Mito Gegič: Vemo, kje živite!/We know where you live!

Mito Gegi~: Vemo, kje 탑ivite!/We know where you live!

Mito Gegi~: Vemo, kje Ĺživite!/We know where you live!

Multimedijska razstava/Multimedia exhibition 3.‒24. 6. 2016

Stiska, 2013, rogovje, parklji, mesoreznica, objekt; foto: Arne Brejc/Crisis, 2013, deer horns, deer hoofs, meat grinder, object; foto: Arne Brejc

Ve~na loviš~a temi aktivnostmi in zanimanji v stiku in jih spoznavajo, saj se starši z njimi ukvarjajo in se jih udeležujejo. S pomo~jo staršev spoznavajo njihova pravila, posebnosti in skrivnosti; še posebej ~e so otroci vsaj malo radovedni in ~e si starši prizadevajo vzbuditi zanimanje otrok in jih vklju~iti v aktivnosti. Pogosto so starši pravi navdušenci in to strast velikokrat prevzamejo tudi otroci ter jo kasneje obi~ajno prenesejo v novo družino.

Eno izmed takih podro~ij je tudi lovstvo. Mito Gegi~ je bil od malega obkrožen z lovci, lovskim na~inom življenja, lovskimi aktivnostmi in z rezultati te dejavnosti, saj so bili lovci njegov ded in številni sorodniki. Lovstvo pravzaprav ni le prosto~asna aktivnost, zelo hitro postane na~in življenja.

Lovcu nalaga dolo~ene obveznosti in od njega zahteva, da se mu posveti. Pravemu lovcu spremeni življenje, vpliva celo na izbiro barv obla~il (prevladujejo olivnozelene), obutve (rjave), stanovanjsko opremo (potrebuje posebno omaro za orožje, opremi lovsko sobo), kulinariko (pripravljajo se jedi iz divja~inskega mesa), lovec v stanovanju obesi rezultate svojega lova – trofeje živali, ki jih je pošteno in zakonito uplenil: naga~ene živali, živalske dele ali živalske lobanje z rogovi. Tudi hišni ljubljen~ek postane pogosto lovski pes.

Lov~ev otrok je temu okolju in mišljenju izpostavljen od malega in ga s pravimi spodbudami sprejme za svoje, tako da si želi postati lovec, ko »bo velik«. Vendar pa mnogi, ko odrastejo, spremenijo svoj odnos do lovstva.

V podobnem okolju je odraš~al tudi Mito Gegi~, ki je v družini podrobno spoznal lovsko dejavnost, vendar se je odlo~il, da se z njo ne bo ukvarjal in da ne bo nadaljeval družinske tradicije. Jo spoštuje, do neke mere sprejema, vendar se z njo tudi ne strinja v celoti. Postal je slikar, lovstvo pa je postalo pomembna tema njegovega umetniškega ustvarjanja.

Raziskuje in se poglablja v tematiko in razli~ne vidike lovstva ter iš~e vzporednice tudi na drugih podro~jih ~lovekovega delovanja in v družbi na splošno.

Slikar in ve~medijski umetnik Mito Gegi~ je za svoje slikarsko ustvarjanje razvil posebno tehniko, ki je tudi njegova posebnost. ^isto platno prelepi s trakovi samolepilnega traku.

Na spletu iš~e in najde primeren lovski motiv, ki ga poskuša ~im bolj realisti~no naslikati na polepljeno površino. Pripravi si drugo platno in posamezne trakove s prvega platna prenaša na novo platno, z njimi rekonstruira in sestavlja novo podobo.

Pri tem ni natan~en in na~rtno ustvarja defekte v razmakih med trakovi, mestoma so poslikani trakovi zamaknjeni ali celo

Divje živali, lov in lovstvo spremljajo ~loveka že od davnine.

V razli~nih zgodovinskih obdobjih lov ni bil za vse enako važen, vendar je bil zlasti v pradavnih ~asih za ~loveka življenjskega pomena. Predstavljal je na~in pridobivanja mesa za hrano in živalskih delov, ki jih je nekdanji ~lovek znal koristno uporabiti v vsakdanjem življenju: živalske kože za obla~ila in obutev, kosti in zobe za orodje, nekatere dele pa v dekorativne ali tudi religiozne namene. Lov je bil tako pomemben, da se je vtisnil v ~lovekovo podzavest in se izoblikoval v nagon. Nagoni pa v ~loveku vedno vzbujajo nemir, ki se kaže kot želja po uresni~itvi ali kot notranji konflikt, ~e ta nagon iz katerega koli razloga ni izpolnjen. Ljudje se tovrstnih konfliktov pogosto ne zavedamo, vendar pa jih umetniki zaznajo in izkoristijo tako, da jih izrazijo v umetniškem ustvarjanju. Številni umetniki se tako lotevajo tematike lovstva in divjih živali, kar dokazujejo že prve jamske upodobitve.

Tak umetnik je tudi Mito Gegi~, lovstvo pa je sestavni del njegovega umetniškega ustvarjanja. Gegi~ je enega od svojih ve~jih umetniških ciklov poimenoval O~etnjava. Tako je naslovil tudi razstave, na katerih je predstavil dela iz tega cikla. Ve~ kot o~itno je, da se je s tem pojmom in njegovimi pomeni veliko ukvarjal ter da mu je blizu.

O~etnjava ali zapuš~ina o~etov vklju~uje zapuš~ino v celoti, tako materialno – posest, premi~no in nepremi~no premoženje – kot tudi nematerialno, torej vse, kar dobimo v nasledstvo. Širše gledano je del te zapuš~ine tudi družinska vzgoja, ki smo je bili deležni vsi in bili v njej udeleženi. Družinska vzgoja vklju~uje poleg splošnih naukov za življenje tudi majhne krajevne in družinske posebnosti. Starši v svojem življenju pridobijo posebna znanja, veš~ine, razvijejo dolo~ene interese, vse to pa si želijo z vzgojo prenesti na otroke. Otrokom, ki živijo v takem vzdušju in s temi zanimanji svojih prednikov, le-ta postanejo del njihovega vsakdana. Ti interesi, ki lahko posameznika zaposlujejo le v prostem ~asu ali pa tudi poklicno, so lahko na~in družinskega življenja – denimo religija, nudizem, ukvarjanje s hišnimi ljubljen~ki – ali pa prosto~asne aktivnosti: vrti~karstvo, gorništvo, rekreacija in šport, politika, zanimanja za razne zvrsti umetnosti: za glasbo, ples, film, gledališ~e, literaturo in likovno umetnost, pa tudi za druga podro~ja kulture ali karkoli podobnega. Interesne dejavnosti, ki jih neguje in z njimi živi družina, prevzamejo posamezne družinske ~lane ali kar celo družino. Otroci so s 2

slikah razstavil rogovje, nato pa še tako, da je v svoj ustvarjalni opus dodal nova vizualna dela, objekte in instalacije. V teh objektnih delih uporablja ready made, to je lovske trofeje – v glavnem lobanje z rogovjem –, ter razna orodja in tehni~ne naprave, pa tudi objet trouvé – z živalskih teles odpadle dele (denimo rogovje) – in druge predmete ali živalske dele. Umetnik z objekti zaostruje sporo~ilo, ki ga podaja že s slikami. Pri svojem umetniškem izražanju pa se poslužuje tudi performansa, fotografije – najve~krat kot dokumentiranje performansa –, pa tudi videa.

Izbira lovskih motivov v slikah kaže spoštovanje do družinske in do lovske tradicije, za katero pa ne želi, da bi bila njegov na~in življenja. Nasprotuje nepotrebnemu ubijanju živali, kar kaže tako, da slika tudi ranjene, ubite in mrtve živali in s tem opozarja na pomanjkanje pietetnega odnosa do živali. Njegove slike so lahko medij za preizpraševanje našega lastnega odnosa do ubitih živali in do ubijanja, do družinske, lokalne, nacionalne tradicije, tudi lovske, ne nazadnje tudi za razmislek o našem odnosu do okolja in do smrti.

Dela drugih – neslikarskih – likovnih zvrsti se vsebinsko nekoliko oddaljujejo od kritike lova, lovstva in ubijanja živali ter se vse bolj nanašajo na sodobni ~as. Izpostavlja moralne in eti~ne vidike. Kljub temu da v njih skoraj vedno uporabi dele mrtvih živali in rogovje, pa so vse bolj družbenokriti~na, pogosto posegajo tudi na medosebne, med~loveške in družbene odnose. Zaznamuje jih kriti~en pogled na sodobno družbeno dogajanje, na krizo in stiske, ki jih ta prinaša tako posamezniku kot širši družbi, na osebne zna~ilnosti posameznikov in odnose med množicami druga~nih ali razli~nih, na vse ve~ji egoizem, nestrpnost, pomanjkanje so~utja …, kar posameznika lahko potisne v osebno stisko.

Njegovo sporo~ilo še najlažje razumemo, ~e si zamislimo nadomestitev na slikah upodobljenega ali v objektih in drugih delih uporabljenega živalskega s ~loveškim, pa najsi gre za telo, dele telesa ali kosti ali pa, denimo, ~e opazovalnici, ki jo je zgradil ~lovek za opazovanje živali, spremenimo funkcijo v nadzorovanje ljudi.

potrgani in zme~kani ali manjkajo. Kon~ni izdelek dokon~a s fiksiranjem. V novo nastali podobi je še vedno mo~ prepoznati prvoten motiv s spleta.

Gegi~evi slikarski motivi so ujeti ve~krat. Najprej za njimi opreza avtor fotografij, ki le-te posname v naravi in jih objavi na spletu, nato za njimi na spletu opreza Mito Gegi~, ki izbira iz množice spletnih fotografij in se odlo~i, katere motive si bo prisvojil in jih poustvaril na polepljenem platnu. Ko umetnik rekonstruira in sestavlja trakasto podobo na novem platnu, za to podobo ponovno opreza in jo dokon~no ujame, ko jo sestavi v novi sliki. Nazadnje je podoba ujeta v galeriji, ko se gledalec kot lovec razgleduje med razstavljenimi slikami in ujame posamezne upodobitve.

Gegi~ pri slikanju nehote posnema lovce v njihovem ritualu, od priprav na lov za motivom, lovljenja prave fotografije na spletu, nato poskuša ujeti novo podobo s slikanjem na polepljeno platno pa vse do uplenitve, to je do dokon~anja izdelka, ki ga lahko razstavi, kar je njegova trofeja.

Podobnost Gegi~evega ustvarjalnega postopka se ponuja tudi z digitalno tehnologijo. Neotipljivo podobo s spleta, na kateri je sicer zabeležen realni svet, umetnik izbere in jo materializira na polepljenem platnu v obliki nove, popolno prenesene podobe. Posamezni poslikani trakovi nosijo informacijo o fragmentih podobe, ki jih umetnik najprej razdeli in s tem fragmentira, da bi jih nato ponovno rekonstruiral na novem platnu, jih na ta na~in defragmentiral in sestavil v novo podobo, ki zaradi defektov in manjkajo~ih trakov ni idealna, a je hkrati dovolj popolna, da v njej prepoznamo prvoten motiv.

Tudi v digitalni tehnologiji se v~asih nekatere datoteke okvarijo ali izgubijo, a na koncu celoten program vseeno deluje, pa ~eprav pomanjkljivo.

Kljub racionalno nadzorovanim korakom ustvarjanja vsake nove slike Mita Gegi~a pa se težko izognemo ~ustveni komponenti celotnega postopka. Izbor spletnih podob temelji na idealnih ali provokativnih motivih iz sveta lovstva ali divjih živali. Gegi~ te motive izpostavi s tem, da jih naslika. Tako lahko že zaslutimo, kaj želi sporo~iti. Cefranje idealne slike in ustvarjanje nove, nepopolne pa zagotovo nosi v sebi tudi uporništvo, nestrinjanje in odkrito kritiko do prikazanega. Da je njegov na~in dela v povezanosti z digitalnimi tehnologijami, nakazuje tudi s poimenovanjem svojih del. Že pred leti je Gegi~ svoja slikarska dela nadgradil, izrazno površino platna je razširil v prostor, najprej tako, da je ob

Denis Volk

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Remember Me as a Time of Day, 2014, rogovje srnjaka, steklo, les, objekt, v: 35 cm Remember Me as a Time of Day, 2014, deer horns, glas, wood, object, h: 35 cm

Solidarnost, 2013, rogovje, steklo, objekt, spremenljivih dimenzij Solidarity, 2013, antlers, glass, object, variable dimensions

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Revir, 2013, performans, fotodokumentacija Revir, 2013, performance, foto documentation

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The Eternal Hunting Grounds to know them and thus receive them from their parents. They get to know the rules, peculiarities and little tricks of the discipline. If the children have a minimum of curiosity and if the parents tend to excite their children’s interest and make them participate. Parents are often fanatically enthusiastic and the passion is often caught by the children and even passed on.

Hunting is, obviously, one of such interests. Mito Gegi~ was surrounded by hunters, hunting and their way of life, including the proceeds of that, from his early childhood as his grandfather and many other relatives were hunters. Hunting is not a recreational free-time activity, as it very rapidly tends to become a way of life. It imposes certain obligations on the hunter, demanding his full dedication. A dedicated hunter’s life is radically changed by that, as it also affects the choice of the colour of the clothing (with olive green prevailing), footwear (brown), furniture (a dedicated closet for arms and a room for hunting), cuisine (venison dishes), while hunters always hang the results of their hunting: the trophies of the animals fairly and legally killed: stuffed animals, animal parts and skulls with antlers. Even the choice of pets leads towards a hound dog. Hunters’ children are exposed to such environment and way of life since early childhood and thus, with the right incentives, they become their own and children also wish to become hunters ‘when they grow up’. Still, there are many, who change their attitude towards hunting.

Mito Gegi~ grew up in a similar environment and got to know hunting in detail within his family, but decided not to become a hunter and thus to drop the family tradition. Although respecting and accepting it to some extent, he still cannot agree with it fully. He became a painter and hunting has become an important topic of his creations of art. He is exploring and thoroughly analysing the topic and the various aspects of hunting and trying to draw parallels with other human activities and societal phenomena.

Painter and multimedia artist Mito Gegi~ has developed a special technique for his paintings, which has now become his own peculiarity. He starts by covering the white canvases with adhesive tape. He searches an adequate hunting subject on the Internet and then tries to reproduce it on the covered surface as faithfully as possible. After preparing another canvas, he transfers the tapes from the first canvas, thus rebuilding and creating a new picture. Without being accurate, he deliberately creates misalignments between individual strips, which are set apart, at times, or even torn, crumpled or missing. The product is finalised by fixation. The newly created im-

Wild animals and hunting have been man’s companion ever since the dawn of times. Although hunting did not necessarily have the same importance in different periods of history, it was undoubtedly of vital importance for mankind in the most ancient times. It was a way for obtaining meat for to be eaten and animal parts that the men of the age were able to use in their daily life: animal skins for clothing and footwear, bones and teeth as tools and other parts as adornments or ritual objects. Such was the importance of hunting that it remained imprinted in the human subconscious as an instinctive drive. Instincts tend to stir up emotions that show as a desire for self-fulfilment or as an internal conflict, when the instinct cannot be expressed for one reason or another. We are seldom aware of these conflicts, while artists can sense them and express them in their works of art. Hunting as endeavour and wild animals were the subject of many pieces of art, as proven by the first cave paintings.

Mito Gegi~ is one such artist and hunting is a constitutive part of his artistic endeavours. Gegi~ has chosen Fatherland for the title of one of his largest series of art pieces. The same title was borne by the exhibitions displaying the pieces of art of the series. There is no doubt that the author holds dear the idea itself and the wide array of its meanings, which he must have studied extensively.

Fatherland or our fathers’ legacy includes heritage in its entirety, including tangible, i.e. movable and immovable property, as well as intangible heirloom, which we inherit.

Family education is also necessarily part of the heritage, as we all took part in it and received at least some of it. In addition to general instructions for life, every family education also contains tiny local or even family peculiarities. Parents, over their lives, gather skills and competence, and develop certain interests that they wish to pass on their children. The set of beliefs and values, stemming from the atmosphere and the ancestors’ interests, shape the daily life of the children. The interests that some may pursue in their leisure time, others might even have them as a profession, include the habits of family life, such as practising a religion, being a nudist or having pets, or free-time activities: gardening, hiking, recreation and sports, politics, or interest in arts: music, dance, cinema, theatre, literature and visual arts, or other sectors of culture or anything similar. The interests pursued by a family that usually pervade their daily life are necessarily caught by some of its members or by the whole of the family. Being in constant contact with the activities and the interests, the children get 6

age still bears some resemblance to the initial subject taken from the Internet.

His painting subjects are therefore captured at a series of stages. The subjects are firstly observed by the author of the photographs, who catches them in nature and publishes them on the net. Then, the subjects are observed by Mito Gegi~, who chooses the subjects to be owned and recreated on canvas. As the artist rebuilds and composes a stripped image on a new canvas, he observes it once again and catches it one final time, as the new image is recomposed on the new canvas. The image is caught one last time in the gallery, where viewers are walking among the pictures and catching glimpses of individual views.

In painting, Gegi~ instinctively imitates the hunters’ rituals, beginning with the rituals in preparation for the hunt of the subject, the hunting of the right photograph on the net—which becomes an image during the painting process—until the final hunt-down—which is the finalisation of the product that may be exposed or hanged as a trophy.

The similarities between Gegi~’s creative endeavours and hunting do not stop with the use of digital technologies. The intangible image from the net, a record of the real world, nevertheless, is selected by the artist and subsequently embodied on the recreated canvas as a new, completely transposed image. The individual painted strips bear the information on fragments of images that had been initially sliced up by the artist and then reassembled on a new canvas. In this way, the images had been de-fragmented and reassembled into an image that is—because of gaps and missing strips—far from perfect, but sill faithful enough to show the initial subject.

Digital files are also prone to deterioration or loss; still applications continue to work albeit with shortcomings.

In spite of rationally controlled stages in creating every single new painting by Mito Gegi~, we can hardly avoid the emotional component of the entire procedure. The selection of the on-line images is based on idealised and provocative subjects from the world of hunting or wild animals. Gegi~ is emphasizing the subjects by painting them. In this way, we can sense the message that he is trying to convey. The ripping of an ideal image and the creation of a new, imperfect one, certainly implies some form of rebellion, opposition and open criticism of what is displayed. His way of proceeding is strictly related to digital technologies and it shows in the titles given to his works.

Gegi~ has begun upgrading his paintings years ago by extending the surface of expression into space, by exhibiting antlers next to the paintings, and then by adding new visual works, objects and installations to his creative opus.

In these works, he uses ready-made objects, i.e. hunting trophies, mostly skulls with antlers, and other tools and technical devices, such as objets trouvés, fragments that fell off animals (mostly parts of antlers), as well as other objects or parts of animals. The objects amplify the message conveyed by the paintings. His art works also comprise performing arts, photographs—mostly documenting the performances—and videos.

By choosing hunting subjects for his paintings, he pays respect to his family’s legacy and the hunting tradition, which— however—he did not want to assume as a way of life. He opposes gratuitous killing of animals and therefore depicts wounded, killed and dead animals, thus raising the awareness about the lack of compassion towards animals. His paintings are therefore questioning our own relation to the animals killed and to killing in itself, as well as towards family, local and national traditions, including the heritage of hunting, and ultimately a reflection about our own relation to the environment and to death.

His other works, the ones not based on painting, are slightly departing from criticising hunting and the killing of animals, but focusing more on issues of our times. The authors discusses a series of ethical issues. In spite of almost always using parts of dead animals and antlers, these pieces of art criticise society and often discuss personal, human and societal relations. The pieces of art give a critical view of the developments in our modern society, of the crisis and the difficulties brought by it upon individuals and the wider society, the personal traits of individuals and the relations between swathes of different people, the galloping selfishness, intolerance, lack of compassion, which all drive people into deep despair.

The easiest way to understand his message is to imagine and replace everything animal shown or used in his paintings or objects with human elements: bodies, body parts or bones, or if the lookout, built by man for watching animals, are imagined as devices for controlling humans.

Denis Volk

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Wrecking Ball, 2015, video inštalacija Wrecking Ball, 2015, video installation

Wrecking Ball, 2015, video inštalacija, detajl Wrecking Ball, 2015, video installation, excerpt

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Koda: Ojdip, 2013, akril, maskirni trak na platno, 170 x 200 cm Code: Oedipus, 2013, acrylics, masking tape on canvas, 170 x 200 cm

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Up and to the Left, 2014, akril, maskirni trak na platno, 100 x 100 cm Up and to the Left, 2014, acrylics, masking tape on canvas, 100 x 100 cm

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Cut and Paste, 2014, akril, maskirni trak na platno, 205 x 150 cm Cut and Paste, 2014, acrylics, masking tape on canvas, 205 x 150 cm

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06:58 PM, 2014, akril, maskirni trak na platnu, 97 x 117 cm 06:58 PM, 2014, acrylics, masking tape on canvas, 97 x 117 cm

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Painting is Dead, 2014, akril, maskirni trak na platnu, 25 x 30 cm Painting is Dead, 2014, acrylics, masking tape on canvas, 25 x 30 cm

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Cut Piece, 2015, akril, maskirni trak na platnu, 10 x 12 cm Cut Piece, 2015, acrylics, masking tape on canvas, 10 x 12 cm

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Lov, 2016, video loop/The Hunt, 2016, video loop

Mito Gegi~ Cesta talcev 12 4220 Škofja Loka Telefon: +38640660626 Spletna stran: mitogegic.carbonmade.com E-pošta: mito.gegic@gmail.com Rojen 1982 v Ljubljani. Leta 2002 je maturiral na gimnaziji Ptuj in se še istega leta vpisal na slikarski oddelek Akademije za likovno umetnost in oblikovanje v Ljubljani pod mentorstvom prof. Emerika Bernarda.

Preko programa za izmenjavo študentov CEEPUS je v letu 2006 obiskoval Akademijo likovnih umjetnosti v Zagrebu na oddelku za nove medije. Leta 2008 je diplomiral pri prof. Hermanu Gvardjan~i~u z naslovom Rob in polje mo~i. Trenutno se dodatno izpopolnjuje na slikarski specialki Akademije za likovno umetnost in oblikovanje pod mentorstvom prof. Zmaga Lenárdi~a. Živi in dela v Škofji Loki in na Ptuju.

Born in Ljubljana in 1982, he completed his final exams at the Gymnasium of Ptuj in 2002 and enrolled at the Painting School of the Academy of Fine Arts and Design in Ljubljana under the tutorship of Prof.

Emerik Bernard. He attended the New Media Classes of the Academy of Fine Arts in Zagreb within the CEEPUS student-exchange programme in 2006. In 2008, he graduated with Prof. Herman Gvardijan~i~ with a thesis entitled The Edge and the Field of Power. Currently, he is attending a specialisation course at the Academy of Fine Arts and Design under the tutorship of Prof.

Zmago Lenárdi~. He is living and working between Škofja Loka and Ptuj Samostojne razstave (izbor)/Personal exhibitions (selection) 2016: Vemo kje `ivite/We know where you live!, Mestna galerija Nova

Gorica, Nova Gorica SLO 2015: Waiting and Wanting and Waiting, Miheli~eva galerija, Pokrajinski muzej Ptuj – Ormož, Ptuj, SLO Waiting and Wanting and Waiting, Likovni salon, Center sodobnih umetnosti, Celje, SLO Encryption, Gaia Gallery, Istanbul, TUR Encryption, Exhibit320 Gallery, New Delhi, IND ^as stiskanja, razstava z Zmagom Lenárdi~em, Galerija Miklova hiša, Ribnica, SLO 2014: UN-DO, Galerija Ivana Groharja, Škofja Loka, SLO 2013: Veliki ~rni bik, koga kli~eš?, razstava s Tino Dobrajc Galerija Equrna, Ljubljana, SLO Likovni kritiki izbirajo: Mito Gegi~, Cankarjev dom, Ljubljana, SLO O~etnjava, Narodni dom, Trst, ITA O~etnjava, Sokolski dom, Škofja Loka, SLO 2010: Online/Offline, Tovarna umetnosti, Majšperk, SLO

Online/Offline, Galerija Media Nox, Maribor, SLO Ovitek/Cover - Painting is Dead - datajl/detail Izid kataloga je omogo~ila/The publication was made possible by:

Skupinske razstave (izbor)/Collective exhibitions (selection)

2016: Ta je lovska, UGM Studio, Maribor, SLO 2014: IEEB 6, The “Brancovan Palaces” Cultural Center in Mogosoaia, Bukarešta, ROM Premio Combat Prize 2014, Finalist exhibiton, multiple venues, Livorno, ITA Arte Laguna Art Prize 13.14: Finalists exhibition, Nappe, Aresnale, Benetke, ITA 2012: DISORDER: WHEN, WHERE, THE ARTISTS, Fabbrica del Vapore, Milano, ITA WEYA: World Event Young Art, Lakeside Djanogly Art Gallery, Nottingham, VB Lepo slikarstvo je za nami, UGM, Maribor, SLO Cultural Embassies: WORLD EVENT YOUNG ARTISTS, Vetrinjski dvor, EPK Maribor, SLO Nered, ŠKUC, SLO ARRIVALS AND DEPARTURES 2012: THE MEDITERRANEAN, Mole Vanvitelliana, Ancona, ITA Not Only: 2012 PROJECT BERLIN, Factory-Art Gallery, Berlin, NEM 2011: Symbiosis?, 15. Bienale mladih Evrope in Sredozemlja, Solun, GR Evropske akademije: Dunaj, Budimpešta, Ljubljana, Benetke, Art Stays 2011, Miheli~eva galerija, Ptuj, SLO SIMBIOZA?, Galerija Škuc, Ljubljana, SLO Nord Art 2011, Kunstwerk Carlshütte, Carlshütte, NEM 2010: Slike z razstave, Galerija Equrna, Ljubljana, SLO Ho~emo biti svobodni, kot so bili o~etje, slikarska razstava, MGLC, Ljubljana, SLO Razstava nagrajencev nagrade OHO za mlade umetnike, Mestna galerija 2, Ljubljana, SLO 2009: Art Stays 2009: Art Dialogue, mednarodna likovna razstava, Tovarna

umetnosti Majšperk, Ptuj, SLO

Nagrade in priznanja/Prizes and recognitions

2016: Priznanje Riharda Jakopi~a za leto 2016 2014: Finalist Premio Combat Prize – Livorno, ITA Arte Laguna 13.14 – Artist in gallery prize 2013: Velika odkupna nagrada ex-tempore Ptuj 2010: Finalist Nagrade skupine OHO 2010

Finalist za Henkel Art Award Slovenija 2010 2005: Nagrada ALUO za posebne umetniške dosežke, slikarstvo 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: Denis Volk – Prevod/Translated by: Peter Szabo – Fotografije/Photo: Mito Gegi~, Arne Brejc – Oblikovanje/Design: Adenda d.o.o. – Tisk/Print: Tiskarna Present d. o. o. – Naklada/Number of copies: 300

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