Katja Felle: Segmenti lomljive realnosti/Segments of Fragile Reality 2

20 let

Katja Felle: Segmenti lomljive realnosti 2

Segments of Fragile Reality 2

Katja Felle: Segmenti lomljive realnosti 2

Segments of Fragile Reality 2

12. 1.–2. 2. 2018

Segmenti lomljive realnosti 2 Katja Felle slika do roba in ~ez. Njena podoba je formalno dobesedno ve~plastna. Enkrat je natan~na in popolno izdelana, drugi~ je dovršena hitro in namenoma popa~eno.

Ko odkrijemo in prepoznamo eno plast, nas preseneti druga, pa zmoti tretja in tako naprej. Koda za razbiranje njenih podob se skriva v analizi ustvarjalnega procesa. Umetnico zanimajo pomen podobe v današnjem ~asu, ko ta neusmiljeno tekmuje z mnoštvom drugih informacij, njena transformacija skozi razne komunikacijske kanale in vpliv.

V kontekstu slikarstva jo zagotovo lahko uvrstimo med trenutno bolj prepoznavne, konceptualno dovršene in drzne umetnice, ki si upajo slikati to, kar se nam zdi na videz samoumevno in nepotrebno slikarjeve pozornosti. A ravno ta preprosta zapletenost motiva nas pripelje do to~ke, ko preizkušamo lasten pogled najprej na sliko in kasneje na realnost, ki nas obkroža. Gledanje slike Katje Felle je gledanje v zgodovino medijske umetnosti in hkrati pogled v prihodnost, v kateri lahko njene slike vidimo kot primer umetnine v ~asu digitalne distribucije, elektronskih motenj in nadgrajene resni~nosti. Tudi sicer se umetnost Katje Felle (performansi, videodela, gobelini, družbeno angažirane akcije kot medgeneracijsko povezovanje) giblje v odnosu med »gledati« in »videti«. ^e »gledati« razumemo kot relativno pasivno akcijo, je »videti« izrazito aktiven proces razbiranja pomenov in interpretacije videnega. In ravno v tem kontekstu prevajanja pasivnega gledanja v spoznavo videnja se odvija dramati~na igra kontrole nad segmenti, ki vedno znova krhajo našo realnost. Slike Katje Felle ponazarjajo ta vmesni prostor med gledanjem in videnjem; prostor, ki je ranljiv, podvržen manipulaciji in želji po kontroli. To je prostor, v katerem se zgodijo namerne ali naklju~ne napake in transformacije pomenov. To je prostor, ki oblikuje naše vedenje o realnosti, v kateri živimo.

Film Matrica ponuja zanimivo razlago fenomena déjà vu – definira ga kot kratkotrajno motnjo v sistemu. Šele pri tem pojavu se navzo~i zavejo, da se v matrici dogaja nekaj nenavadnega oziroma da so tisti, ki kontrolirajo matrico, naredili spremembo znotraj nje. »Obstoje~e« so prekrili z »novim«.

Ekranizacija psihološkega pojava ponazarja idejo sodobnega sveta, v katerem se koncepta realnosti in posameznikove svobode lomita na medsebojno povezljive delce in globalno informacijsko odvisnost ~loveka od podanih informacij. Posameznik bo tako postal sprejemnik informacij, katerih izbira bo neskon~na, vendar ne bo imel popolne kontrole nad njihovo produkcijo. Globalne banke informacij bodo postale oddajniki in edina možnost manipulacije z informacijami bo obstajala na poti med oddajniki in sprejemniki. Komunikacijsko pot informacije bo mogo~e na~rtno ovirati in spreminjati ali pa bo zaradi tehnoloških zna~ilnosti in usklajevalnih protokolov pri prenosu prihajalo do motenj v delovanju sistema. Takšen scenarij je predvidljiv že samo, ~e pomislimo, kako se je internet kot temeljna globalna podatkovna mreža razvijal od pasivnega ponudnika do aktivnega gradnika našega vsakdana in bo po napovedih v prihodnosti izhodiš~e za globalno povezljivo mrežo stvari, ki bo prakti~no funkcionirala na le~i, ki jo bomo morali vstaviti v oko. In to bo ~as, ko bo stavek Sie können den Computer jetzt ausschalten, ki se pojavi na sliki Št. 11 Katje Felle, dobesedno zarezal v bistvo našega obstoja in definiral naš pogled na realnost. Ali se bomo pripravljeni izklopiti, kar že danes predstavlja odklop iz sistema in pomeni vsaj za~asno komunikacijsko in socialno-družbeno smrt oziroma umik v komunikacijsko puš~avo?

Bo izklop zgolj motnja v delovanju sistema ali bo to le ena od njegovih ekonomskih realnosti?

Opažanju, da so podobe v medijskem svetu raznolike in vizualno bogate, se je v zadnjem ~asu pridružilo še mnenje, da so postale neizprosne, agresivne in celo nevarne, saj pogosto namensko manipulirajo z našim dojemanjem družbene, politi~ne in ekonomske realnosti današnjega ~asa. V tem kontekstu lahko gledamo tudi sodobno umetniško produkcijo, ki se ukvarja z vplivi mediatizirane podobe. Opozarja nas na manipulativne razsežnosti sodobnega medijskega sveta in nam ponuja hojo po robu spoznavanja neznanega.

Božidar Zrinski

Razstava z naslovom Segmenti lomljive realnosti 2 predstavlja nadaljevanje in nadgradnjo samostojne razstave, ki je bila v galeriji Miklova hiša v Ribnici od 29. 9. do 6. 11. 2016.

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Å t. 15, 2017, akril na platnu, 200 cm x 250 cm No. 15, 2017, acrylic on canvas, 200 cm x 250 cm

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Segments of Fragile Reality 2 The Matrix proposes an interesting explanation of the phenomenon we know as déjà vu - the film defines it as a glitch in the system. Only when this phenomenon is observed do the observers realize that something unusual is happening with the matrix, or that those controlling it have made changes to it internally, replacing “the existing” with “the new”.

Putting this psychological phenomenon on the screen illustrates the modern world, where the concepts of reality and individual freedom are shattered into interconnectible fragments, drawing attention to humankind’s global dependence on the information it is being fed. The individual will thus become the recipient of information, having endless choices, although never having control over how the information itself is produced. Global information banks will become transmitters and the only place where information can be manipulated will be the space between the transmitters and the receivers. It will be possible to intentionally disrupt and modify the communication route along which the information travels, or malfunctions will arise as a result of technological limitations of the synchronization protocols facilitating the transmission.

Such a scenario can only be predicted if we consider how the internet as a global data transmission network grew from a passive provider to an active building block of our everyday lives, and according to some predictions, it will provide a foundation for a globally-interconnected Internet of Things, which will work through a contact lens which one will have to put in one’s eye. And this is when the phrase Sie können den Computer jetzt ausschalten, which appears on the No. 11 Katja Felle’s painting, will literally cut into the very essence of our existence and define our perception of reality. Will we be prepared to switch off, which in today’s context means unplugging from the system and suggests at least a temporary social death, or an escape off the grid. Will this unplugging be anything more than just a disturbance in the system, or will it become one of the system’s economic realities?

In addition to the notion that images appearing in the world of the media are diverse and visually stimulating, it has recently also been observed that these images have become merciless, aggressive and even dangerous, as they often intentionally manipulate our perceptions of today’s social, political and economic reality. This is also a way to look at contemporary artistic production, which explores the effects of the mediatized image. It cautions us against the manipulative dimensions of the contemporary world of the media, and invites us to take a walk along the fringes of the unknown in order to get to know it.

Katja Felle paints to the edge and beyond. Formally speaking, her painting is literally multi-layered. One time, it is made through precise and impeccably controlled strokes, and the next time the painting is made with rushed strokes and is intentionally distorted. Just as we discover and figure out one layer, we are startled by another, perplexed by the third, and so on. The key to deciphering her paintings can be found in the analysis of her creative process. As an artist, she is interested in the meaning of images in today’s time, when images are caught in fierce competition against a plethora of other information, undergoing a transformation through various channels and influences. In the context of painting, we can certainly count her among the more visible, conceptually formed and gutsy artists who dare paint what might, at first glance, appear to mundane and unworthy of a painter’s attention. But it is precisely this simple complexity of her motif which startles us and makes us first re-examine our perception of the image, and then the very reality which surrounds us. Looking at Katja Felle’s paintings is like looking at a history of media art, and at the same time it is a glimpse into the future, where we can see her painting as an example of an artwork during a time of digital media distribution, electronic interference, and augmented reality. Katje Felle’s art projects (performances, video clips, gobelins, socially engaged projects aimed at building cross-generational ties) generally explore the relationship between “looking” and “seeing”. Whereas “looking” is understood as a relatively passive activity, “seeing” is a particularly active process which involves reading into meanings and interpreting visual stimuli. So it is here, in translating the passive act of “looking” into the active act of “seeing”, that this dramatic game takes place, controlling the different segments which erode our reality again and again.

Katja Felle’s paintings depict this space separating the looking and the seeing; a fragile space, prone to manipulation and vulnerable to control. It is in this space that intentional and random mistakes and misinterpretations occur. This is a space which shapes our perception of the reality we inhabit.

Božidar Zrinski

The exhibition Segments of Fragile Reality 2 expands and upgrades her solo exhibition, which was shown between 29 September and 6 November 2016 in the Miklova Hiša gallery in Ribnica.

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Å t. 14, 2017, akril na platnu, 200 cm x 250 cm No. 14, 2017, acrylic on canvas, 200 cm x 250 cm

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Ĺ t. 12, 2016, digitalni tisk na papir, akril, akrilni lak na platnu, 150 cm x 120 cm No. 12, 2016, digital printing on paper, acrylic, acrylic varnish on canvas, 150 cm x 120 cm

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Å t. 11, 2016, akril na platnu, 150 cm x 120 cm No. 11, 2016, acrylic on canvas, 150 cm x 120 cm

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Å t. 10, 2015, akril na platnu, 170 cm x 220 cm No. 10, 2015, acrylic on canvas, 170 cm x 220 cm

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Ĺ t. 9, 2015, digitalni tisk na papir, akril, akrilni lak na platnu, 170 cm x 220 cm No. 9, 2015, digital printing on paper, acrylic, acrylic varnish on canvas, 170 cm x 220 cm

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Ĺ t. 8, 2015, digitalni tisk na papir, akril, akrilni lak na platnu, 140 cm x 110 cm No. 8, 2015, digital printing on paper, acrylic, acrylic varnish on canvas, 140 cm x 110 cm

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Ĺ t. 7, 2015, digitalni tisk na papir, akril, akrilni lak na platnu, 140 cm x 110 cm No. 7, 2015, digital printing on paper, acrylic, acrylic varnish on canvas, 140 cm x 110 cm

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Å t. 6, 2015, akril na platnu, 150 cm x 120 cm No. 6, 2015, acrylic on canvas, 150 cm x 120 cm

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Št. 5, 2014–2015, akril na platnu, 150 cm x 120 cm No. 5, 2014–2015, acrylic on canvas, 150 cm x 120 cm

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Å t. 4, 2014, akril na platnu, 170 cm x 200 cm No. 4, 2014, acrylic on canvas, 170 cm x 200 cm

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Å t. 3, 2014, akril na platnu, 170 cm x 200 cm No. 3, 2014, acrylic on canvas, 170 cm x 200 cm

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TV Static Noise, 2016, gobelin, 23 cm x 37 cm, iz serije Command + Control + F TV Static Noise, 2016, gobelin, 23 cm x 37 cm, from series Command + Control + F RTV Slo 1, 2016, gobelin, 23 cm x 37 cm, iz serije Command + Control + F RTV Slo 1, 2016, gobelin, 23 cm x 37 cm, from series Command + Control + F

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Blue Velvet, 2016, gobelin, 23 cm x 37 cm, iz serije Command + Control + F Blue Velvet, 2016, gobelin, 23 cm x 37 cm, from series Command + Control + F Skype, 2017, gobelin, 23 cm x 37 cm, iz serije Command + Control + F Skype, 2017, gobelin, 23 cm x 37 cm, from series Command + Control + F

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Ustavi–zašij–ponastavi, predloga za izdelavo gobelina dimenzij 200 cm x 300 cm, 2015 Stop–Sew–Reset, The scheme for embroidering a gobelin in dimensions 200 cm x 300 cm, 2015

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Ustavi–zašij–ponastavi, udeleženci delavnice Medgeneracijski atelje: GOBELIN v Koroškem medgeneracijskem centru na Ravnah na Koroškem, od decembra 2015 Stop–Sew–Reset, participants of the workshop Intergenerational Atelier: GOBELIN at Intergenerational Center in Ravne na Koroškem, from December 2015

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Katja Felle (1988, Slovenj Gradec) je leta 2011 zaklju~ila študij slikarstva na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani (mentor prof. Bojan Gorenec). Diplomirala je leta 2015 pod mentorstvom prof. Žige Kariža in somentorstvom prof. Sergeja Kapusa (visokošolski univerzitetni študijski program pred bolonjsko reformo). Leta 2017 je bila sprejeta na magistrski študijski program na Institut für Kunst im Kontext, Universität der Künste Berlin. Deluje v umetniški skupini 3kolektiv. Dela in živi v Berlinu v Nem~iji.

Katja Felle (1988, Slovenj Gradec, Slovenia) has completed studies of painting at the Academy of Arts and Design, University of Ljubljana, Slovenia, in 2011 (mentor prof. Bojan Gorenec). She graduated in 2015 under the mentorship of prof. Žiga Kariž and prof. Sergej Kapus (university study programme, prebologna reform). In 2017 she was accepted to the master study programme at the Institut für Kunst im Kontext, Universität der Künste Berlin. She works in 3kolektiv art group. She works and lives in Berlin, Germany.

Samostojne razstave / Solo exhibitions

2018 Segmenti lomljive realnosti 2, Mestna galerija Nova Gorica, Nova Gorica 2017 Ustavi–Zašij–Ponastavi, Katja Felle v sodelovanju s ~lanicami

Koroškega medgeneracijskega centra, performans, Center urbane

kulture Kino Šiška, Ljubljana 2016 Segmenti lomljive realnosti, Galerija Miklova hiša, Ribnica; kustos:

Božidar Zrinski 2015 Distorzija vidnega/Simulacija zvoka, Galerija Ravne, Ravne na

Koroškem; kustosa: Jernej Kožar, Tina Kralj

Motnje v komunikaciji, Galerija Alkatraz, Ljubljana 2014 Procesi, RAUM AU, Slovenj Gradec; kustos: Rado Carlo Poggi

Projekti / Projects

2017 Posodobi gobelin, Špajz, Slovenj Gradec (v sodelovanju z Društvom

Umetnost za vse!)

2016 Lu~i iz smeti, Koroški medgeneracijski center, Ravne na Koroškem

(novoletna okrasitev Partizanske ulice, Ravne na Koroškem)

Azione Utile: Klopi iz smeti, RAUM AU, Slovenj Gradec (v sklopu projekta Medgeneracijski odprti atelje: prof. Pino Poggi in Katja Felle) 2015 Ustavi–Zašij–Ponastavi (Medgeneracijski atelje: GOBELIN), Koroški

medgeneracijski center, Ravne na Koroškem

Izbrane skupinske razstave / Selected group exhibitions

2017 Mlada ženska umetnost v Šiški, prvi del, GalerijaGallery + Center

urbane kulture Kino Šiška, Ljubljana; izbor del: Žiga Kariž

Živela umetnost, Koroška galerija likovnih umetnosti, Slovenj Gradec;

izbor del: Polona Poberžnik

ReciDesign – Podobe recikliranja, Glavni trg, Celje 2016 Sodobna umetnost na Koroškem/Zeitgenössische Kunst in Kärnten (SLO/A), Künstlerhaus Klagenfurt, Celovec, Avstrija; izbor del: Božidar Zrinski

ALUO LXX. Preteklost, sedanjost, prihodnost, Galerija Jakopi~,

Ljubljana; izbrana dela, 70-letnica Akademije za likovno umetnost in oblikovanje

Inventura, Galerija Velenje, Velenje 2015 Sodobna umetnost na Koroškem/Zeitgenössische Kunst in Kärnten (SLO/A), Koroška galerija likovnih umetnosti, Slovenj Gradec; izbor del:

Božidar Zrinski

Premiera 2015 – ^as, razpoloženje, identiteta – 3. trienale mladih umetnikov, Center sodobnih umetnosti, Celje; izbor del: Irena ^er~nik

Pogled 7 – Pogled na slovensko likovno umetnost doma in v

zamejstvu_Popolnoma sveže, Center sodobnih umetnosti, Celje; izbor

del: Andreja Hribernik, Maja Hodoš~ek, Pavla Jarc, Barbara Rupel

Pogled 7 – Pogled na slovensko likovno umetnost doma in v

zamejstvu_Popolnoma sveže, Mestna galerija Nova Gorica, Nova

Gorica; izbor del: Andreja Hribernik, Maja Hodoš~ek, Pavla Jarc,

Barbara Rupel 2014 Procesi–Prozesse–Processes, 44QM Galerie der Stadt Hartberg,

Hartberg, Avstrija

12 Prostorov/12 Spaces/12 Räume, Koroška galerija likovnih

umetnosti, Slovenj Gradec

Graffiti- & Street Art Festival Styria 2014, Toba~na tovarna, Fürstenfeld, Avstrija

Pogled 7 – Pogled na slovensko likovno umetnost doma in v

zamejstvu_Popolnoma sveže, Galerija Božidar Jakac, Kostanjevica na

Krki; izbor del: Andreja Hribernik, Maja Hodoš~ek, Pavla Jarc, Barbara Rupel

Družbene jalovosti, Druga galerija, Maribor; izbor del: Petra ^eh 2013 Transfer > Slowenien, Schafhof – Europäisches Künstlerhaus

Oberbayern, Freising, Nem~ija

Razstava Kulturnega društva Jože Tisnikar, Tisnikarjeva hiša, Mislinja

Skicirka, KUD Koncentrat, razstaviš~e Pekarna v starem Velenju, Velenje

Trenutek–Augenblick–Moment: Razstava izbranih del koroških

likovnih umetnikov, Koroška galerija likovnih umetnosti, Slovenj

Gradec; izbor del: Marko Košan 2012 Premiera 2012, Galerija sodobne umetnosti, Celje; izbor del: Maja Hodoš~ek

Razstava Kulturnega društva Jože Tisnikar, Tisnikarjeva hiša, Mislinja

Sprevod in Zakol; Postavitev objekta in performance umetniške

skupine 3kolektiv, Cankarjev dom, Ljubljana

16. Slovenska kiparska razstava, Galerija Mestna hiša, Ljubljana; izbor

del: Petja Grafenauer 2011 Skupinska razstava del študentov ALUO, Kulturni center Delavski dom,

Zagorje ob Savi

Utopi~ni seminar, Muzej za arhitekturo in oblikovanje, Ljubljana

Resni~ne laži slikarstva, Galerija Kresija, Ljubljana

Ovitek / Cover Blue Screen, 2016, gobelin, 23 cm x 37 cm, iz serije Command + Control + F Blue Screen, 2016, gobelin, 23 cm x 37 cm, from series Command + Control + F

Izid kataloga je omogo~ila:

Katalog izdal/Catalogue issued by: Javni zavod Kulturni dom Nova Gorica, Mestna galerija Nova Gorica – Zanj odgovarja/Represented by: Pavla Jarc – Urednica/Edited by: Mateja Polj{ak Furlan – Besedilo/Text: Bo`idar Zrinski – Prevod/Translated by: Tadej Reissner – Fotografije/Photo: Katja Felle, Nika Hölcl Praper, Koroški medgeneracijski center – Oblikovanje/Design: Adenda d.o.o. – Tisk/Print: Tiskarna Present d. o. o. – Naklada/Number of copies: 300

Mestna galerija Nova Gorica

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SI 5000 Nova Gorica

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