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The textile museum in Husseren-Wesserling in France holds the exhibition of five Slovene artists of different generations and textile techniques, whose research and inspiration is based on fibre and thread. Even though they come from different professional and educational fields, they all perceive co-creation of space and intervention in it as the key elements of designing its identity. This establishes the synergic link between fibre – thread, the ambience, symbolism and inspiration, and opens paths for artistic and authorial upgrading. While the work of Ksenija Baraga is characterized by structural, textural, colouristic and sculptural finesses with emphasized details, the work of Eta Sadar Breznik features transparent ambience installations with thoughtful light accents. Anda Klancˇicˇ presents herself with her manuscript, a drawing of linear and three-dimensional machine embroidered lace. Jana Mršnik and Vesna Štih (trademark BelaBela) research new interpretations of textile, using various atypical materials and exploring the limits of the textile idea. The authors and their work are not only linked by a common relation to space, but also by the deeper symbolical expressiveness they strive for. The basic human and existential legitimacies – warnings, visions, associative ties, archetypes, symbolism, vastness of spirit etc. – echo and radiate from their works. The titles of Ksenija Baraga’s works – Dance, We’re hanging on a thread and The Little Prince – suggest profound subjects. The Flying Carpets by Eta Sadar Breznik also remain in suggestible frames, but – with their monumental dimensions – cross the boundary of the fabulous into the world of the abstract and philosophical relations. The textile installation Paths III by Anda Klancˇicˇ relates to every one of us. The picturesque landscape with silhouettes of human bodies draws our different and rich paths of life. The events around BelaBela’s “membrane of transparent veils”, into the meditative space of which the designer is headed, noticeably change their subtle expressions. The metaphorical poetics of external and internal-personal perceptions reveal “diverse connections, encounters and communications, as well as the memory of our own constitution, connection with others, the world, and the universe.” All artists at the exhibition are independent creators on the Slovene culture scene and have been researching various fields of fine arts and artistic creativeness through their different creative periods. In their numerous projects and results of individual researches they try to surpass the established conceptions of textile design as solely an applicable form. They want to refine the


more complex comprehension of textile art with multi-layered and ambiguous messages. Ksenija Baraga is inspired by the richness and responsiveness of materials; she establishes daring relations between fibres and threads and applies new techniques of weaving, knitting, sewing, crochet, tying etc. within the established knitting techniques and practices. In 1981 she exhibited a traditional one-way knitted knitting surface and thus enabled an independent painting-like method of composition with lines, colours and texture, knitting from numerous centres towards different directions. An important element in sketching and presenting her works is light. The meditative dynamics of the “living picture-sculpture”, which pulses under the influence of the atmospheric effect of daylight, constantly changing its colour and expressive spectrum, as well as the visual structural and textural accents in density, transparency and materials, seems like a fascinating notion of the sublime. The Prešeren Fund Award winner Eta Sadar Breznik already placed tapestry into space 30 years ago, when we experienced its floating, surprising lightness and spatial fascination. Her monumental fibrous ambient fluctuations lose their weight and materiality despite the dimensions they are fitted into. The game of light and shadows, which is co-created by the illumination in colourful transparency, embraces the whole space and the fascinating lines of the chiaroscuro spray in all directions in their artistic glowing. The visitors, of course, also experience the intensity of such glowing and are affected by the artistic and abstract metaphoric. The installation reforms space into architecture, an inspirational ambience, as the connection with fibre – our touch – is allowed, inviting and almost necessary. Anda Klancˇicˇ, the patent holder for the hollow machine embroidered lace from 1997, the 1999 winner of the Exellence Award at the 6th international competition (ITF) in Kyoto, Japan, is also known as the creator of the elastic machine embroidered lace (1995), made continually in one piece, where the elasticity derives from thoughtfully applied stitches without visually disturbing compounding seams (unfortunately, she never patented the authorship). The central theme of this installation is freeing textile from any weight and emphasizing its most basic element – thread. In the installation, thread assumes the function of the artist’s manuscript. It simultaneously presents itself, its fragility and power, the author and the message of the installation. With its abstract visual identity, it associatively takes us towards the metaphors and poetics of the personal and collective, the welltrodden or not yet discovered paths.


Jana Mršnik and Vesna Štih create under their trademark BelaBela. Even though the modularity of the polypropylene fluid bodies with the structural and textural lightness of textile is one of their most perceptible features, as it enables the users to compose the product according to their wish and inspiration without the use of glues or connective agents and is easy to maintain and recycle, the light in the artists’ presentations does not lose importance. Due to its symbolical expressiveness and meditative ésprit, light is the key part of BelaBela’s recognisability. The Growing light of organza beams, spreading outwards from the scarcely hinted light source in the depth, “like subtle cosmic dust, a loose cloud or a mysterious body within a body”, draws attention also to the numerous but important, though increasingly neglected details and micro spaces, which we tend to overlook in the hastiness of the present-day world. In the modern industrialized environment, where the production of millions of identical products is losing its author`s trace, the uniqueness does not only draw attention to products, but also evokes respect for the artist whose researches and creations make a quality contribution to the cultural heritage of the world. Their inspirational researches and results are assumed and transmitted in details and segments; in time, the authorship becomes blurred and merges into the integrity of the global textile and artistic heritage. Nuša Podgornik, Art Critic


V razstavnih prostorih Alzaškega tekstilnega muzeja v Husseren-Wesserlingu v Franciji se predstavlja pet slovenskih ustvarjalk razlicˇnih generacij, delujocˇih v razlicˇnih tekstilnih tehnikah, ki jim osnovo njihovega raziskovanja ter navdiha v prostoru predstavljata prav vlakno in nit. cˇetudi prihajajo z razlicˇnih poklicnih in izobrazbenih podrocˇij Univerze v Ljubljani, je za vseh pet kljucˇni dejavnik pri oblikovanju identitete prostora njegovo soustvarjanje in poseganje vanj. Tako je stkana sinergicˇna vez med nitjo - vlaknom, ambientom, simboliko in navdihom ter so odprte poti za umetniško in avtorsko nadgradnjo. Medtem ko pri Kseniji Baraga opažamo strukturne, teksturne, koloristicˇne in kiparske finese s poudarki na podrobnostih, pri Eti Sadar Breznik prevladujejo transparentne ambientalne postavitve z domišljenimi svetlobnimi poudarki. Anda Klancˇicˇ se predstavlja s svojim likovnim rokopisom, z risbo linearno in prostorsko usmerjane zracˇne cˇipke. Jana Mršnik in Vesna Štih (blagovna znamka BelaBela), raziskujeta nove interpretacije tekstila in uporabljata razlicˇne zanj neznacˇilne materiale ter obenem odkrivata, kako dalecˇ lahko ideja tekstila poseže. Avtoric ne povezuje le soroden odnos do prostora, temvecˇ tudi poglobljena simbolna sporocˇilnost, za katero si prizadevajo in jo posredujejo s svojimi deli, iz katerih vejejo in odzvanjajo temeljne cˇloveške in globalne bivanjske zakonitosti, opozorila, vizije, asociativne navezave, arhetipi, simbolika, prostranstva duha… Ples, Visimo na nitki in Mali princ Ksenije Baraga tovrstne poglobljene tematske opredelitve sugerirajo že v naslovih. Tudi Letecˇe preproge Ete Sadar Breznik ostajajo v sugestibilnih okvirih, a s svojimi monumentalnimi dimenzijami posegajo tudi onkraj pravljicˇnega, v svet zavezujocˇih abstraktnih in filozofskih razmerij. Na slehernega od nas se nanaša tekstilna instalacija Ande Klancˇicˇ, imenovana Steze III, kjer slikovite pokrajine, silhuete cˇloveških teles v njej…, beležijo in izrisujejo predvsem naše raznolike in pestre življenjske poti. V membrani prosojnih tancˇic Rastocˇe svetlobe Jane Mršnik in Vesne Štih (blagovna znamka BelaBela), v katere meditativni prostor se poda obiskovalec, dogajanje okoli njega opazno spreminja svoj sublimni izraz. Metaforicˇna poetika zunanjih in notranjih osebnih zaznav odstira namrecˇ “raznovrstne povezave, srecˇavanja in komunikacije, pa tudi spomin na naš lastni ustroj, povezanost z drugimi, s svetom, vesoljem”. Vse predstavljene umetnice so samostojne ustvarjalke na podrocˇju kulture v Sloveniji in so se skozi svoja kreativna obdobja seznanjale z razlicˇnimi sferami likovnega ter umetniškega snovanja. V številnih delovnih projektih in rezultatih individualnih raziskav presegajo ustaljena pojmovanja tekstilnega oblikovanja kot zgolj


uporabne zvrsti; kompleksnejše razumevanje tekstilne umetnosti namrecˇ plemenitijo z vecˇslojnostjo in vecˇpomenskostjo sporocˇil. Ksenija Baraga se navdušuje nad pestrostjo in odzivnostjo materialov, vzpostavlja drzna razmerja med nitmi ter z izvirno uporabljenimi inventivnimi tehnikami vezenja, pletenja, šivanja, kvacˇkanja, vozlanja ... posega v ustaljene pletilne prakse. Leta 1981 je razstavila tradicionalno, enosmerno pleteno pletilno površino in si s tem omogocˇila svobodnejšo, slikarstvu podobno metodo grajenja kompozicije s potezo, barvo in teksturo tako, da je zacˇela plesti iz vecˇih centrov v razlicˇne smeri. Pomemben element v snovanju in prezentaciji njenih del pa predstavlja tudi svetloba. Meditativna dinamika žive slike - skulpture, ki pulzira pod vplivom atmosferskih ucˇinkov dnevne lucˇi, nenehno spreminjajocˇ svoj barvni in izrazni spekter ter s tem tudi vizualne strukturne in teksturne akcente v gostoti, transparentnosti materiala, se zdi kot fascinantna predstava sublimnega. Eta Sadar Breznik, nagrajenka Prešernovega sklada, nacionalne nagrade za kulturo, je že pred tridesetimi leti tapiserijo umestila v prostor tako, da smo hkrati doživeli njeno lebdenje, presenetljivo lahkotnost in prostorsko fascinantnost. Njena monumentalna vlaknena ambientalna valovanja tudi na tej razstavi, kljub razsežnostim, v katere so vpeta, izgubljajo svojo težo in materialnost. Igra svetlobe in sence, ki jo v barviti prosojnosti soustvarja osvetlitev, zaobjame namrecˇ celoten prostor in navdihujocˇi grafizmi chiaroscura v likovnem žarenju pršijo v vse smeri. Intenzitete tovrstnega žarcˇenja so seveda deležni tudi obiskovalci, na katerih likovna in abstraktna metaforika pušcˇa svojo sled. Ustvarjalkina postavitev prostor spreminja v arhitekturo, inspirativen ambient, saj je stik s tkanino - naš dotik - dopušcˇen, vabljiv in skoraj nujen. Ando Klancˇicˇ, nosilko patenta prostorsko votle zracˇne cˇipke leta 1997, ki je na šestem mednarodnem natecˇaju (ITF) v Kjotu na Japonskem leta 1999 prejela Exellence Award, posebno nagrado za odlicˇnost, poznamo tudi kot ustvarjalko prostorsko elasticˇne zracˇne cˇipke (1995), izdelane kontinuirano, v enem kosu, kjer elasticˇnost izhaja iz premišljeno uporabljenih vbodov, brez vizualno motecˇih sestavljenih šivov (avtorstva ustvarjalka žal ni patentirala). Rdecˇa nit njene tokratne instalacije je težnja odvzeti tekstilu vsakršno težo in izpostaviti njegovo najelementarnejšo prvino, nit. Ta je v tej postavitvi prevzela likovno funkcijo individualnega rokopisa umetnice, predstavlja hkrati samo sebe, svojo siceršnjo, njej lastno krhkost in mocˇ obenem, zastopa ustvarjalko in celostno sporocˇilo instalacije ter nas s svojo abstraktno pojavnostjo asociativno odpelje k metaforam in poetikam osebnih ter skupnih že prehojenih in še nedoživetih poti.


Jana Mršnik in Vesna Štih ustvarjata pod blagovno znamko BelaBela. Cˇeprav sta opaznejša elementa njunih tekstilnih objektov in fluidnih telesc iz polipropilena (slednjim sta vdahnili še strukturne in teksturne lastnosti lahkotnosti tekstila) sicer modularnost in ohranjanje spomina na tradicionalne rocˇne spretnosti, ki uporabniku omogocˇata, da sam sestavi izdelek po svojih željah in navdihu, brez uporabe lepil in veznih sredstev, enostaven za vzdrževanje in recikliranje (tudi polipropilena), pa v njunih predstavitvah ni nicˇ manj pomembna svetlobnost. Ta zaradi svojega simbolnega sporocˇila in meditativnega esprija predstavlja namrecˇ kljucˇni del BelaBeline prepoznavnosti. Rastocˇa svetloba žarkov, ki se širijo od komaj slutenega svetlobnega vira navzven “kot subtilen vesoljni prah, sipek oblak ali skrivnostno telo znotraj telesa”, opozarja tudi na tiste, vse bolj zapostavljene, številne, a pomembne detajle in mikroprostore, ki jih v naglici današnjega cˇasa prevecˇkrat spregledamo. V sodobnem industrializiranem okolju, kjer je produkcija milijonov enakih izdelkov izgubila svojo avtorsko sled, unikatnost ne predstavlja le vrnitve pozornosti do tovrstnih izdelkov, temvecˇ tudi spoštovanje do tistih ustvarjalk in ustvarjalcev, katerih dosežki in stvaritve so kvalitetno doprinesli k svetovni kulturni dedišcˇini. Njihove inspirativne raziskave, rezultate in izsledke prevzemajo številne kolegice in kolegi ter jih prenašajo naprej, avtorstvo pa se scˇasoma zabrisuje in staplja v celovitosti svetovne, globalne tekstilne in umetniške dedišcˇine. Nuša Podgornik, umetnostna kriticˇarka


A painter by education, Ksenija Baraga connects her knowledge in fine arts with the use of classical and inventive techniques of weaving, crochet and embroidery in an expressive, unique and personal manner. Drawing on the idea, which is followed in the creative process by thread or fibre, and intertwining various materials and techniques, either classical or completely original and inventively adapted to the purpose, she creates poetical, small and large textile compositions and objects. Her works interweave echoes of moments, images and natural forms – abstract and intertwined with personal critical thinking and relation to life. The reification of creative concepts and forms of communication first became evident in her work in the series of objects: clothessculptures and hat-sculptures. Their colourful and monochromatic surfaces, structured in laced and interlaced thread structures allow the exchanging of light and shadow, sharpness and tenderness, and produce the illusion created by the transformation of time. The author’s ability to incorporate herself into the created object maintains the illusion of the “second skin”, which is lost the moment we try to ascribe applicability to it. With the objects she has created in recent years, she continues developing her ideas, intertwining them with various materials and going beyond the boundaries of the expected. Ksenija Baraga has had several much-noted individual exhibitions; she has also participated in several group exhibitions and the selected exhibition of the Designers Society of Slovenia, where she is the head of the Unique Design Section. Maja Kržišnik, art historian

baragaksenija.blogspot.com Ksenija Baraga Jamova 57 1000 Ljubljana Slovenia ksenija.baraga@gmail.com


Po izobrazbi slikarka, Ksenija Baraga na izrazit, prepozaven in oseben nacˇin združuje svoje likovno znanje z uporabo klasicˇnih in inventivnih tehnik pletenja, kvacˇkanja in vezenja. Izhajajocˇ iz misli, ki ji v ustvarjalnem procesu sledita nit ali vlakno, z združevanjem najrazlicˇnejših materialov in tehnik, tako klasicˇnih kot povsem samosvojih, inventivno prilagojenih namenu, nastajajo njene poeticˇne, majhne in velike tekstilne kompozicije ter objekti. V njene stvaritve so vpleteni odzivi trenutka, podobe, oblike iz narave in abstraktnega, ki jih prepleta z lastnim kriticˇnim razmišljanjem in odnosom do življenja. Opredmetenost ustvarjalnih konceptov in oblik sporazumevanja se je v delu Ksenije Baraga najprej pokazala v seriji oblek-skulptur in klobukov-skulptur. Njihove barvite in monokromatske površine, strukturirane v nitnih spletih in prepletih so dopušcˇale menjavanje svetlobe in sence, ostrino in mehkobo, dajale so iluzijo, ustvarjeno s transformacijo cˇasa. Avtoricˇina zmožnost inkorporiranja v nastali objekt je ohranila iluzijo o drugi koži, ki se izgubi v trenutku, ko bi ji hoteli pripisati uporabnost. V objektih, ki so nastali v zadnjem cˇasu, nadaljuje s svojimi tekstilnimi razmišljanji, vanje vpleta najrazlicˇnejše materiale in posega preko mej pricˇakovanega. Ksenija Baraga je imela vecˇ odmevnih samostojnih razstav, sodelovala je na skupinskih razstavah, pri Društvu oblikovalcev Slovenije pa vodi sekcijo za unikatno oblikovanje. Maja Kržišnik, umetnostna zgodovinarka


Biographical data 1960 – born in Ljubljana. 1986 – graduated in painting from the Academy of Fine Arts in Ljubljana. She is active in the field of unique and industrial textile design, illustration and exhibition installation design.

Biografski podatki 1960. rojena v Ljubljani. 1986. diplomirala slikarstvo na Akademiji za likovno umetnost v Ljubljani. Deluje na podrocˇju unikatnega in industrijskega oblikovanja tekstila, ilustracije in oblikovanja postavitev razstav.

Selected individual exhibitions • Mestna galerija, Ljubljana, Slovenia, 2000

Izbor samostojnih razstav • Mestna galerija, Ljubljana, Slovenija, 2000

Selected group exhibitions • International tapestry triennial, Łódz, Poland, 2007 • Le Petit Festival, Dubrovnik, Croatia, 2006 • Re:Design Europe, Berlin, Germany 2005 • Visages de la Slovénie, Cahors, France, 2005

Izbor skupinskih razstav • 12. mednarodni trienale tapiserije, Łódz, Poljska, 2007 • Le Petit Festival, Dubrovnik, Hrvaška, 2006 • Re:Design Europe, Berlin, Nemcˇija 2005 • Visages de la Slovenie, Cahors, Francija, 2005


Blooming ďż˝ Cvetim


In the Wind ďż˝ V vetru


Sleeping Beauty � Trnuljcˇica


Office ďż˝ Pisarna


Clock � Ura


Light symbiosis � V sožitju s svetlobo


Šperova gapa - bonnet � Šperova gapa - avba


Towards the translucent ďż˝ V prosojno


Antenna ďż˝ Antena


Bonnets ďż˝ Avbici


We’re hanging on a thread � Visimo na nitki


The Little Prince � Mali princ

Mali princ, 2001, tehnika: kvačkanje, štrikanje, vozljanje, šivanje materiali: različne tekstilne niti


Dance ďż˝ Ples


Blooming, 2001, crochet, cord, wire, plastic

Cvetim, 2001, kvacˇkanje, laks, žica, plastika,

In the Wind, 1996, crochet, cord, lurex, wire V vetru, 1996, kvacˇkanje, laks, lureks,žica Sleeping Beauty, 1997, crochet, weaving, mohair, lurex, cord, wire, silk

Trnuljcˇica, 1997, kvacˇkanje, pletenje, moher, lureks, laks, žica, svila

Office, 1996 crochet, paper, cord, metal, wool

Pisarna, 1996, kvacˇkanje, papir, laks, kovina, volna

Clock, 1996 crochet, paper, metal, cord, mohair

Ura, 1996, kvacˇkanje, papir, kovina, laks, moher

Light symbiosis, detail 1991, weaving, crochet, plastic, cord, mohair, viscose, raffia, 122 x 189 cm

V sožitju s svetlobo, detajl 1991, pletenje, kvacˇkanje, plastika, laks, moher, viskoza, rafija, 122 x 189 cm,

Šperova gapa - bonnet, 2004, crochet, weaving, cord, lurex, viscose

Šperova gapa - avba, 2004, kvacˇkanje, vezenje, laks, lureks, viskoza

Towards the translucent, 1993, crochet, weaving, cord, mohair, raffia, wires

V prosojno, 1993, kvacˇkanje, štrikanje, laks, moher, rafija, žice

Antenna, 2003, crochet, cord, viscose

Antena, 2003, kvacˇkanje, laks, viskoza

Bonnets, 2004, traditional bonnet, crochet, Avbici, 2004, nacionalno pokrivalo, embroidery, cord, mohair, wire kvacˇkanje, vezenje, laks, moher, žice We're hanging on a thread, 2008, crochet, metal wire, cord, wood, straw, 60 x 60 x 150 cm

Visimo na nitki, 2008, kvacˇkanje, kovinska žica, laks, les, slama, 60 x 60 x 150 cm

The Little Prince, 2009, crochet, weaving, mohair, cord, wires, 20 x 20 x 20 cm

Mali princ, 2009, kvacˇkanje, štrikanje, moher, laks, žice, 20 x 20 x 20 cm

Dance, 2001, crochet, cord, wire, 35 x 35 x 140 cm

Ples, 2001, kvacˇkanje, laks, žica, 35 x 35x 140 cm

photography Dragan Arrigler

fotografija Dragan Arrigler


After completing studies in textile design and attending various postgraduate courses, the two authors started designing interesting fashion collections and experimenting with various textile projects. Since 2006 they have been collaborating in joint projects and promoting their trademark BelaBela. Their projects link textile, industrial and spatial design. They have exhibited their works at BIO 21, Ljubljana 2008, Galerija Imago, Lubljana 2008, Assembly Festival, Graz, Austria 2009, and at the exhibition Technologies in Fine Arts, Velenje 2009. They are interested in the modularity of particular elements and the role of the end-user, who can rearrange the product and personalize its use. Thus, they connect and incorporate the rules of the design process into various fields of fine arts and upgrade them into broader meaningful structures. The exhibition presents their project Growing light, composed of transparent pendant textile cylinders. They are condensing inwards, toward the core, the embedded light source, and attenuating outwards. The seemingly tender and fine structure changes with light, with the invisible movement of shadows, while the textile bodies create the illusion of multi-layered space and carry physical and expressive power. Maja Kržišnik, art historian

www.belabela.eu BelaBela +386 31 566 436 +386 31 851 883 info@belabela.eu janamrsnik@yahoo.co.uk vesna.stih@guest.arnes.si


Avtorici sta po koncˇanem študiju tekstilnega oblikovanja in razlicˇnih podiplomskih izpopolnjevanjih oblikovali vecˇ zanimivih modnih kolekcij in se ukvarjali z razlicˇnimi tekstilnimi projekti. Od leta 2006 dalje sodelujeta v skupnih projektih ter uveljavljata svojo blagovno znamko BelaBela. V projektih združujeta oblikovanje tekstila, industrijsko oblikovanje in oblikovanje prostora. Svoje skupne projekte sta med drugim razstavili na BIO 21, Ljubljana 2008, v Galeriji Imago, Lubljana 2008, na festivalu Assembly Graz, Avstrija, 2009, in na razstavi Tehnologije v likovni umetnosti v Velenju, 2009. V projektih ju zanima preucˇevanje modularnosti posameznih elementov in vloga koncˇnega uporabnika, ki lahko izdelek po svoje sestavi in personalizira njegovo uporabo. Tako v svojem delu povezujeta zakonitosti procesa oblikovanja, jih vkljucˇujeta v razlicˇna likovna podrocˇja in jih nadgrajujeta v širše pomenske sestave. Na razstavi predstavljata svoj projekt Rastocˇa svetloba, sestavljen iz prosojnih visecˇih tekstilnih valjev. Ti se zgošcˇujejo proti jedru, kjer je vstavljen svetlobni vir, in redcˇijo navzven. Navidez rahla in nežna tvorba se spreminja s svetlobo, z nevidnim gibanjem senc, tekstilna telesa ustvarjajo iluzijo vecˇplastnega prostora ter nosijo v sebi fizicˇno in sporocˇilno mocˇ. Maja Kržišnik, umetnostna zgodovinarka


Jana Mršnik Biographical data 1972 – born in Ljubljana. Graduated in textile and clothes design from the Faculty of Natural Science and Engineering, specialised in hosiery at the company Lineapiú in Prato near Florence in 1997, and continued her education and training at Denmarks Designskole, Copenhagen, 2003, and art studies at the Faculty of Natural Science and Engineering. Her work includes textile design, textile projects, industrial design, fashion and illustration.

Biografski podatki 1972. rojena v Ljubljani. Koncˇala študij oblikovanja tekstilij in oblacˇil na NTF, Ljubljana, se podiplomsko specializirala iz pletenin pri podjetju Lineapiú v Pratu pri Firencah, 1997, in se izpopolnjevala na Denmarks Designskole, Kopenhagen, 2003, ter na umetniški smeri NTF. Ukvarja se s tekstilnim oblikovanjem, tekstilnimi projekti, industrijskim oblikovanjem, modo in ilustracijo.

Notable awards • Student Prešeren Fund Award for undergraduate dissertation, Ljubljana, Slovenia, 2000 • 3rd prize Smirnoff, Ljubljana, Slovenia, 1996 • Mittelmoda Premio, Gorizia, Italy, 1996

Pomembnejše nagrade • Študentska Prešernova nagrada za diplomsko delo, Ljubljana, Slovenija, 2000 • 3. nagrada Smirnoff, Ljubljana, Slovenija, 1996 • Mittelmoda Premio, Gorica, Italija, 1996

Selected exhibitions • Kaunas Art Biennial, Kaunas, Lithuania, 2005 • Imagerie-Art-Fashion, Revoltella Museum, Trieste, Italy, 2003 • Obleka-Oblika, Mestna galerija, Ljubljana, Slovenia, 2002

Izbor pomembnejših razstav • Kaunas Art Biennial, Kaunas, Litva, 2005 • Imagerie-Art-Fashion, Muzej Revoltella, Trst, Italija, 2003 • Obleka-Oblika, Mestna galerija, Ljubljana, Slovenija, 2002


Vesna Štih Biographical data 1972 – born in Ljubljana Graduated in textile and clothes design from the Faculty of Natural Science and Engineering and continued her education and training at Accadèmia Internazionale d'Alta moda e d'Arte del Costume Koefia, Rome, Italy. Her work includes textile design, fashion, patching, textile projects and graphics.

Biografski podatki 1972. rojena v Ljubljani. Koncˇala študij oblikovanja tekstilij in oblacˇil, NTF, Ljubljana, in se izpopolnjevala na Accademia Internazionale d‘Alta moda e d‘Arte del Costume Koefia, Rim, Italija. Ukvarja se s tekstilnim oblikovanjem, modo, krpankami, tekstilnimi projekti in grafiko.

Notable awards • 7th European patchwork meeting, Sainte-Marie-aux-Mines, France, 2001 • Mittelmoda Premio, Gorica, Italy, 1997

Pomembnejše nagrade • 7th European patchwork meeting, Sainte-Marie-aux-Mines, Francija, 2001 • Mittelmoda Premio, Gorica, Italija, 1997

Selected exhibitions • 10th European patchwork meeting, Sainte-Marie-aux-Mines, France, 2004 • 7th European patchwork meeting, Sainte-Marie-aux-Mines, France, 2001 • Young European fashion designer of the year, London, UK, 1998

Izbor pomembnejših razstav • 10th European patchwork meeting, Saint-Marie-aux-Mines, Francija, 2004 • 7th European patchwork meeting, Sainte-Marie-aux-Mines, Francija, 2001 • Young European fashion designer of the year, London, Velika Britanija, 1998


Sheep 1 ∞ � Ovca 1 ∞


Carpet/cushion 1 ∞ � Preproga/blazina 1 ∞


Light 1 ∞ � Lucˇ 1 ∞


Curtain/wall 1 ∞ � Zavesa/stena 1 ∞


Bubble Light � Lucˇ Bubble


Bubble Basket � Košara Bubble


Growing Light � Rastocˇa svetloba


Growing Light � Rastocˇa svetloba


Sheep 1 ∞, 2007, modular carpet, industrial wool felt, industrial cut + manual composition

Ovca 1 ∞, 2007, modularna preproga, industrijska volnena klobucˇevina, industrijski izsek + rocˇno sestavljanje

Carpet/cushion 1 ∞, 2007, modular carpet/cushion, Industrial wool felt, industrial cut + manual composition

Preproga/blazina 1 ∞, 2007, modularna preproga/blazina, industrijska volnena klobucˇevina, industrijski izsek + rocˇno sestavljanje

Light 1 ∞, 2007-2009, modular lights, polypropylene, industrial cut + manual composition

Lucˇ 1 ∞, 2007-2009, modularna svetila, poliprpilen, industrijski izsek + rocˇno sestavljanje

Curtain/wall 1 ∞, 2007, modular carpet, polypropylene, industrial cut + manual composition

Zavesa/stena 1 ∞, 2007, modularna zavesa, polipropilen, industrijski izsek + rocˇno sestavljanje

Bubble Light, 2010, modular lights, polypropylene, industrial cut + manual composition

Lucˇ Bubble, 2010, modularna svetila, polipropilen, industrijski izsek + rocˇno sestavljanje

Bubble Basket, 2010, modular basket, polypropylene, industrial cut + manual composition

Košara Bubble, 2010, modularna košara, polipropilen, industrijski izsek + rocˇno sestavljanje

Growing Light, 2010, modular textile object in space, PES polyester organza, manual 3D screen printing on organza

Rastocˇa svetloba, 2010, modularni tekstilno svetlobni objekt v prostoru, organca iz poliestra PES, rocˇni 3D sitotisk na organco

Photography Jana Mršnik, Vesna Štih, Franci Virant

Fotografije Jana Mršnik, Vesna Štih, Franci Virant

Sponsor

Pokrovitelj


The designer of textile and clothes Anda Klancˇicˇ acquired her Master’s degree at the Academy of Fine Arts and Design. Her work is characterised by innovative and creative use of the machine embroidered lace technique, which she skilfully combines with experience from other disciplines, mainly photography. Her work has received several awards at exhibitions in Europe, Asia and the USA, among which the second prize at the global exhibition of textile art in Kyoto, 1999. She was also ranked among 40 most innovative textile artists in the world (lecture of Prof. Michele Fricke, SOFA, Chicago, USA, 1999). Her works are included in 16 collections of textile art around the world. The newly discovered dimensions of the expressive possibilities of the machine embroidered lace technique introduced Anda Klancˇicˇ to the world of thread formations and textile objects. In sewing with a sewing machine, the embroidered base is just a temporary device, which is removed in the subsequent process. The openness to space is accompanied by the reduction principle, lightness of abstraction, which substitutes adding, accumulation and filling of space. This triggers a minimalistic record, which manages, for a moment, to stop the impression, and the captured reality becomes more real than the one that is seen. The eruptive motions arising from thread surfaces are sometimes enough to create new sensible worlds and new landscapes in space. Stories repeat themselves; they examine human existence, either on the surface or in space. In recent years the thread formations of Anda Klancˇicˇ are being installed with increasing care in galleries, where, with their meaningful titles, they demand reflection from the viewers, try to convince them with their meaning and involve them in their own sensitive experience of the world. Maja Kržišnik, art historian

Anda Klancˇicˇ Hradeckega 52, 1000 Ljubljana Slovenia +386 1 5401603 anda.klancic@siol.net


Diplomirana oblikovalka tekstilij in oblacˇil je zakljucˇila še magistrski študij na Akademiji za likovno umetnost in oblikovanje. V njenem dosedanjem delu je gotovo najpomembnejše inovativno in ustvarjalno uporabljanje tehnike zracˇne cˇipke, pri cˇemer pa spretno vkljucˇuje izkušnje iz drugih likovnih disciplin, predvsem fotografije. Za svoja dela je na številnih razstavah v Evropi, Aziji in Ameriki dobila vecˇ nagrad in pohval, med njimi drugo nagrado na svetovni razstavi tekstilne umetnosti v Kjotu, 1999, uvršcˇena je bila med 40 najbolj inovativnih usvarjalcev tekstilne umetnosti v svetu (predavanje prof. Michele Fricke, SOFA, Chicago, ZDA, 1999), njena dela pa so vkljucˇena v 16 svetovnih zbirk tekstilne umetnosti. Novo odkrite razsežnosti izraznih možnosti tehnike zracˇne cˇipke, ki temelji na strojnem vezenju, so Ando Klancˇicˇ vpeljale v svet nitnih formacij, tekstilnih objektov. Pri šivanju s šivalnim strojem funkcionira vezilni temelj le kot zacˇasni pripomocˇek, ki je v nadaljnjem postopku odstranjen. Odpiranju v prostor se pridružuje princip redukcije, lahkotnost odvzemanja, ki je nadomestila dodajanje, kopicˇenje ali zapolnjevanje prostora. Sprožen je minimalisticˇen zapis, ki uspe za hip ustaviti impresijo, in ujeta resnicˇnost postane resnicˇnejša od videne. Iz nitnih ploskev nastali eruptivni vzgibi so vcˇasih dovolj, da iz niti nastajajo novi senzibilni svetovi in nove pokrajine v prostoru. Zgodbe se ponavljajo, preucˇujejo cˇlovekovo bivanje, enkrat v ploskvi, enkrat v prostoru. V zadnjih letih postajajo nitne formacije Ande Klancˇicˇ vse bolj skrbno instalirane v galerijskih prostorih, kjer s svojimi pomenljivimi naslovi zahtevajo od gledalca razmislek, želijo ga prepricˇati s svojo pomenskostjo in vplesti v lastno senzibilno doživljanje sveta. Maja Kržišnik, umetnostna zgodovinarka


Bigrafski podatki Biographical data 1960. rojena v Kopru. 1960 – born in Koper 1995. koncˇala študij oblikovanja 1995 – graduated in textile and clothes tekstilij in oblacˇil na NTF v Ljubljani design from the Faculty of Natural Science in 1999 magistrirala na Akademiji and Engineering in 1999, completed her za likovno umetnost in oblikovanje Master’s studies at the Academy of Fine v Ljubljani. Arts in Ljubljana in 1999. Ukvarja se s tekstilno umetnostjo, Her work includes textile art, jewellery, nakitom, z instalacijami in s fotografijo. installation and photography. Pomembnejše nagrade Notable awards • Trend Award, Ljubljana, Slovenia, 2001 • Nagrada Trend, Ljubljana, Slovenija, 2001 • Excellence award, 6th international • Excellence award, 6. mednarodna razstava tekstilne umetnosti, Kjoto, Japonska, 1999 textile art exhibition, Kyoto, Japan, 1999 • Kreinik Award, Art of the Stitch, • Kreinik Award, Art of the Stitch, London, Velika Britanija, 1997 London, UK ,1997 Izbor samostojnih razstav v zadnjih letih Selected individual exhibitions • Galerija Korotan, Vienna, Austria, 2009 • Galerija Korotan, Dunaj, Avstrija, 2009 • Galerija Narodni dom, Trieste, Italy, 2008 • Galerija Narodni dom, Trst, Italija, 2008 • Galerija Božidar Jakac – lapidarij, • Galerija Božidar Jakac - lapidarij, Kostanjevica na Krki, Slovenija, 2007 Kostanjevica na Krki, Slovenia, 2007 • Galerija Meduza, Koper, Slovenia, 2001 • Galerija Meduza, Koper, Slovenija, 2001 Selected group exhibitions • Miniartextile, Montrouge, France, 2005 and 2008 • Beyond Weaving: International ArtTextiles, FinnGallery, Greenwich, USA , 2006 • 7th international tapestry triennial, Łódz, Poland, 2004 • Flet-Braid, Aalborg, Denmark, 2001 • 6th international textile exhibition, Kyoto, Japan, 1999

Izbor najpomembnejših skupinskih razstav • Miniartextile, Montrouge, Francija, 2005 in 2008 • Beyond Weaving: International ArtTextiles, FinnGallery, Greenwich, ZDA , 2006 7. Mednarodni trienale tapiserije, • Łódz, Poljska, 2004 • Flet-Braid, Aalborg, Danska, 2001 6. Mednarodna tekstilna razstava, Kjoto, Japonska, 1999


Wise Thoughts ďż˝ Modre misli


Global, Hand to Hand, All Around 1 ďż˝ Z roko v roki naokrog 1


Growth 2 � Rast 2


Embraced by Happiness � V objemu srecˇe


Embraced by Happiness II � V objemu srecˇe II


Memento mori ďż˝ Memento mori


Embraced by Nature 2 � V objemu narave 2

XYZ - les Visages de Sculpture, 2004, XYZ - Obrazi kiparstva, 2004, rocˇno usmerjana 3D zracˇna cˇipka, sinteticˇni Dentelle brodée 3D en "piqué-libre" à la machine in bombažni sukanec in filament, žica, à coudre dirigé à main, fil de synthétique et du 40 x 20 x 140 cm coton et filament, fil métallique, 40 x 20 x 140 cm


The Aura � Avra


Footpaths III � Steze III


Footpaths III � Steze III


Wise Thoughts, 2007, installation, cotton, Modre misli, 2007, instalacija, bombaž, lan, flax, mixed techniques, 400 x 500 x 400 cm mešane tehnike, 400 x 500 x 400 cm Global, Hand to Hand, All Around 1, 1998, Z roko v roki naokrog 1, 1998, free machine-embroidered lace, mixed zracˇna cˇipka, mešane tehnike, techniques, cotton, 40 x 40 x 40 cm bombaž, 40 x 40 x 40 cm Growth 2, 2004, free-machine-embroidered Rast 2, 2004, zracˇna cˇipka, sintetika, lace, synthetics, cotton, wire, 8 x 15 x 19 cm bombaž, žica, 8 x 15 x 19 cm Embraced by Happiness, 2007,  free-motion embroidery and machined lace, mixed techniques, cotton, viscose, flax, synthetic, metal, 35 x 32 x 25 cm

V objemu srecˇe, 2007,  zracˇna cˇipka in vezenina, mešane tehnike, bombaž, viskoza, lan, sintetika, kovina, 35 x 32 x 25 cm 

Embraced by Happiness II, (f), 2007,  mixed techniques, palm-tree bark, synthetics, wire, 120 x 35 x 40 cm

V objemu srecˇe II (ž), 2007,  mešane tehnike, palmina skorja, sintetetika, žica, 120 x 35 x 40 cm

Memento mori, 2007, mixed techniques, palm-tree bark, synthetics, wire, acrylic, 500 x 300 x 250 cm

Memento mori, 2007, mešane tehnike, palmina skorja, sintetetika, žica, akril,  500 x 300 x 250 cm

Embraced by Nature 2, 2004, free machine- V objemu narave 2, 2004, embroidered lace and embroidery, mixed zracˇna cˇipka in vezenina, mešane tehnike, techniques, cotton, flax, viscose, metal, bombaž, lan, viskoza, sintenika, kovina, acrylic, 70 x 27 x 34 cm akril, 70 x 27 x 34 cm The Aura, 2006, mixed techniques, palm-tree bark, optical fibre, synthetics, wire, 200 x 50 x 50 cm

Avra, 2006, mešane tehnike, palmina skorja, opticˇna vlakna, žica, sintetika, 200 x 50 x 50 cm

Footpaths III, 2010, free machine-embroidered lace, mixed techniques, synthetics, horsehair, metal wire, 600 x 600 x 200 cm

Steze III, 2010, zracˇna cˇipka, mešane tehnike; sintetika, konjska žima, kovinska žica, 600 x 600 x 200cm

Photograph Anda Klancˇicˇ

Fotografije Anda Klancˇicˇ


After graduating from the University of Ljubljana Faculty of Architecture, she dedicated herself completely to weaving and studying textile art. She spent study periods at the Academy of Fine Arts in Łódz, Poland, with Professor Alexandra Manczak. Since 1978 her works have been displayed at several individual and selected group exhibitions of textile art in Europe, Asia and the USA. They have also been included in several public collections and professional reviews of global achievements in the field of textile arts. Eta Sadar Breznik was awarded the bronze medal at the Beauvais International Tapestry Festival in 1996, and the Slovene national prize, the Prešeren Fund Award in 1998. Eta Sadar Breznik’s woven three-dimensional objects originate from modern tapestry, taking only its basic material and technique, thread and weaving. Incorporating colourful, transparent bodies into various spaces creates new solutions in the fine arts. Under light, the colourfully intense, interwoven fields create illusions and lose their material existence. The tactility of silk threads invites us to create new experiences, since we can create our own visual conceptions by the slightest instinctive touch. In her most recent works, the former lightness and the seeming simplicity of suspended transparent thread, caught in narrow straps with thicker structure, are replaced by strong, structured woven fabric, made of thread of various thickness and materials, which creates the effect of textile floating in space, twisted in single or double twirl. With a thoughtful installation and illumination, the colourfulness and the untameable dynamics are further intensified. Maja Kržišnik, art historian

www.eta-sadar-breznik.si Eta Sadar Breznik Slovenska ulica 9A 1000 Ljubljana Slovenia eta.breznik@gmail.com


Eta Sadar Breznik se je po koncˇanem študiju arhitekture v Ljubljani povsem posvetila tkanju in preucˇevanju podrocˇja tekstilne umetnosti. Študijsko se je izpopolnjevala na Likovni akademiji v Lodžu, Poljska, pri prof. Alexandri Manczak. Od leta 1978 dalje se z njenimi deli srecˇujemo na številnih samostojnih razstavah, izbranih skupinskih razstavah s podrocˇja tekstilne umetnosti v Evropi, Aziji in Ameriki. Uvršcˇena so tudi v mnoge javne zbirke, kot tudi v strokovne preglede svetovnih dosežkov s podrocˇja tekstilne umetnosti. Eta Sadar Breznik je med drugim dobitnica bronastega odlicˇja na mednarodnem festivalu tapiserij v Beauvaisu, 1996, in slovenske nacionalne nagrade, nagrade Prešernovega sklada 1998. Tkani prostorski objekti Ete Sadar Breznik izvirajo iz sodobne tapiserije, od katere so ohranili zgolj osnovni material in tehniko, nit in tkanje. Z vkljucˇevanjem barvitih, transparentnih teles v razlicˇne prostore vsakicˇ nastajajo nove likovne rešitve. Barvno intenzivna, prepletajocˇa se polja v svetlobi ustvarjajo iluzije in izgubljajo svojo materialno eksistenco. Taktilnost svilenih niti vabi k ustvarjanju novih doživetij, saj z instinktivnim, najmanjšim dotikom ustvarjamo lastne vizualne predstavnosti. V najnovejših delih so poprejšnjo lahkotnost in navidezno neproblematicˇnost visecˇih transparentnih niti, sem in tja ujetih v ožje pasove z gostejšo strukturo, zamenjale krepke, mocˇno strukturirane tkanine iz niti razlicˇnih debelin in materialov, ki povzrocˇajo, da tkanine lebdijo v prostoru, zavite v enkratnem ali dvakratnem vrtljaju. S premišljeno postavitvijo in osvetlitvijo jim avtorica še poudari barvitost in težko ukrotljivo dinamiko. Maja Kržišnik, umetnostna zgodovinarka


Biographical data 1950 – born in Ljubljana. After graduation at the Faculty of Architecture in Ljubljana she continued her education and training at the Academy of Fine Arts in Lodž, Poland. Her field of work includes hand weaving of three dimensional objects and textile, and interior design.

Biografski podatki 1950. rojena v Ljubljani. Po koncˇanem študiju na fakulteti za arhitekturo v Ljubljani se je študijsko izpopolnjevala na likovni akademiji v Lodžu na Poljskem. Ukvarja se z rocˇnim tkanjem prostorskih objektov in blaga, oblikovanjem interjerja.

Notable awards • Prešeren Fund Award, Ljubljana, Slovenia, 1998 • Bronze medal at the “Festival International de la Tapisserie et de l'Art da la Fibre” Beauvais, France, 1996

Pomembnejše nagrade • Nagrada Prešernovega sklada, Ljubljana, Slovenija, 1998 • Bronasto odlicˇje na “Festival International de la Tapisserie et de l’Art da la Fibre”, Beauvais, Francija, 1996

Selected independent exhibitions • Galerija Kresija, Ljubljana, Slovenia, 2009 • Galerija Ars, Ljubljana, Slovenia, 2007 • Cankarjev dom, Ljubljana, Slovenia, 1997

Izbor samostojnih razstav v zadnjih letih • Galerija Kresija, Ljubljana, Slovenija, 2009 • Galerija Ars, Ljubljana, Slovenija, 2007 • Cankarjev dom, Ljubljana, Slovenija, 1997

Selected group exhibitions • Re:Design Europe, Berlin, Germany, 2005 • 11th international tapestry triennial, Łódz, Poland, 2004 • 5th international tapestry and fibre art festival, Beauvais, France, 2002 • 6th international textile exhibition, Kyoto, Japan, 1999

Izbor najpomembnejših skupinskih razstav • Re:Design Europe, Berlin, Nemcˇija, 2005 • 11. mednarodni trienale tapiserij, Łódz, Poljska, 2004 • 5. mednarodni festival tapiserij in umetnosti vlakna, Beauvais, Francija, 2002 • 6. mednarodna tekstilna razstava, Kjoto, Japonska, 1999


Line ďż˝ Linija


Woven space ďż˝ Stkan prostor


Magical threads � Cˇarobne niti


Space ďż˝ Prostor


Islands ďż˝ Otoki


Transparent space ďż˝ Prosojni prostor


Flying carpets � Letecˇe preproge


Flying carpets � Letecˇe preproge


Flying carpets � Letecˇe preproge


Line, 1981 height 320 cm, hand weaving, viscose photo: Milan Pajk

Linija, 1981 višina 320 cm, rocˇno tkanje, viskoza fotografija: Milan Pajk

Woven space, 1981, height 350 cm, hand weaving, viscose photo: Milan Pajk

Stkan prostor, 1981, višina 350 cm, rocˇno tkanje, viskoza fotografija: Milan Pajk

Magical threads, 1988, height 260 cm, hand weaving, viscose photo: Boris Gaberšcˇik

Cˇarobne niti, 1988, višina 260 cm, rocˇno tkanje, viskoza fotografija: Boris Gaberšcˇik

Space, detajl, 1993, hand weaving, viscose photo: Boris Gaberšcˇik

Prostor, detajl, 1993, rocˇno tkanje, viskoza foto: Boris Gaberšcˇik

Islands, 1997, hand weaving, viscose photo: Boris Gaberšcˇik

Otoki, 1997 rocˇno tkanje, viskoza foto: Boris Gaberšcˇik

Transparent space, 1994, hand weaving, viscose photo: Boris Gaberšcˇik

Prosojni prostor, 1994, rocˇno tkanje, viskoza fotografija: Boris Gaberšcˇik

Flying carpets, exhibition in Kresija gallery, 2009, weaving, viscose and synthetic threads, metal wire, felt photo: Blaž Zupancˇicˇ

Letecˇe preproge, razstava v galeriji Kresija, 2009, rocˇno tkanje, viskoza, sintetika, kovinske žice, filc fotografija: Blaž Zupancˇicˇ


The Power of thread Ksenija Baraga, BelaBela - Jana Mršnik & Vesna Štih, Eta Sadar Breznik, Anda Klancˇicˇ Published by Designers Society of Slovenia for the publisher � Robert Klun, President selection and project management � Ksenija Baraga organisation � the authors installation of the exhibition � the authors catalogue editor � Ksenija Baraga reviews � Nuša Podgornik, Maja Kržišnik design � Ana Baraga photography � Dragan Arrigler, BelaBela, Boris Gaberšcˇik, Anda Klancˇicˇ, Francesco Montenero, Janez Pukšicˇ, Milan Pajk, Franci Virant, Blaž Zupancˇicˇ copyediting � Maja Cerar translation � Babylon printed by � NTD, Slovenija copies � 300 Ljubljana, July 2010 the project was financially assisted by the Ministry of Culture of the Republic of Slovenia. incentive for the exhibition Ecomusée Textile de Haute-Alsace. for the museum � Eric Jacob 68 470 Hussern-Wesserling, France from 15 May to 15 September 2010 www.parc-wesserling.fr Designers Society of Slovenia Ciril Metodov trg 19 Ljubljana, Slovenia www.dos-design.si


Mocˇ niti Ksenija Baraga, BelaBela - Jana Mršnik & Vesna Štih, Eta Sadar Breznik, Anda Klancˇicˇ Katalog izdalo Društvo oblikovalcev Slovenije zanj | Robert Klun, predsednik selektorka in vodenje projekta | Ksenija Baraga organizacija | avtorice postavitev razstave | avtorice urednica kataloga | Ksenija Baraga recenzije | Nuša Podgornik, Maja Kržišnik oblikovanje | Ana Baraga fotografija | Dragan Arrigler, BelaBela, Boris Gaberšcˇik, Anda Klancˇicˇ, Francesco Montenero, Janez Pukšicˇ, Milan Pajk, Franci Virant, Blaž Zupancˇicˇ lektura | Maja Cerar prevod | Babylon tisk | NTD, Slovenija naklada | 300 izvodov Ljubljana, julij 2010 projekt je financˇno podprlo Ministrstvo za kulturo Republike Slovenije pobuda za razstavo Ecomusée Textile de Haute-Alsace zanj � Eric Jacob 68 470 Hussern-Wesserling, France od 15. maja do 15. septembra 2010 www.parc-wesserling.fr Društvo oblikovalcev Slovenije Ciril Metodov trg 19 Ljubljana, Slovenija www.dos-design.si


The Power of Thread / Moc niti