanje, eksistenca, odnos do samega sebe in do drugih.

V tehnološki dobi, času, ko v umetnosti prevladujejo novi mediji, instalacije ... ostajaš zvest sliki. V čem je privlačnost tega medija in ali si se kdaj preizkusil tudi v katerem drugem mediju?

Na akademijo sem šel, ker sem dobro risal. Tako kot gre človek s posluhom na glasbeno šolo. Modernost je relativen pojem, zame je bolj pomembna prepoznavnost. Modernost se ne kaže v izbiri medija, temveč v izražanju in v osebnem pristopu do stvari, preko katerih se izražamo. Slikarstvo ostaja slikarstvo, film ostaja film, in tako naprej. Mislim, da se da biti zelo moderen s starimi mediji. Saj tudi vsak violinist ne igra klasike na svoj inštrument, tudi če je ta star.

Zaradi tega je dandanes slikati še toliko večji izziv.

Kako tvoja dela doživlja občinstvo? Nekatera dela so namreč na prvi pogled (posebej za “bolj občutljivega” gledalca) nekoliko provokativna.

Kako se soočaš s tem?

Ne obremenjujem se več s tem. Delam, kar čutim in poskušam biti čimbolj pristen in zvest svojemu izražanju, tako miselno – kompozitivno kot barvnotehnično. S provokativnimi temami se ne ukvarjam zato, da bi pritegnil pozornost, ampak ker imam to v sebi. Če bi se vsakdo spraševal, kaj pravijo drugi, ne bi bilo ne Kosovela, ne Prešerna.

Ljudje so kontradiktorni, pravijo, da cenijo poezijo, glasbo in umetnost na splošno ... Če pa jim ponudiš osebno mnenje, v mojem primeru vizualen izdelek, pa se raje odločajo za “tapete” oziroma obrtno dekoracijo. Na policah pa Dostojevskega in podobno.

Izjemen kontrast! Dejstvo je namreč, da je pravo slikarstvo bilo, je in bo vedno za manjši krog ljudi.

Imaš svojo življenjsko filozofijo?

Napredovati kot človek, prerasti samega sebe, ne ponavljati istih napak, tako v poklicu ali osebnem življenju. Spustiti ego.

Kaj te navdihuje in osrečuje v življenju?

Navdih zmeraj najdem samo v sebi, osrečujejo pa me ljudje, ki delijo podobna mnenja in poglede, ko se lahko izrazim tako na platnu kot tudi v drugih situacijah.

Mateja Pečnikarja zaznamuje svež pristop k obravnavanju slikarske vsebine. S pravo mero ironije in provokativnosti (ki pa ni nikoli cilj njegove zgodbe), z nekonvencionalnim združevanjem vsebinskih elementov ter svojevrstnim obravnavanjem slikarske površine njegova dela vsekakor terjajo gledalčevo pozornost. Kontrastno nizanje naštetih elementov in končni učinek celote pa dajejo njegovim delom specifično poetiko.

with Slovenian galleries is not particularly good – primarily because Slovenia is so small, and so is its mentality... and secondly, because Slovenian galleries are generally more interested in craft than art. What is also interesting, you are often more honoured and respected abroad than in Slovenia, where they take you as weird or criticise you.

Matej’s main medium of artistic expression is painting. He mainly uses the oil on canvas technique in combination with acrylic paints. His works are marked with intense expressionism, rich, pasty applications of paint, providing paintings with a relief surface as well as strong colours and contrasting confrontations of coloured sections. Compositions are always central oriented, as the author wishes to present and highlight man as an individual and the centre of all things, as well as his attitude towards himself, other people and animals.

The main thread of the series of paintings that presented Matej’s work in Kibela is an expression of the division in man’s existence, the battle between his spiritual and animal pole, the battle with the internal self, the battle between instinct, emotions and reason, and the division between creation and evolution. His symbolism often refers to Christian iconography, yet his symbols have to be perceived as part of the whole, in the spirit of existentialism.

The simple figures and symbols present the author’s personal experience, his views on life and experience of the world.

What is your signature style, your recognisable feature as an author?

Thick application of paint and bright colours, existential themes, the doubt about Christianity displayed in religious symbols, e.g. crucifixes...

What are the main topics you deal with in your creativity? Where do you find inspiration?

I believe that bohemian life brings no major inspiration, and I find the topics in myself exclusively.

Creativity to me is self-analysis, as I think that the ”profession” of an artists is the only expertise in which you deal with yourself, all other topics are covered elsewhere. Therefore, to me, this is the core theme, man and his issues, behaviour, existence, his relation to himself and towards others.

In the technological era, when art has been pervaded with new media, installations... you remain faithful to the painting. What is the appeal of this medium? Have you ever tried any other media?

I started studying at the academy because I had been

good in painting. Just like a man having an ear for music would go to a music school. Being modern is a relative term, recognisability is what matters to me.

Modernity does not show in the choice of medium, but in expression and personal approach to what we express with. Painting remains painting, film remains film, and so on. I think you can be very modern using traditional media. Just like a violin player doesn’t necessarily play classical music with his instrument, although an old one. And that’s why today it’s so much more challenging to paint.

How are your works experienced by the audience?

At first sight some of your works are quite provocative (particularly towards more “sensitive” viewers). How do you cope with that?

I have stopped worrying about is. I do what I feel and try to be true and faithful to my expression as much as possible – both in ideas and compositions as well as colours and techniques. I don’t deal with provocative topics to attract attention, but because that’s what’s in me. If everybody was paying attention to the opinion of other people, there would have been no Kosovel or Prešeren.

People are contradictory. They claim to appreciate poetry, music and art in general... Offer them personal opinion, a visual work of art in my case, and they will opt for wallpaper or craft decoration. And Dostoyevsky etc. on their shelves. What a contrast!

It is a fact that proper painting has always been, and always will be, suitable for a limited circle of people.

Do you have a life philosophy?

To progress as a man, to overgrow myself, not to repeat the same mistakes, both in my professional and private life. To release the ego.

What inspires you and makes you happy?

I can only find inspiration within myself. What makes me happy are people sharing similar opinions and views, allowing me to express myself on the canvas and in other situations.

Fresh approach to painting material is characteristic of Matej Pečnikar. With just the right amount of irony and provocation (never using them as the objective of his story), with unconventional integration of contents and particular consideration of the painting surface, his works demand the attention of viewers uncompromisingly. The contrasting composition of these elements and the final effect of the whole provide his works with specific poeticism.

Maja Vuksanović

Ω

Matej Pečnikar studied painting at the Accademia di belle arti di Brera, Milan. He continued and completed his studies in Vienna at the Akademie der Bildenden Kunste, having come there in search of challenges and experience.

You’ve spent much time living, studying and working abroad. What is your experience from the wide, wide world? What did you do for a living?

How has your experience affected you and your creativity?

My experience has been quite intense, as my life in the past ten years has been pretty diverse. Maybe it’s because my life brought me into certain situations, but maybe it’s partly because I would challenge life and expose myself to certain situations. To be more precise, I challenged myself, and I found it a challenge to have various jobs: from restaurants, factories, ironworks, I was a salesperson, painter, farmer, cleaner and so on. Such experience – with various people, mentalities, cultures and languages, but particularly confrontations that happen in big cities, you can’t get this in Slovenia, let alone the academy or any specialising school. Art lives a life parallel to the life itself, which is to say, you can’t separate your life into “art” and everyday life. It’s all related, therefore it is important to express personal experience and perspective on canvases.

What is the life of a young artist in Slovenia like?

Do you live off art? Do you have a manager? What is your experience with galleries?

The life in Slovenia is nice and comfortable, but it seems to me that art is not really competitive.

Particularly for a young artist. So far I haven’t been able to live off art. In general my experience

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Ivana Franke, Zagreb Harmonično občutenje prostor Ivana Franke je priznana hrvaška umetnica mlajše generacije, ki je s svojimi deli umeščena tudi na svetovni umetnostni zemljevid. Leta 2007 se je kot predstavnica Hrvaške udeležila 52. Bienala sodobne umetnosti v Benetkah. V Kibeli se je predstavila z eno svojih ambientalnih instalacij, s projektom Latency (Atrio), ki je del projekta, predstavljenega v Benetkah.

Glavna tema njenega interesa je prostor oziroma ambient. V svoje svetlobne ambiente zmeraj vključuje gledalca kot aktiven člen, kar vsakič znova ponuja posebno izkušnjo ter vizualni užitek za vsakega posameznika. Senzibilno, minimalistično, harmonično, geometrično, krhko, neulovljivo, grafično... to so pridevniki, s katerimi je najlažje opisati delo Ivane Franke.

Na 52. Bienalu sodobne umetnosti v Benetkah si zastopala Hrvaško. Kakšne so tvoje izkušnje pri sodelovanju na tako pomembni razstavi in kaj ti to osebno pomeni? Je tovrstna predstavitev dobra odskočna deska za prihodnost, za nove razstave, nove projekte?

Glede na format razstave in število sodelujočih umetnikov je bila raven energije veliko intenzivnejša kot na večini drugih razstav, pri katerih sem sodelovala. Glede na to pa, da je šlo za nacionalni paviljon, ki se nahaja v zasebnem prostoru in ki je ob tem še dislociran (Fondazione Querini Stampalia, op. a.), v procesu pripravljanja razstave nisem imela veliko kontaktov z drugimi umetniki, kar pa je ponavadi pridobitev sodelovanja na večjih skupinskih razstavah.

Realizacija projekta v okviru Bienala je vsekakor odprla možnosti za nova sodelovanja in projekte, morda bolj indirektno, ampak se mi zdi, da vsak projekt odpira prostor za naslednjega in da v principu ne gre za linearen proces, predvsem ne časovno.

Kakšno je življenje (možnost preživetja) mladega umetnika, umetnice na Hrvaškem? Vem, da je to velika tema, ampak te vseeno prosim za kratek komentar, predvsem na podlagi tvojih lastnih izkušenj.

Zelo malo umetnikov (vseh generacij) se ukvarja in financira izključno z umetnostjo – večina se ukvarja z drugimi dejavnostmi (pedagoško, dizajnom…), s katerimi se financira, kar nekaterim predstavlja problem, drugim spet ne. Umetniki, ki se ukvarjajo izključno z umetnostjo, delajo večinoma v tujini in ne na Hrvaškem.

Tvoje osnovno izhodišče je v grafični umetnosti, saj si končala študij grafike na Akademiji za likovno umetnost v Zagrebu. V kolikšni meri to vpliva na tvoja sedanja dela?

Morda je o vplivu možno govoriti v smislu pogoste rabe osnovnih grafičnih elementov (točka, črta, raster) bodisi v dvo ali večdimenzionalnem prostoru, ampak bolj s fokusom na prostor gledanja in percepcijo prostorskih dimenzij kot pa na konkreten medij.

Skupni imenovalci Ivaninega dela so razstavni prostor, svetloba ter gibanje gledalca skozi prostor. Večina njenih del je narejena posebej za prostor, v katerem so predstavljena ali pa so mu prilagojena. Ko gledalec vstopi v katerega od umetničinih ambientov, postane aktivni udeleženec. Njegova volja za gibanjem in gledanjem določa delo v vsakem trenutku. Konstanta v delu Ivane Franke je tudi interes za volumen prostora, pri čemer galerijski prostor ni samo pasivno okolje, ki obdaja predmet, temveč z elementi svoje konstrukcije in osnovnimi smermi gibanja postane sestavni del umetniškega dela.

Kakšen je proces preobrazbe galerijskega prostora v “tvoj ambient”? Kakšna je vloga obiskovalca – opazovalca v tem ambientu?

Vprašanje, ki si ga pogosto zastavljam, je, na kakšen način dojemamo, doživljamo prostor oziroma sebe in svoje gibanje znotraj prostora in na kakšen način je mogoče ta proces narediti viden ali ga upočasniti – na

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primer z vpeljavo negotovosti s pomočjo redukcije prostorskih elementov, ki jih ponavadi uporabljamo za orientacijo, ali z vplivanjem na občutek ravnotežja … Prostor sam po sebi prinaša določen pomen, ampak mislim, da je ta pomen sekundaren in da gre v osnovi za poskus transformiranja občutka iluzornega v situacijo resničnega in obratno. Če ni opazovalca, ni dela, oziroma delo je v popolnosti odvisno od opazovalca, kar je precej splošna izjava – to je pri nekaterih delih, kjer refleksija svetlobe sledi obiskovalcu, dobesedno vidno.

Delo Ivane Franke zmeraj nosi pečat visoke tehnološke sofisticiranosti. Gledalcu ostaja formalno ozadje velikokrat nevidno, je pa zato končni učinek celote toliko bolj impresiven. Tudi Kibela je z Ivaninim gostovanjem postala drugačen prostor, prostor spremenjenih dimenzij in proporcev, prostor z novo energijo, ki je gledalca posrkal vase. Izhod iz njegovega objema pa je zahteval dobro mero angažiranosti in izostrena čutila.

Ω

Ivana Franke is a renowned young Croatian artist, whose works place her on the world map of art.

In 2007 she attended the 52nd Venice Biennial of Contemporary Art representing Croatia. In Kibela she presented one of her ambiental installations, the Latency (Atrio), which is part of the Venice Biennial project. Her main topic of interest is the space or ambient. She always integrates the viewer as an active part of her light ambients, therefore always providing special experience and visual pleasure to each individual. Sensitive, minimalist, harmonious, geometrical, fragile, intangible, graphic... these are the adjectives that best describe the work of Ivana Franke.

You represented Croatia at the 52nd Venice Biennial of Contemporary Art. What is your experience in participating at such an important exhibition? What does it mean personally? Is such presentation a steppingstone for future, for new exhibitions, new projects?

Considering the scale of the exhibition and the number of participating artists, the energy level was so much more intense than at the majority of other exhibitions I took part in. But considering the fact it was the national pavilion located in private premises and also dislocated (Fondazione Querini Stampalia, AN), I didn’t have much contact with other artists in the process of exhibition set up, which is typically an advantage of participating in major group shows.

Executing my project within the Biennial has definitely opened up opportunities for new cooperations and projects, maybe rather indirectly, but I think each project opens up space for the next one. Basically, this is not a linear process, particularly not with regard to time.

What is the life of a young artist like in Croatia, can you make a living? I know it’s a major topic, but I ask you to comment on it briefly, particularly with regard to your own experience.

There are very few artists (of all generations) dealing with and financing themselves through art exclusively – most of them perform other activities as well (teaching, design...) to earn money, which some of them see as a problem and others don’t. Artists working exclusively within art mostly work abroad, not in Croatia.

Your foundations are in graphic arts, which is what you studied at the Academy of Fine Arts in Zagreb.

To what extent does it influence your current work?

Maybe we could talk about influence with regard to frequent use of basic graphic elements (point, line, raster), both in two- or more dimensional spaces, but

primarily focusing on the viewpoint and perception of spatial dimensions, rather than the medium as such.

Common denominators of Ivana’s work are exhibition space, light and movement of the visitor through space. A great share of her works is made particularly for or adapted to the space where they are shown.

As viewers enter one of the artist’s ambients, they become active participants. Their willingness to move and observe defines the work in any given moment.

A constant in the work of Ivana Franke is her interest in the volume of space, where the gallery space is

ra

Latentnost / Latency (Sala Luzzatto), 2007 Installation view: Fondazione Querini Stampalia, 52. Biennale di Venezia, Venice

not only passive environment surrounding the item, the elements of its structure and basic movement directions becoming a component part of the work of art.

What is the process like of transforming the gallery into “your ambient”? What is the role of the visitor – viewer in such an ambient?

The question I often pose to myself is, in what way do we perceive, experience space or ourselves and our movement within space, and how would it be possible to make this process visible or slow it down – e.g. by

introducing uncertainty through the reduction of spatial elements that are usually used for orientation, or by influencing the feeling for balance... The space as such carries certain meaning, but I consider this meaning of secondary importance. Basically it is about an attempt in transforming the feeling of an illusional situation into a real one and vice versa. Without a viewer there is no work, which means that the work is completely dependent on the viewer. This statement is quite general, but in some works, where the reflection of light follows the visitor, this is quite visible.

The work of Ivana Franke is always marked by the sophistication of high technology. The formal background often remains hidden from the viewer, which makes the effect of the whole all the more impressive. With Ivana’s visit, Kibela also became a different space, the space of changed dimensions and proportions, a space of new energy, sucking the viewer into itself. To retreat from its hold, one needed a great deal of engagement and sharp senses.

Maja Vuksanović

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Jasna Kozar, Maribor

Portreti in avtoportreti

Jasna Kozar je 1977 diplomirala na ALU pri Gabrijelu

Stupici. Podiplomski študij je nadaljevala na Institutu za design v Ahmedabadu v Indiji leta 1979. Je samostojna umetnica.

Umetnica v ospredje postavlja svoje avtoportrete, ki predstavljajo dolgo časovno obdobje. Z njimi hoče širši javnosti prikazati življenje samostojne umetnice v Sloveniji.

“Začenjam na podstrešju, konkretno in v prenesenem pomenu hkrati. Razvrščam slike.

Fotografirala sem nekaj avtoportretov, ki so nastali v različnih obdobjih. Nastali so v ključnih trenutkih, zato ima vsak svojo zgodbo ...

To razstavo sem naslovila Portreti in avtoportreti zato, ker je podoba odvisna od zornega kota in osebe, ki gleda ... Rada bi, da bi ujela duh časa skozi sebe in svojo podobo.”

Play, 2005 Kaj te spravi v smeh?

Stand up komedija.

Imaš svojo življenjsko filozofijo?

Plavaj s tokom.

Ali živiš od umetnosti?

Seveda, življenje je umetnost in umetnost je življenje.

Imaš managerja?

Je to tisti, ki ti pobere ves denar?

Kakšen je tvoj avtorski pečat?

Moje slike so seksi.

Kaj te veseli, navdihuje v življenju?

Pavova peresa, mavrične barve svile, vonj mošusa, lepi dečki ...

Ω

Jasna Kozar graduated in 1977 from the Academy of Fine Arts and Design, mentored by Gabrijel Stupica.

She completed her postgraduate studies in 1979 at the Design Institute in Ahmedabad, India. She is a freelance artist.

She puts particular emphasis on her self-portraits spanning over a long period of time. With them she wants to present the life of a freelance artist in Slovenia to a wide audience.

“I begin in the attic, both literally and figuratively. I arrange images. I have photographed some self-

Mariborski grafiti, akcija pred galerijo DLUM Maribor Graffiti, campaign in front of DLUM gallery

portraits that were made in various periods of time.

They were made in key moments, therefore each of them has its own story...

I have named this exhibition ‘Portraits and selfportraits’, because the image depends on the perspective and the person looking at it... Through me and my image I want to capture the zeitgeist.”

What makes you laugh?

Stand up comedy.

Do you have a life philosophy?

Go with the flow.

Do you live off art?

Of course, life is art and art is life.

Do you have a manager?

Isn’t that the person that takes all your money?

What is your signature style?

My paintings are sexy.

What makes you happy, what inspires you?

Peacock feathers, silk of rainbow colours, musk scent, handsome boys ...

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Mirjana Rukavina, Maribor Senzibilnost dojemanja okolja Si umetnica in se deklariraš kot intermedijska umetnica. Osnovna vmesnika zate sta fotoaparat in internet. Kje iščeš lepoto in estetiko?

Lepoto in estetiko iščem v ljudeh. Narava me ne zanima, ker je sama po sebi lepa oziroma takšna kot je. Zanima me komunikacija z ljudmi (portretiranci), odkrivanje njihovega potenciala. Velikokrat je to bil eros ali ranljivost kot potencial. Erotika je vedno prisotna. Seks(i) kombinacija nastane takrat, ko se npr. eros spoji z “glavo”, tako v dodelanem konceptu kot npr. na popolnoma simbolični ravni. Poglej si recimo kampanije modne znamke American Apparel (http://americanapparel.net/), kjer seksi blondinka nosi dioptrijska očala in nam v počasnem slačenju prikazuje kose modnih oblačil.

Tvoj avtorski pečat, kakšna je tvoja prepoznavnost kot avtorice?

Mislim, da mi ga je odkril booker v modni agenciji Flair na Dunaju: dramatičnost.

Kaj je intermedijska umetnost?

Umetniško področje, kjer si avtorji pomagamo z različnimi mediji/orodji doseči večjo intenzivnost, efekt, razširitev konteksta. Na primer, že kolaž v slikarstvu bi lahko označili za intermedijskega v primerjavi s slikarstvom, slikanjem izključno v oljni tehniki. Ko pomislim na besedo intermedijska umetnost, imam pred sabo umetniško skupino z Dunaja “Granular Synthesis”, katero naravnost obožujem v njihovi estetiki, doživljanju in fatalni preciznosti 90-ih.

Kaj te veseli v življenju, kaj te spravi v smeh?

Woody Allen, srbski humor, bolgarsko-šopski humor, Aki Kaurismaeki. Veseli me – zmeraj – začetek novega letnega časa (vključno z zimo). Živela si na Dunaju, zakaj torej nazaj v Maribor?

Maribor ima geografsko dobro pozicijo, tako, da nama s Sebastjanom omogoča reden kontakt z Dunajem in Gradcem. Mesto je vsekakor udobno, kakšen potencial ima, pa se bo še pokazalo…

Kaj ti gre v Mariboru na “jetra”?

Diskomunikacija in nepovezanost. Celo ljudje, ki si niso konkurenca, delajo drug proti drugemu. Vsak hoče pokazati, da je svoje hiše gospodar. To je slabo, zavira razvoj. Manjka tudi ljubezen do stvari, ki se počnejo, tisti zadnji “schliff”. Na primer: imamo dokaj dobre kolesarske poti, ampak intervali na semaforjih so absurdno kratki. Tudi dobre avtobusne povezave so do oddaljenih nakupovalnih centrov, ampak informativno so premalo izpostavljeni. Niso mi tudi povsem jasne kompetence Nigrada, kaj v bistvu smejo in kaj ne, pa v tem primeru nisem edina.

V Mariboru živi in dela kar nekaj umetnikov, skupin, organizacij, … kako komentiraš art sceno v Mariboru?

Art scena v Mariboru se je obudila z manjšimi prostori za umetnost in dogodki: Odprti Atelje Iztoka Maroha, Inkubator izložba, Ex-garaža, Hladilnica s “Francozi”, osvežen lanski računalniški festival MKC-ja, diskusije “O” v Kibli… Mogoče zveni pretenciozno, ampak mislim, da je dolgoletno delovanje Kible v veliki meri vplivalo prav na nastanek teh manjših prostorov, kjer se sedaj tudi dogaja umetnost.

Drugače pa je umetniška scena tako v Mariboru kot v Sloveniji (pre)majhna, brez trga in žive komunikacije, torej dokaj nestimulativna.

Se Maribor razvija v pravo smer?

Tukaj je problem vprašanja različnih okusov kvalitet bivanja. Kaj pomeni kvaliteta bivanja na primer za nekatere ljudi v mestnem svetu ali pa zame… Za nekoga je kvaliteta imeti casino v centru mesta, za mene pa recimo eno od verig knjigarn, ki so odprte tudi do polnoči. Za razvoj mesta se mi zdi pomembna večplastnost, možnost izbire. V bistvu šele takrat lahko govorimo o mestu. Trenutno se Maribor razvija v “splošne” smeri, ki bi naj v prvi fazi zadostile tisto že dolgo manjkajoče. Upam,

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a

Play, 2005

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Play, 2005

da bo fazo preživelo s čim manj grobimi ali včasih neprimernimi posegi, ki so za vsak organizem boleči.

Povej nam nekaj o tvojem odnosu s kustosi in galeristi?

Kustosi so si različni. Dober kustos te na otvoritvi razstave predstavi čim več ostalim kuratorjem in umetnikom. Slab kustos si umetniška dela polasti v svojo otvoritev.

Ali živiš od umetnosti?

Ne. Samo deloma.

Imaš managerja?

Ti si moj manager. Pa soavtor projektov Sebastian Sauer, “Manager for technical uncertainty”. In Kibla je fantastična hiša za umetniško produkcijo.

Kaj bereš?

Nazadnje je to bil Danilo Kiš, Bernhard Schlink in reklame, ki mi jih mečejo v nabiralnik.

Kaj je zate šok?

He, verjetno bi tudi ti dolgo razmišljal… slepota.

S tem mislim na splošno, še zmeraj prevladujočo neeleganco in nesubtilnost Slovencev v okusu.

Kje je meja pri ustvarjalnih procesih v delih za naročnike oziroma v tvoji lastni kreaciji, tvojem lastnem raziskovalnem procesu? Če je naročnik inteligenten, vzame od tebe točno zato, ker delaš – tako kot delaš. V tem primeru ni meje in lahko nadaljuješ svoje delo (vsaj deloma) tudi v komercialnem kontekstu. Takšni naročniki v bistvu

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Play, 2005

ustvarjajo vsesplošen razvoj senzibilizacije dojemanja okolja. Meja, kjer se ostro začuti diskrepanca med enim in drugim, je prag infantilnosti in določene oblike imbecilnosti, ki jo moraš odigrati oziroma realizirati, ali pa tudi ne.

Kakšen je tvoj odnos do politike?

Politika je stvar diplomacije, predstavljaj si umetnika, ki se v svojem delu izraža “diplomatsko”. Drugače pa, vsaka nacija je indoktrinacija.

Imaš svojo življenjsko filozofijo?

Je nimam. Učim se jih sproti.

Ω

You are an artist, proclaiming yourself an intermedia artist. Your basic interfaces are the camera and the Internet. Where do you seek beauty and aesthetics?

I search for beauty and aesthetics in people. I am not interested in nature as it is beautiful as such. I am interested in communication with people (the portrayed), in discovering their potential. Very often it was eros or vulnerability as the potential. Eroticism is always present. A sexy combination emerges when the eros integrates with the “head”, both in a developed concept as well as on completely symbolic level. Take, for example, campaigns of the fashion brand American Apparel (http://

americanapparel.net/), where a sexy blonde wears corrective glasses and while slowly taking her clothes off, shows fashion items.

Your signature style, what is your recognisability as an author?

I think a booker in Flair fashion agency in Vienna discovered it: drama.

What is intermedia art?

A field of art, in which authors use various media/ tools to achieve higher intensity, effects, broadening of context. A collage in painting could for example be labelled intermedia as compared with painting in oil exclusively. But when I think about the phrase intermedia art, I think of the Vienna art group “Granular Synthesis”, whose aesthetics, experience and fatal preciseness of 1990’s I simply adore.

What makes you laugh, what makes you happy?

Woody Allen, Serb humour, Bulgarian (Šopski) humour, Aki Kaurismaeki. What makes me happy is – always – the beginning of a new season (including winter).

You lived in Vienna, so why back to Maribor?

Geographically, Maribor has a good position, so Sebastian and me can maintain regular contact with Vienna and Graz. The city certainly is comfortable, as for its potential, the time will show...

What gets on your nerves in Maribor?

Discommunication and bad connections. Even

Play, 2005

people who are not competition work against each other. Everybody wants to prove to be the master of the house. This is bad, it slows down development.

People also lack the love for what they do, the final touch. For example, we have good cycling roads, but semaphore intervals are absolutely too short. We also have good bus routes to remote shopping centres, but the information about it is concealed. I also don’t understand the competence of Nigrad, what they really can and can’t do, but nobody does in this case.

Several artists, groups, organisations live and work in Maribor... How would you comment on the Maribor art scene?

The art scene in Maribor was brought to life through small art spaces and events: the Open Atelier of Iztok Maroh, Inkubator gallery, Ex-garaža, Hladilnica with “the French”, the revived MKC computer festival last year, “O” discussions in Kibla… It might sound pretentious but I think that the long-running operation of Kibla has largely inspired these smaller spaces, where art is also happening now. But generally, art scene in Maribor as well as Slovenia is (too) small, with no market and live communication, therefore quite unstimulating.

Is Maribor developing into the right direction?

This is a question of different tastes as regards the quality of living, what this means to some people in the city council or to me... For somebody it is quality

to have a casino in the city centre, and to me, for example, to have a bookshop chain that is open at night. I think it is important for the city development to be multilayered, to enable choice. Only then we can actually talk about a city. Currently Maribor is developing into “general” directions, which are first supposed to satisfy what’s long been missing. I hope this phase passes with as few coarse or sometimes inadequate interventions as possible, as they are painful for any organism.

Tell us about you relation with curators and galleries?

Curators are very different. A good curator will present you to many other curators and artists at the opening. A bad curator will seize the works of art into his opening.

Do you live off art?

No. Only partly.

Do you have a manager?

You are my manager. And the co-author of my projects Sebastian Sauer, “Manager for technical uncertainty”. And Kibla is a fantastic place for artistic production.

What do you read?

Most recently it was Danilo Kiš, Bernhard Schlink and the ads I get in my mailbox.

What shocks you?

Ha, it would probably take you a long time as well…

blindness. And I mean blindness in general, the constantly prevailing lack of elegance and subtlety in the style of Slovenians.

Where is the limit in art processes in working for clients or in your own creations, in your own research process?

If the client is intelligent, they take you exactly for what your work is like. In this case there is no limit and you can continue your work (at least partly) in commercial context as well. Such clients actually create an all-round development of rendering the perceiving of environment more sensible. The limit, where the discrepancy between one and the other feels very sharply, is the limit of infantilism and a certain kind of imbecility, which you have to act or realise, or maybe not.

What is your attitude towards politics?

Politics has to do with diplomacy, now, imagine an artist who expresses himself “diplomatically” in his work. Anyway, each nation is indoctrination.

Do you have a life philosophy?

I don’t. I learn as I do along.

Dejan Pestotnik

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Mirjana Rukavina & Sebastian Sauer, SEDUCTION / Seduced by Uncertain Knowledge, 2009, λ-print Model: Sanela Vukalič

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Ceren Oykut: Izgubljeni potni list / Lost passport, 2008