Aleksij Kobal: Podtaknjenci / The planted

Aleksij Kobal

Podtaknjenci / the planted

Aleksij Kobal Podtaknjenci, slike the planted, paintings

Mestna galerija Nova Gorica 12.4.—10.5.2019

Galerija Velenje 20.6.—20.7.2019

V Mestni galeriji Nova Gorica in Galeriji Velenje, kjer aktivno spremljamo dogajanje na področju sodobne slovenske likovne produkcije, smo se povezali z željo, da skupaj pristopimo k organizaciji razstave Aleksija Kobala z naslovom Podtaknjenci, na kateri bo avtor predstavil svoje najnovejše umetniške stvaritve.

Aleksij Kobal sodi med najvidnejše slikarje srednje generacije. Za seboj ima obsežen in raznolik slikarski opus, v katerem se vseskozi zrcali neomajna vera v moč in sporočilnost slikarske podobe. V skupnem katalogu, ki je izšel ob razstavi in je pred vami, je umetnostni zgodovinar Andrej Medved s filozofskega stališča osvetlil najnovejša slikarjeva snovanja, ki bodo na ogled v obeh galerijah.

Naj bo ta pomembna razstava priložnost in izziv za nadaljnja povezovanja naših regionalnih galerij, ki že vrsto let v svojem okolju skrbita za vrednotenje slovenske likovne ustvarjalnosti.

The Municipal Gallery of Nova Gorica and Velenje Gallery both actively follow developments in the field of Slovenian modern fine arts. We combined our efforts in the desire to organise the exhibition of works by Aleksij Kobal titled “Podtaknjenci” [Cuttings] featuring the author’s latest artworks.

Aleksij Kobal is one of the most notable painters of the middle generation. His rich and varied painting opus consistently reflects an unyielding faith in the strength of the artistic image and its capacity to communicate. In the joint catalogue before you, which was published at the occasion of this exhibition, art historian Andrej Medved philosophically reflected on the painter’s latest imaginings, which will be displayed at both galleries.

Let this important exhibition stand as an opportunity and challenge inducing further collaborations between our two regional galleries, which have, in their local environment, been tending to the appreciation of Slovenian fine-artistic creativity for a number of years.

Pavla Jarc

Direktorica Kulturnega doma Nova Gorica Director at the Nova Gorica Cultural Centre

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Barbara Pokorny Direktorica Festivala Velenje Director at Festival Velenje

Imunitas, 2019, akril, olje na platnu, 90 x 120 cm Imunitas, 2019, acrylic, oil on canvas, 90 x 120 cm

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LE DOUBLE SCENE, SE PRAVI: »DVOJNA SCENA« KOT LIKOVNA »LEBDEČNOST« = PERPÉNÉTRATION DOZDEVKOV [NUOVE IMMAGINI ALEKSIJA KOBALA] Zemlja in nebo, božanski in smrtniki spadajo, iz sebe drug do drugega enoviti, iz preproščine [iz vgubnosti] enovitega četverstva. Vsako od Štirih zrcali v svojem načinu bistvo ostalih.

Vsako se pri tem po svoje zrcali nazaj v svoje lastno znotraj preproščine [vgubnosti] Štirih. To zrcaljenje ni prikazovanje odslikave.

Zrcaljenje dogaja, osvetljujoč vsako od Štirih, njihovo lastno bistvo v preprosto [v vgubno] zaprimernost drug do drugega. Zrcaleč na ta dogajajoče-osvetljujoč način, se vsako od Štirih spravlja v roke vsakemu od ostalih.

Dogajajoče zrcaljenje osvobaja vsako od Štirih v njegovo lastno, vendar svobodno veže v preproščino [v vgubnost] njihove bistveče medsebojnosti.

V svobodno povezujoče zrcaljenje je igra, ki jo vsako od Štirih vsakemu pripisuje iz gubajoče se opore za-primernosti. Nobeno od Štirih ne trmoglavi pri svojem ločenem posebnem (preprostem). Vsako od Štirih je, nasprotno, znotraj svoje zaprimernosti razlaščeno k nekemu lastnemu. To razlaščujoče zaprimerjanje je zrcalna igra četverstva. Iz nje je poročena preproščina [vgubnost] Štirih. Četverjenje bistvuje kot dogajajoča se zrcalna igra tistih, ki preprosto [vgubano] drug od drugega nekaj pričakujejo. Četverjenje bistvuje kot svetanje sveta. Zrcalna igra sveta je rajanje dogajanja. Zato rajanje tudi Štirih ne oprime šele kot obroč. Rajanje je obroč, ki obroča s tem, da kot da igra zrcaljenje. Dogajaje osvetljuje Štiri v lesk njihove preproščine [ali vgubnosti]. Zalesketaje za-primeri obroč Štirih vsepovsod odprto v uganko njihovega bistva.

Zbrano bistvo tako obročajoče zrcalne igre sveta je obročje. V obročju zrcaleče igrajoče obroča se Štirje stiskajo v svoje enovito in kljub temu vsakomur lastno bistvo.

Zrcalna igra svetajočega sveta razobroči kot obročje obroča enovite Štiri v lastno poslušno, v breztrudno njihovega bistva. Iz zrcalne igre obročja obročanja se zgodi rečevanje reči.

Reč zadržuje četverstvo. Reč rečuje svet.

Vsaka reč zadržuje četverstvo v vsakokratne preproščine [se pravi vgubnosti] sveta.

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Kar postane reč, se zgodi iz obročja zrcalne igre sveta. Šele ko, verjetno nenadoma, svet svétuje kot svet, zasije obroč, ki se mu izvija obročje zemlje in neba, božanskih in smrtnikov, v breztrudno svoje preproščine [svoje vgubnosti].

[Martin Heidegger, Reč] Velike, gromozanske trombe vzrak in vznak, v razmreženo ne-bo, v Ozadje krožnih linij vesoljnega kolesa. Ujetost kot osvoboditev, veselje, radost in svoboda, iz dna rdeča luč, iz »bistva« in »tunela« = mos geometricus, v premice, diagonale barvne mreže/kletke … in v Podzemlje arhetekture. Nekakšen labirint za vstop, v sliko, v Hades … in za izstop iz slike in slikarstva: poniki, vzniki, ki iz teme (Dunkelheit in amydron) v tò phôs, v svetlobo, ki je »zunaj«: v rojstvo Mlečne ceste, v izbruhu supernove. Obročje kot vrtavka, obroči, tik ob enem, tik ob drugem, ki se vrtijo, zavrtijo kot nebesni svodi/vrtiljaki in vrtinec iz temne globočine … Cevi, ki bruhajo svetlobo, zrcaljenje »vsebine« … iz praznine, niča/biti, ponovitev, ponavljanje »predmetov« in figur: nekakšnih vaz in vrčev, buč, cistern, steklenih bovl in steklastih balonov … Skrinjica Pandore s svetlobnimi, gorečimi plameni iz predmetov (das Ding, la chose), ki zdaj lebdijo v razprostorjenem Prostoru. Neskončnost eksplozij in eksplozivnost kot neskončna energija, ki zdaj preveva te podobe … Kjer ni ne zla ne zle sreče, kjer vlada blodni Aion, čas kot nič(es), trenutek le, sekundna milijardinka … Čas nemenljiv in čas izmerjen … Neskončna pomnožitev, neskončna proizvodnja in … »praznina, ki je polnost … (po)polnost, ki je vsa praznina«.

Gre torej za razliko med reprodukcijo, Reproduzieren, in ponovitvijo, kot Wiederholung, umetniške izkušnje, kjer je v ospredju funkcija Zrcala, zrcaljenje kot Spiegelung, zrcaljenje umetnika v zrcalu umetnine. Kjer se ohrani vsa osebna, nótranja in transcendentna skušnja.

V »klasičnih« slikarskih delih je realnost kot celota, kot dejanskost, nepomembna, zunaj umetnine. Pomembna je samo instanca znamenj, forme, sloga in manire, ki so povezani z ugodjem in užitkom. V ponavljanju arhekulturnega modela gre pri

slikarstvu v resnici za realnost in absentia, in vendar te podobe niso le izraz odsotnega sveta. V resnici so travmatične podobe, ki jih postavlja pasivni, a celostni subjekt. S pojmom travmatičnosti seveda mislimo na sanje o realnosti, ki jih /po Lacanu/ ni mogoče asimilirati, uprizoriti; na podobe, ki v ponavljanju pričarajo privide naše Želje. Gre za »instanco travme, ki se nas spominja«, gre za idejo drugega prostora in za brezčasno točko med zaznavo in zavestjo; v omami in v uživanju v lepoti. Gre za potrebo, da se spanje nadaljuje, kjer je subjekt ujet v princip ugodja, in torej za Narcisa, ki v ogledalu platna gleda lastno sliko. Narcisova podoba je podoba čiste želje, svet videza, odbleska v ogledalu, ki naj postane večna norma. In torej svet lepote, Reich des Schönheit, ki je tako obvarovan resničnosti in váruje resnico umetnine.

DODATEK: FORMA KOT OSNOVA AVANTGARDE Prav forma je namreč odločilna za razumevanje stvari, »reči« (v pomenu Heideggrove s Ding), odnosov med stvarmi, /v/ nas samih. Forma je vedno v zgodovini pojmovanja, umevanja in »zapopadenja« (v smislu Inbegriff, se pravi pojmljenja) realitete: resničnosti v pomenu Wirklichkeit, ki jo – ki v njej – živimo in od nékdaj usodno zaznamuje našo eksistenco, v vseh mogočih znanjih in spoznanjih, v zgodovini likovne umetnosti, literature, v zgodovini znanosti, filozofije je Forma odločilnega pomena. Brez nje bi glas (kot lik, podoba), kot Ereignis, kot prilastitev vseh skrivnosti in resnic sveta, ki nas obdaja: notránjega, zunánjega, imaginarnega, simbolnega sveta, v resnici ne obstajal. Bil bi dejansko ničen, ničes; sublimen, sublimiran in abstrakten, ad absurdum.

Forma kot lik in likovnost, oblikovanje, izraz, izraznost, jasnost in različnost (clara et distincta) nasproti mótnosti – kot amydron – in kalnosti in nerazločnosti oblike; ki nam ničesar ne pove, ki nič ne razločuje. Ki vodi v /z/motnost, nerazumevanje, nerazumljivost.

In ne nazadnje: v brezpomenskost, v neresnico.

Forma je torej tista, ki /nas/ ločuje od padcav-nemoč, v neznanje, v Abgrund des Wesens:

brez/d/no bitja. Seveda vsaka forma ni resnica in spoznanje. Le tista, ki poruši staro, utečeno zgradbo, Red, Sistem in Plan sveta in eksistence, ki v temeljih zaniha ustaljeno tvorbo bivanja in misli, tj. da zruši neki Model-matrico in »ležišče« neke proizvodnje, ustvarjanja in delovanja, ki v bistvu-bistvenospreminja naš pogled in znanje, je odločilna.

Brez (nove, vedno prenovljene, tj. izvirne) Forme ni védenja, umetnosti, filozofije, ni znanosti, spozna/va/nja, niti ni mogoče / več/ prebivati na svetu; brez forme eksistenca ni mogoča. Vse: vsaka stvar, odnos in vsak subjekt in vsaka objektivna danost se ujame vanjo, s tem da si z njo »pomagamo« v umevanju in »rokovanju« s stvarmi in v odnosu do stvari in med subjektom in objektom.

Forma kot tipična, specifična izraznost, izraz in lik/ovnost/, ki nam pomaga v umevanju »resnic« (teh je neskončno, a resničnost je le ena, ne obratno, kot mislijo posamezni vedeževalci: da namreč obstaja le ena sama, /ne/določena resnica, resničnost pa beži, »uhaja«), spreminja svet realnosti, dejanski svet, ne v smislu temeljnih postavk, tj. osnovnih bitnosti, lastnosti, ki določa od nekdaj, temveč se mu približajo na enkraten, izviren in v nekem drugem smislu tudi že izvoren – »ustrezajoč« način, ki omogoča, da vse stvari in vse odnose razumemo ponovno in na novo. Forma usodno zaznamuje vso »neznosno proizvodnjo«, ki smo vajo vpeti: kot ens naturans in natura naturata.

Izraznost – likovnost teles in misli, ustvarjenih in ustvarjalnih bitij, je forma, brez katere niso mogoči obstoj, obstajanje, postajanje, napredovanje in razvoj. Ko se »utrudi« forma gledanja, pogleda na stvari, ko ta postane »nazadnjaška«, zaviralna (v znanosti, v umetnosti, v vsakodnevnem delovanju), se z genialnim rezom – nekega umetnika, slikarja, pesnika in filozofa – poruši, zruši stari svet, prelomi, zlomi ustaljena, preživeta Zgradba in sistem, Matrica: modus operandi, ars vivendi.

Nastopi drug /v/pogled, drugačen point de la vue, zamenjata se notránjost in zunánjost, zastavi se vprašanje novega subjekta, »zlevi« se stara subjektivnost, pojavi se vprašanje novega občut/en/ja, t. i. neue Sensibilität, a tudi objektivnosti (socialne, družbene, idejne in ideološke, politične in miselne in ekonomske) v absolutnem smislu.

S spremembo Forme se zgodijo revolucije v rokovanju s stvarmi, v Pogledu in Umevanju odnosov.

Pološčen videz slike kot agens in »gonilo«: nagonska vzmet v Onostranstvu. Slika deluje kakor nekakšna igra, brez reference in referenta, Slikar ni zdaj oponaševalec, ki oponaša referenco, temveč oponaša samo oponašanje slikarstva med slikanjem te tanke »črte« med uživanjem in smrtjo ter mimesis, med mimesis in mimesis in med posnetkom – posnemanjem in (med) posnetkom. Se pravi odtis odtisa in simulaker, ki simulira platonski posnetek: podobe iz simbolične votline.

To, kar velja za himen/sliko, velja, mutatis mutandis, tudi za vse ostale Aleksijeve mreže/zanke/znake, »ničle« in »mehurje«, ki imajo podobno kot pharmakon (zdravilo – obuditev in mrtvoudnost – smrt) v sliki in na sliki nekakšen nadomestek.

Dekompozicija in kompozicija nekakšnega in vsakega, vsakršnega Znaka načelno to alternativno notranjost – zunanjost oslabi in ošibi, desematerializira. Ta »vmesnost« je semantična praznina himna, to notranje razmerje, razmaknjenost, artikulacija vsebine kot »interval« … ta likovna opremljenost množine, »slastna pomešanost« in ples (po Mallarmeju), obrednost in lebdečnost v sanjarjenju, omahovanje, nestrganost zastora, ta let – letenje, akrobacije … v celoti strnjene v konici čopiča in prstov, v slikanju te dvojne scene.

Lacanov boromejski vozel

Smisel umetnosti = da se podobe le dotikaš s čopičem, z roko, ki ga slika, s slikanjem, z Umetnostjo, ki je edini smisel eksistence, bivanja, »dozdevka bitja«. Umetnost je edina Ženska, ki jo ljubim, Nietzsche. Dotikanje s slikanjem, s slikarstvom, z umetnino je »razcvetitev« kot floracija, edini pravi ljubezenski odnos s Sliko, v več inačicah, z neprebojnostjo (ne)številnih krogov-krožcev, vaz in nepredrtih himnov in boromejskih vozlov je die Liebe, ki preživi prav vsakršno delitev in delitveni proces na slike in razdeljenost na posamezne podobe, ter predstavlja libido: nagonsko, nezavedno in potlačeno »odlagališče« in čisti gon nesmrtnega življenja.

Andrej Medved, pesnik in filozof

»Mi nismo niti dozdevek. Tu smo le tisto, kar lahko zavzame njegovo mesto, da bi zavladalo – kaj? – objekt mali a … Zakaj sem v davnih časih vpeljal boromejski vozel? Z namenom, da bi prevedel obrazec: zahtevam – kaj? – da odkloniš – kaj? To, kar ti ponujam – zakaj? – kajti to ni tisto« (J. Lacan, v seminarju Še) …

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LA DOUBLE SCENE, I.E.: »THE DOUBLE SCENE« AS »FREE-FLOATING-NESS« IN THE FINE ARTS = PERPÉNÉTRATION OF SEMBLANCE [NUOVE IMMAGINI OF ALEKSIJ KOBAL] The earth and sky, divinities and mortals dwell together all at once. These four, at one because of what they themselves are, belong together.

Preceding everything that is present, they are enfolded into a single fourfold. Each of the four mirrors in its own way the essence of the others.

Earth and sky, divinities and mortals – being at one with one another of their own accord – belong together by way of the simpleness [out of the enfoldingness] of the united fourfold. Each of the four mirrors in its own way the presence of the others. Each therewith reflects itself in its own way into its own, within the simpleness of the [enfoldingness of the] four. This mirroring does not portray a likeness. The mirroring, lightening each of the four, appropriates their own presencing into simple [into enfolding] belonging to one another. Mirroring in this appropriating-lightening way, each of the four plays to each of the others. The appropriative mirroring sets each of the four free into its own, but it binds these free ones into the simplicity [enfoldingness] of their essential being toward one another.

The mirroring that binds into freedom is the play that betroths each of the four to each through the enfolding clasp of their mutual appropriation. None of the four insists on its own separate (simple) particularity. Rather, each is expropriated, within their mutual appropriation, into its own being. This expropriative appropriating is the mirror-play of the fourfold. Out of the fourfold, the simple onefold [enfoldingness] of the four is ventured.

The fouring presences like the appropriating mirror-play of those, who [enfolded] simply expect something from one another. The fouring presences like the worlding of the world. The mirror play of the world is the round dance of appropriating. Therefore the round dance does not encompass the four only like a hoop. The round dance is the ring that joins while it plays as mirroring. Appropriating, it lightens the four into the radiance of their simple lightness [or enfoldingness]. Radiantly, the ring joins the four, everywhere open to the riddle of their present.

The gathered presence of the mirror-play of the world, joining in this way, is the ringing. In the ringing of the mirror-playing ring, the four nestle into their unifying presence, in which each on

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retains its own nature.

The mirror-play of the worlding world, as the ringing of the ring, wrests free the united four into their own compliancy, the circling compliancy of their presence. Out of the ringing mirror-play the thinging of the thing takes place.

The thing stays – gathers and unites – the fourfold. The thing things world. Each thing stays the fourfold into a happening of the simple onehood [i.e. enfoldingness] of world.

Whatever becomes a thing occurs out of the ringing of the world’s mirror-play. Only when – all of a sudden, presumably – world worlds as a world, only then does the ring shine forth, the joining from which the ringing of earth and heaven, divinities and mortals, wrests itself free for that compliancy of simple oneness [its enfoldingness].

[Martin Heidegger, ‘The Thing’, transl. Albert Hofstadter, Poetry, Language, Thought, (NY 1975), 163-184.]

Large, enormous trumpets upwards, rearwards, to the (be)knotted sky mesh , to the Background of circular line of universal wheel. Confinement as liberation, gladness, joy, and freedom, from the bottom red light, from the “essence” and the “tunnel” = mos geometricus, to line segments, diagonals of colour nets/cages … and to the Underworlds of archétecture. A kind of labyrinth to enter the painting, to Hades … and to exit the painting and painting: disappearings, appearings, wrings from darkness (Dunkelheit in amydron) to tò phôs, to light, which is “outside”: to the birth of the Milky Way, in the eruption of a supernova. The ringing as a spinning top, rings, one right next to one, right next to the other, that spin, spin around like heavenly firmaments/merry-go-rounds and a whirlwind from the dark depth … Pipes spewing light, the mirroring of “content” … out of emptiness, nothing/being, repetition, repeating “things” and figures: kinds of vases and jugs, gourds, cisterns, glass bowls and glassy balloons …

Pandora’s Box with lighting, burning flames of (pre-exis)things (das Ding, la chose), which now float in out-spaced Space. Infinity of explosions and explosiveness as infinite energy, which now pervades these images… For there is no evil-bad nor bad luck where delusional Aion rules, time as nothing(ness), a mere moment, a billionth second … Time unchanging and time measured… Infinite multiplication, infinite production and… “emptiness, which is fullness… full(filment) of perfection that is the whole of emptiness”.

It is therefore a matter of the difference between reproduction, Reproduzieren, and repetition, as in Wiederholung, of artistic experience where the function of the Mirror, mirroring as Spiegelung, is in the forefront, the mirroring of the artist in the mirror of the artwork. Wherein all of the personal, inner, and transcendent experience is preserved.

In “classical” paintings reality as a whole, as actuality, is unimportant, it stands outside the artwork. What is important is only the higher authority of symbols, form, style, and manner, which are linked to enjoyment and pleasure.

By the repetition of the arché-cultural model, painting is really representing reality in absentia, and yet these representations are not merely expressions of the absent world. They are actually traumatic representations established by a passive-though-whole subject. The term traumatic here denotes dreams of reality, which /according to Lacan/ cannot be assimilated, enacted; representations, which in repetition conjure apparitions of our Desire. It’s about a “higher authority of trauma that remembers us”, it’s about the idea of the other space and the timeless point between perception and consciousness; in intoxication and enjoyment of beauty. It’s about the need for sleep to continue, because the subject is caught in the principle of enjoyment and it is thereby about Narcissus viewing his own image in the mirror of the canvas. The representation of Narcissus is a representation of pure desire, the world of appearance, a reflection in the mirror, which is to become the eternal norm. And therefore the world of beauty, Reich des Schönheit, which is thus safeguarded from reality and safeguards the truth of the artwork.

APPENDIX: FORM AS THE BASIS OF THE AVANTGARDE It is form, which determines the understanding of matter, “the thing” (in the sense of Heidegger’s das Ding), the relations between things, /in/ ourselves. Form is always in the history of conceptualising, comprehension and “grasping” (in the sense of Inbegriff, that is in-grasping) actuality: reality in the sense of Wirklichkeit, – in – which we live, and which has always marked our existence, in all possible cognitions and recognitions, in the history of fine arts, literature, in the history of science, philosophy Form is of crucial significance. Without it, the voice as Ereignis, the appropriation of all mysteries and

truths of the world surrounding us: inner, outer, imaginary, symbolic world, would not exist in reality. They would actually be nil, nothingness; subliminal and abstract, ad absurdum.

Form as representation/fine artistry, formation, expression, expressivity, clarity and differentness (clara et distincta) versus murkiness – as amydron –and turbidity and indistinguish-ability of shape; which tells us nothing, which distinguishes nothing.

Which leads to the turbidity of error, lack of understanding, incomprehensibility, and not least: to meaninglessness, to untruth.

It is therefore Form, which separates /us/ from the fall-to-powerlessness, to ignorance, to the Abgrund des Wesens: the bottomless abyss of being. Of course, not every form is truth and realisation. Only the one which tears down the old, a run-down structure, Order, System, and the Plan of the World and Existence, which shakes the fundament of the established formation of being and thought, i.e. tears down some Model-matrix and the “bed” of some production, creation, and activity, which in essence-fundamentally-alters our view and knowledge, which is decisive. Without (new, ever-renewed, i.e. original) Form there is no knowing, art, philosophy, no science, /re/ cognition, nor is it possible to live in the world /anymore/; without form, existence is not possible. Everything: every thing, relationship, and every subject, and every objective given are caught in it; in addition, it “aids” in our comprehension and “handling” of things, and in relation to things and between subject and object.

Form, as a typical specific expressiveness, expression and representation/fine artistry/, which aids in our comprehension of “truths” (which are infinitesimal, but there is a single reality, not the opposite, as is believed by individual diviners: i.e. that there exists a single /un/determined truth while reality flees, “escapes”), alters the world of reality, the actual world, not in the sense of fundamental postulates, i.e. fundamental entities, a trait, which defines since time immemorial, but approximate it in a unique, original, and in some other sense also already primordial – “fitting” way that enables us to form a new and renewed understanding of all things. Form fatally marks all “unbearable production” in which we are bound: as ens naturans and natura naturata.

Expressiveness – visual representation of bodies and thoughts, created and creative beings, is form without which existence, existing, becoming, progressing, and progress are impossible. When the form of observing, of the view on things “grows tired”, when it becomes “reactionary”, restrictive (in science, arts, everyday activity), an ingenious cut – on the part of an artists, painter, poet, or philosopher – will tear down the old world, fracture, break the established antiquated Structure and system, the Matrix: modus operandi, ars vivendi.

Another /in/sight emerges, a different point of view, the exterior and interior trade places, the question of the new subject is posed, the old subjectivity “sheds its skin”, while the issue of a new sense/ation emerges, the so-called neue Sensibilität, but also objectivity (social, societal, of ideas, ideological, political and of thought, and economic) in the absolute sense.

the paintbrush and fingertips, in the painting of this double scene.

“We are not even semblance. We are, on occasion, that which can occupy its place, and allow – what – to reign there? Object a… Why did I formerly bring in the Borromean knot? It was to translate the formulation »I ask you« – what? – »to refuse« what? - »what I offer you« – why? – »because that's not it.« (J. Lacan, ‘Seminar XX Encore’, On Feminine Sexuality / The Limits of Love and Knowledge, Ed. Jacques-Alain Miller 1972/73, transl. Bruce Fink, (London, NY 1998), pp. 95, 134.)

The change of Form accompanies revolutions in handling things, in the View on and Understanding of relations.

The polished appearance of images as the agens and “driving force”: Instinctual spring in the Otherworld. The image works as a kind of game with no reference or referent, here the Painter is not an imitator, imitating a reference, but rather imitating the imitation of painting in the course of painting this thin “line” between enjoyment and death, and mimesis mid-mimesis and mimesis, and mid copying – imitating and (mid) copy. Therefore it is an imprint of an imprint and a simulacrum simulating a platonic copy: of an image of the symbolic cave.

That which is considered the hymen/image, also stands mutatis mutandis for all other Aleksij’s nets/loops/symbols, “zeroes” and “bubbles”, which have, like pharmakon (medicine – awakening and paralysis – death) a type of replacement in the artwork.

Decomposing and composing some kind of Symbol and every and all Symbols reduces and weakens, desemantirializes, this alternative interior-exterior. This “in-between-ness” is the semantic emptiness of the hymen, this internal proportion, spacing, and articulation of content as an “interval” … this plurality’s fine-artistic equipped-ness, “savory blend” and dance (according to Mallarme), rituality and freefloating-ness in daydreaming, wavering, the non-torn-ness of the curtain, this flight – flying, acrobatics … entirely concentrated in the tip of

Lacan’s Borromean knot

The meaning of art = to merely touch the representation with a brush, with the hand that paints it, with painting, with Art, which is the only meaning of existence, of being, “semblance of a being”. Art is the only Woman I love, Nietzsche.

Touching by painting, through the art of painting is “the blossoming” as ‘floration’, the only true love relationship with a painted Representation, in multiple versions, with un-pierce-ability of (in)numerous circles-circlets, vases and unpierced hymens and Borromean knots is die Liebe, which survives any division and process of division in paintings and partition in individual images, and represents the libido: the instinctual, unconscious, and quashed “repository” and the pure drive of immortal life.

Andrej Medved, poet and philosopher

7

Uroboros, 2019, akril, olje na platnu, 100 x 120 cm Ouroboros, 2019, acrylic, oil on canvas, 100 x 120 cm

8

Gojenje raja, 2019, akril, olje na platnu, 90 x 70 cm Cultivating Paradise, 2019, acrylic, oil on canvas, 90 x 70 cm

9

10

Danaja, 2017, akril, olje na platnu, 150 x 300 cm DanaĂŤ, 2017, acrylic, oil on canvas, 150 x 300 cm

11

Podtaknjenci, 2019, akril, olje na platnu, 200 x 240 cm The Planted, 2019, acrylic, oil on canvas, 200 x 240 cm

12

Sistem vzreje, 2019, akril, olje na platnu, 120 x 80 cm Breeding system, 2019, acrylic, oil on canvas, 120 x 80 cm

13

Rojstvo, 2019, akril, olje na platnu, 100 x 120 cm Birth, 2019, acrylic, oil on canvas, 100 x 120 cm

14

Prihod, 2019, akril, olje na platnu, 80 x 115 cm Arrival, 2019, acrylic, oil on canvas, 80 x 115 cm

15

Vzreja raja, 2019, akril, olje na platnu, 100 x 120 cm Rearing Paradise, 2019, acrylic, oil on canvas, 100 x 120 cm

16

Markacijska linija, 2015, akril, olje na platnu, 120 x 150 cm Marcation Line, 2015, acrylic, oil on canvas, 120 x 150 cm

17

ALEKSIJ KOBAL je bil rojen 23. oktobra 1962 v Kopru. Leta 1986 je diplomiral na Akademiji za likovno umetnost v Ljubljani pri profesorju Janezu Berniku. Podiplomski študij iz slikarstva je zaključil leta 1993 pri profesorici Metki Krašovec. Za likovno udejstvovanje je prejel več priznanj in nagrad, med drugim leta 2016 Nagrado Prešernovega sklada. Živi in dela v Ljubljani, kot svobodni umetnik.

ALEKSIJ KOBAL was born on 2 october, 1962 in Koper. In 1986, he graduated from the Academy of Fine Arts in Ljubljana under Professor Janez Bernik. He concluded his postgraduate studies of painting in 1993 under Professor Metka Kraševec. His artistic work earned him several acknowledgments and awards including the Award of the Prešeren Fund, which he received in 2016. He lives and works in Ljubljana as a freelance artist.

KONTAKTI / ARTIST’S CONTACT naslov / address: Mucherjeva 1, 1000 Ljubljana E: aleksij.kobal@telemach.net W:www.aleksij-kobal.com

Samostojne razstave / One-man Exhibitions:

18

2019

PODTAKNJENCI, Mestna galerija Nova Gorica; Galerija Velenje, Slovenija / Slovenia

2017

NEBO NAD ESFAHANOM, AS galerija, Ljubljana, Slovenija / Slovenia BARVNA STRAN TEME, Galerija Equrna, Ljubljana; Pilonova galerija Ajdovščina; Galerija Loža, Obalne galerije Piran, Slovenija / Slovenia

2016

TOPOLOGIJA ZLATOROGA, Galerija Kresija, Ljubljana, Slovenija / Slovenia

2013

OBMOČJE ZAJETJA, Bežigrajska galerija, Ljubljana, Slovenija / Slovenia

2012

NOCTURNO, Galerija A+A, Benetke / Venice, Italija / Italy; Galerija Miklova hiša, Ribnica; Galerija Monfort, Portorož, Obalne galerije Piran, Slovenija / Slovenia SLIKA KOT PSIHIČNI PAYSAGE, Poslovni center Hit paviljon, Nova Gorica, Slovenija / Slovenia

2011

PRIDE OF FANTASIES / DOMIŠLJANJA, Galerija Simulaker, Novo mesto, Slovenija / Slovenia

2010

PREPOVEDANO MESTO, Galerija Equrna, Ljubljana, Slovenija / Slovenia

2008

ZRCALITI VAJENCA K SONCU, Mestna galerija Nova Gorica, Slovenija / Slovenia

2007

ZRCALNE SLIKE, Galerija Kibla, Maribor, Slovenija / Slovenia

2006

FIGHT NO MORE, Mirror paintings – Zrcalne slike, Galerija Alkatraz - Metelkova, Ljubljana, Slovenija / Slovenia KRONOSOV PRAŠUM, Mirror paintings - Zrcalne slike, Galerija Ljubljanski grad, Slovenija / Slovenia

2002

“CAPRICCIOSE" - ZRCALNE SLIKE, Galerija Marino Cettina, Umag, Hrvaška / Croatia BLOODY MIRRORS, Galerija Loža, Koper; Galerija ZDSLU, Ljubljana; Galerija OK MMC Palach, Rijeka, Hrvaška / Croatia

2001

MIRROR PAINTINGS / ZRCALNE SLIKE, Mestna galerija Nova Gorica, Slovenija / Slovenia

1999

TIME-INFLICTED WOUNDS / ČASOVNE RANE, Bežigrajska galerija, Ljubljana, Slovenija / Slovenia

1998

THE MORNING FOG / JUTRANJE MEGLA, Alkatraz Gallery – Metelkova, Ljubljana, Slovenija / Slovenia

1997

PROVIDENCE, Galerija A + A, Madrid, Španija / Spain; Mestna galerija Piran; Galerija Equrna, Ljubljana, Slovenija / Slovenia

1994

STARLESS – ZGODBA O PREŠNICI, Galerija Loža, Koper; Galerija Equrna, Ljubljana, Slovenija / Slovenia

1993

FROM MY STUDIO / IZ MOJEGA ATELJEJA, IC – Moderna galerija, Ljubljana, Slovenija / Slovenia

1990

Galerija Equrna, Ljubljana, Slovenija / Slovenia

1988

Galerija ŠKUC, z / with Janez Zalaznik, Ljubljana, Slovenija / Slovenia

Skupinske razstave (izbor) / Group Exhibitions (Selection): 2019

LIKOVNA SREČEVANJA, Balassijev inštitut, Ljubljana, Slovenija / Slovenia

2018

FOKUS, Hommage Stojanu Kerblerju, Galerija mesta Ptuj, Slovenija / Slovenia TEKSTURA ŽIVLJENJA – Aleksij Kobal & Borut Krajnc, Savinov salon, Žalec, Slovenija / Slovenia ČLOVEK : STROJ, Galerija Božidar Jakac - Lamutov salon, Kostanjevica na Krki, Slovenija / Slovenia HIŠA NA HRIBU 2018 - Sv. Marjeta v vasi Žlebe, Medvode, Slovenija / Slovenia ÜBER SCHWEBENDE INSELN UND FLIEGENDE MENSCHEN, Haus der Kunst, Baden, Avstrija / Austria PRISOTNOSTI – PRESENCES, Kibla PORTAL, Maribor, Slovenija / Slovenia IMAGO MUNDI – Luciano Benetton Collection, Salone degli Incanti, Trst / Trieste, Italija / Italy THE COLOURFUL SIDE OF DARKNESS - Aleksij Kobal, Igor Bravničar, 12 Star Gallery at the Europe House, London, Velika Britanija / Great Britain

2017

ČLOVEK : STROJ, Galerija na Gradu, Loški muzej, Škofija Loka, Slovenija / Slovenia KSIHT, Tovarna umetnosti, Majšperk, Slovenija / Slovenia MIG 21 - Risk change, Muzej suvremene umjetnosti Vojvodine MSUV, Novi Sad, Srbija / Serbia ARTS STAYS / BIG IS BEAUTIFUL! / VELIKO JE LEPO!, Festival umetnosti Ptuj, Slovenija / Slovenia EPILOG, Dvorec Novo Celje, Žalec, Slovenija / Slovenia

2016

MIG 21 - Risk change, Galeija Kibla, Maribor

2015

MAGIA UMETNOSTI / MAGIJA UMJETNOSTI, Gliptoteka, Zagreb, Hrvaška / Croatia POGLED / A LOOK 7, Galerija sodobne umetnosti Celje, Slovenija / Slovenia MAGIA UMETNOSTI / DIE MAGIE DER KUNST – Künstlerhaus – Dunaj / Vienna, Avstrija / Austria MAGIA UMETNOSTI / LA MAGIA DELL’ARTE, Villa Manin, Italija / Italy UMETNOST OSVOBAJA, Galerija Equrna, Ljubljana, Slovenija / Slovenia

2013

MATERIALNOST, Galerija Kibla, Maribor, Slovenija / Slovenia BERKO, SAŠO VRABIČ, ALEKSIJ KOBAL, Palača narodov, Ženeva / Geneva, Švica / Swiss

2012

UMETNIŠKE PRAKSE 20. IN 21. STOLETJA, Galerija Velenje, Slovenija / Slovenia "CHANGING PERSPEKTIVES 15 YEARS OF THE ECB'S ART COLLECTION", European Central Bank ECB SWAB - International Contemporary Art Fair, Barcelona, Španija / Spain

2011

PREVIEW BERLIN - The emerging Art Fair, Berlin, Nemčija / Germany FIGURALNO FIGURATIVNO FIGURABILNO, Galerija Monfort, Piran, Slovenija / Slovenia

2010

ARKHÉ - Aleksij Kobal, Marko Jakše, Art Factory, Majšperk, Slovenija / Slovenia WILD AT HEART / DIVJI V SRCU - Kalan, Kobal, Sicoe, Bratuša, Mestna galerija Nova Gorica, Slovenija / Slovenia

2008

ZORAN MUŠIČ - SILVESTER KOMEL - ALEKSIJ KOBAL, The three view of Kras landscape / Trije pogledi kraške pokrajine, Galerija Lojzeta Spacala, Štanjel, Slovenija / Slovenia

2004

“SURPLUS OF PAINTING FRAME / PRESEŽEN SLIKARSKI OKVIR”, Bežigrajska galerija, Ljubljana, Slovenija / Slovenia SLOVENIAN ART SINCE 1985 TO 1995 / SLOVENSKA UMETNOST OD LETA 1985 DO LETA 1995, Moderna galerija, Ljubljana, Slovenija / Slovenia

2002

WILD AT HEART / DIVJI V SRCU - Kalan, Kobal, Sicoe, Kokalj, Galerija Equrna, Ljubljana, Slovenija / Slovenia

2001

International exhibition of drawings, MMSU Rijeka, Hrvaška / Croatia The collection of bank Faktor / Zbirka Faktor Banke, Moderna galerija, Ljubljana, Slovenija / Slovenia

2000

MIB ART, Trst / Trieste, Italija / Italy

1999

HOMO.SAPIENS.3000, Kibla – National house, Maribor, Slovenija / Slovenia “SUBLIME ART AND ROMANTICISM / SUBLIMNO IN ROMANTICIZEM”, Galerija Loža, Koper, Slovenija / Slovenia

1998

Circulo des Belles Artes, Madrid, homage Galeriji A + A, Španija / Spain SLOVENIAN ARTISTS, Galerija A + A, Benetke / Venice, Italija / Italy “INTRA MUROS”, Trdnjava Kluže, Bovec, Slovenija / Slovenia WILD AT HEART / DIVJI V SRCU - Kalan, Kobal, Sicoe, Galerija Equrna, Ljubljana, Slovenija / Slovenia

19

1997

Torino, Parco Regionale e Borgo Castello, La Mandria Venaria Reale, Napoli, Complesso monumentale di S. Chiara e S. Maria La Nova, Italija / Italy THE MONTH OF CULTURE / MESEC KULTURE, Galerija Equrna, Ljubljana, Slovenija / Slovenia

1995

MAJSKI SALON, Galerija Riharda Jakopiča, Ljubljana, Slovenija / Slovenia EXAMINATION OF SLOVENIAN ART SINCE '80 TO '90, Hall Franco, Trst / Trieste, Italija / Italy

1994

U3 - TRIENNALE OF SLOVENIAN ART / U3 - TRIENALE SLOVENSKE UMETNOSTI, Moderna galerija, Ljubljana, Slovenija / Slovenia THE PAINTING OF SLOVENIAN COAST – NEW GENERATIONS / SLIKARSTVO NA SLOVENSKI OBALI - NOVE GENERACIJE, Mestna galerija Piran, Slovenija / Slovenia PRESENCE OF ANGELS / ANGELSKE PRISOTNOSTI, Galerija Equrna, Ljubljana, Slovenija / Slovenia DE FIGURE, Galerija ŠKUC, Ljubljana, Slovenija / Slovenia

1993 1991

SLOVENIAN ATHENE / SLOVENSKE ATENE, Moderna galerija, Ljubljana, Slovenija / Slovenia

Nagrade / Awards: 1981

Plečnikova nagrada za dosežke na področju oblikovanja na srednji šoli za oblikovanje / Middle school “Plečnik award” for graphic design

1995

Velika nagrada Majskega salona / Prime award of “Majski salon”

2016

Nagrada Prešernovega sklada / State award “Prešernov sklad”

Zbirke / Collections: ECB (European Central Bank) Frankfurt, Nemčija / Germany MERCATOR, Ljubljana, Slovenija / Slovenia FACTOR BANKA, Ljubljana, Slovenija / Slovenia SLOVENSKA AMBASADA / SLOVENE EMBASSY, Beograd, Srbija / Serbia OBALNE GALERIJE PIRAN, Slovenija / Slovenia ZAVAROVALNICA TRIGLAV, Slovenija / Slovenia ZAVAROVALNICA TRIGLAV - Postojna, Slovenija / Slovenia LJUBLJANSKA BANKA, Slovenija / Slovenia GIP ART COLLECTIONS, Kojsko, Slovenija / Slovenia MESTNA GALERIJA NOVA GORICA, Slovenija / Slovenia ZBIRKA TALUM / TALUM COLLECTION, Kidričevo, Slovenija / Slovenia MARINO CETTINA GALLERY, Umag, Hrvaška / Croatia Razstavi in izid kataloga sta finančno omogočili

Prva stran / First page: Brexit, 2019, akril, olje na platnu, 100 x 120 cm Brexit, 2019, acrylic, oil on canvas, 100 x 120 cm

/ The exhibitions and catalogue have been financially suppported by:

MESTNA OBČINA NOVA GORICA

Katalog izdal / Catalogue issued by: Kulturni dom Nova Gorica (Zanj / Represented by: Pavla Jarc); Festival Velenje (Zanj / Represented by: Barbara Pokorny) - Urednica / Editor: Mateja Poljšak Furlan - Avtor teksta / Texts written by: Andrej Medved - Lektoriranje / Slovene language revision: Darinka Verdonik - Angleški prevod / English translation: Jaka Jarc - Fotografije / Photographs: Borut Krajnc - Oblikovanje in prelom / Catalogue design & DTP: Bitart-Damijana Žorž s.p. - Tisk / Print: Tisk Žnidarič, d. o. o. - Kraj izida / Place of publication: Nova Gorica -Leto izida / Publication year: 2019 - Naklada / Nr. of copies: 600

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