KAOS 2022

KAOS 4

Festival sodobnega kolaža Festival of Contemporary Collage

KATALOG KAOS 2022 | CATALOGUE KAOS 2022

Uredila | Edited by: Danaja Batinič

Oblikovanje | Design: Hanna Juta Kozar

Fotografije | Photography: avtorji del | authors of artworks

Tisk | Print: CC Consulting, d.o.o. Naklada | Circulation: 100 izvodov | copies

Založila | Published by: Layerjeva založba | Layer Publishing House

Zavod Carnica | Carnica Institute zanj | represented by Selman Čorović, direktor | general manager

Junij 2022 | June 2022

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 73/76(497.4)"20"(083.824)

FESTIVAL sodobnega kolaža (4 ; 2022 ; Kranj)

Kaos : 4. festival sodobnega kolaža = 4th Festival of Contemporary Collage : 10. 6.-13. 8. 2022, Layerjeva hiša, Layer House Kranj / [uredila Danaja Batinič ; fotografije avtorji del]. - Kranj : Layerjeva založba, Zavod Carnica, 2022

ISBN 978-961-94731-9-1

COBISS.SI-ID 110613251

KAZALO CONTENT

Uvodnik | Editorial

DOTIK TIŠINE | TOUCH OF SILENCE

POGOVORI S TIŠINO | CONVERSATIONS WITH SILENCE

NI ČASA ZA TIŠINO | NO TIME FOR SILENCE

TIŠINA V KAOSU | SILENCE IN CHAOS

TIŠINA V FOKUSU | SILENCE ON THE EYE

UVODNIK EDITORIAL

Tekst | Written by : Maruša Štibelj umetniška vodja festivala KAOS | KAOS art director

“Silence isn’t empty, it’s full of answers.” ~unknown author~

Tišina. Izmuzajoče se stanje brez glasov. Tišina. Pa je res tišina zgolj odsotnost hrupa?

V sodobnem svetu je zelo pomembno razmišljati o tišini oziroma o odsotnosti le te. Tišina nas velikokrat navdaja z nelagodnim občutkom, kot nekaj nenaravnega, nekaj kar v svetu, ki nas obdaja, že dolgo ne obstaja več, na našo lastno notranjo tišino pa smo ob vseh samoumevnostih vsakdanjika preprosto pozabili. V času neprestanega hrupa, tako vizualnega kot zvočnega, je tišina tista, ki nam omogoča, da se ustavimo, razmislimo, reflektiramo in bolje ocenimo vsakdanje minevanje časa – prav to pa zagotovo velja tudi za umetnost.

Letošnja četrta edicija festivala sodobnega kolaža KAOS prikazuje različne mednarodne umetniške prakse v polju kolaža, ki se na tak ali drugačen način spoprijemajo z vprašanjem tišine. Nekatera umetniška dela tako o tišini govorijo preko tematik, ki se jih dotikajo - tematik o katerih premalo govorimo (bolečina, jeza, demenca, minevanje…), druga pa izpoved tišine gradijo skozi skozi barvo in obliko, s plastenjem, prekrivanjem ter spajanjem materialov, kot nekakšen tihi dialog simbioze. Kolaž, ki v svojem bistvu nosi urejen kaos, se tako loti zahtevne naloge, da spregovori in nas nagovori kljub tišini v galerijskih prostorih ali pa nas ob zvočnih umetniških delih popelje na odkrivanje vseh pomenov tišine.

Naša izbira, kaj poslušati in kaj preslišati, je pomembna tako za nas, kot za umetnike pri ustvarjanju umetniških del. Tišina v umetnosti je odločitev. Je tema, o kateri se moramo pogovarjati in je nekaj, kar moramo preprosto občutiti.

Silence. An elusive state without voices. Silence. Is silence really just the absence of noise?

In the modern world, it is very important to think about silence or its absence. Silence often fills us with an unpleasant feeling, as something unnatural, something that has long ceased to exist in the world around us. With all the self-evidentness of everyday life we have simply forgotten our own inner silence. In a time of constant noise, both visual and audible, silence is what allows us to stop, think, reflect and better assess the daily passage of time - and this is certainly true of art as well.

This year’s fourth edition of the KAOS Contemporary Collage Festival showcases various international artistic practices in the field of collage that tackle the issue of silence in a different way. Some works of art talk about silence through the topics they touch on - topics we talk about too little (pain, anger, dementia, passing…), while others build a confession of silence through colour and form, by layering, overlapping and merging materials. a kind of silent dialogue of symbiosis. The collage, which in its essence carries an orderly angle, thus undertakes the demanding task of speaking and addressing us despite the silence in the gallery spaces, or taking us to discover all the meanings of silence with sound works of art.

Our choice of what to listen to and what to overhear is important for us as well as to artists in creating works of art. Silence in art is a decision. It’s a topic we need to talk about and it’s also something we just need to feel.

~John Cage~

“We only hear what we listen for.”

"Tišina ni prazna, ponuja veliko odgovorov."

~neznani avtor~

"Slišimo samo tisto, kar želimo slišati."

~John Cage~

DOTIK TIŠINE TOUCH OF SILENCE

RAZSTAVA KOLAŽNIH DEL REZIDENČNIH UMETNIKOV TER UMETNIŠKI PROJEKT EXHIBITION OF COLLAGE ARTWORKS OF ARTISTS-IN-RESIDENCE AND ART PROJECT

Umetniki na rezidenci | Artists-in-residence :

Elke Desutter (BE) , Bram Antheunis (BE) , Miroslav Ćuković (BA/US)

Umetniški projekt | Art project : Rachael Jablo (US)

Tekst | Written by : Doroteja Kotnik

Izbor | Selection : Maruša Štibelj

Sodobna družba živi v hrupnem okolju, kjer se s težavo podamo v tišino. Zadnji dve leti, ko se je svet soočal s pandemijo, sta nam pokazali, da je morda le čas, da se vsake toliko podamo v okolje brez zvokov in se prepustimo našim mislim, saj lahko postanemo bolj kreativni in ustvarjalni. To so nam pokazali naslednji avtorji. Belgijska umetnica Elke Desutter in umetnik Bram Antheunis ter Miroslav Ćuković, Američan rojen v Jugoslaviji. Njihova dela so razstavljena v Layerjevi hiši, kjer so ustvarili dialog tišine.

Elke Desutter je oblikovala svojstven vizualni jezik, saj ustvarja objekte, kolaže in instalacije iz delov človeškega telesa. Telo vidi v najčistejši naravni obliki, torej golo z vsemi deformacijami in nepravilnostmi. Iz zgodovine umetnosti smo vajeni, da golo telo vedno prevzema vlogo predmeta poželenja. A to ni umetničin namen, ravno nasprotno. S svojimi deli želi predvsem negirati to tezo, saj dele telesa reducira na osnovne oblike in objekte, te pa sestavlja v večje entitete, v katerih ni prisotne pohote ali poželenja, zgolj dokumentarnost čistih telesnih form. Njena fascinacija nad človeškim telesom in odnosom do njega igra ključno vlogo pri manipulaciji in kontroliranju nad zbranim materialom, ki ga nato oblikuje v nove podobe in objekte, s katerimi želi spremeniti stališča o golem telesu v gledalčevi percepciji in ga narediti zavednega do svojega telesa in njegovih želja. Njena telesa tako predstavljajo vsakogar in nikogar. Tišina se veje iz teh predstavljenih telesnih form, ki vpijejo po priznanju njihove naravnosti brez starostnih, spolnih ali narodnostnih razlik.

Modern society lives in a noisy environment, where we find it difficult to stay in silence. The last two years, when the world has been facing a pandemic, have shown us that maybe it’s just time to venture into a soundless environment every now and then and indulge our thoughts as we can become more creative. This has been shown to us by the following authors. Belgian artists Elke Desutter and Bram Antheunis, and Miroslav Ćuković, an American born in Yugoslavia. Their works are exhibited in Layer House Gallery, where they created a dialogue of silence.

Elke Desutter has designed a distinctive visual language as she creates objects, collages and installations from parts of the human body. She sees the body in its purest natural form, that is, naked with all its deformations and irregularities. From the history of art we are accustomed to the fact that the naked body always assumes the role of the object of desire. But this is not the artist's intention, quite the opposite. With her works, she wants to negate this thesis, as she reduces parts of the body to basic forms and objects, and composes them into larger entities in which there is no lust or desire, only the documentary of pure body forms. Her fascination with the human body and the attitude towards it plays a key role in manipulating and controlling the collected material, which she then shapes into new images and objects to change attitudes about the naked body in the viewer's perception and make them conscious of their body and their desire.. Her bodies thus represent everyone and no one. Silence branches out from these presented body forms, which soak up after acknowledging their naturalness without age, gender or ethnic differences.

Miroslav Ćuković ima prefinjen vizualni slog, ki subtilno vpleta v kolaž svoja najgloblja občutenja in prepričanja. V svojih delih se velikokrat dotika geografske, nacionalne in jezikovne raznolikosti. Tokrat se je v njegova dela naselila tišina. Ta je večpomenska, prvič namiguje le na pomanjkanje zvokov, drugič pa se navezuje na pomen neizrečenega. Razstavljene Prepogibanke vsebujejo oboje. In so točno to, kar jih označuje naslov. Prepognjen list, ki uprizarja tišino. Podobe nas asociirajo na ljudi, katerim so izginile glave oziroma se te skrivajo v prepognjenem listu. Upodobljenci ne morejo ne razmišljati, ne govoriti in ne slišati. Lahko so le tiho, lahko le obstajajo. Ujeti so v območje tišine. A vendar umetnik s tem kritizira sodobno družbo, ki preko množičnih medijev in družbenih omrežjih degradirajo človeško razmišljanje. Človek postaja le objekt, kot so to umetniška dela. Tišina misli postaja močnejša in glasnejša skozi govorico umetnika, ki še ni izgubil glave in ima vizijo s svojim delom spreminjati človeško mentaliteto.

Bram Antheunis proučuje interpretacije izginjajočih spominov v tehniki kolaža. Podal se je na pustolovščino raziskovanja preteklosti, ki jih odkriva v drobcih najdenih predmetov, v katerih domujejo spomini. Te drobce umetnik interpretira v nove zgodbe prihodnosti, kjer je rdeča nit pozabljanje in ohranjanje izgubljenih spominov. Ko pomislimo na lastne spomine, se vedno spominjamo le pozitivnih stvari, kar pomeni, da naši možgani selektivno prebirajo spominsko bazo in jo redno čistijo navlake, ki jo izbrišejo, ter nam ponudijo očiščeno interpretacijo preteklosti. Morda pa lahko spomine ohranimo, če jih zaklenemo v lesene škatlice in jih odpiramo po potrebi. Umetnik se v svojem delu sprašuje, zakaj v nas prebiva ta dvojnost, ki nam na eni strani daje pravico do pozabe, na drugi strani pa nas žene želja, da pustimo neizbrisen pečat. Umetnik se s podobami iz kolažev poigrava z našo percepcijo spomina.

Miroslav Ćuković has a sophisticated visual style that subtly weaves his deepest feelings and beliefs into the collage. In his works, he often touches on geographical, national and linguistic diversity. This time, silence settled in his works. This is ambiguous, firstly it hints only at the lack of sounds, and secondly it relates to the meaning of the unspoken. The exhibited Folded contain both. And they are exactly what the title indicates. A folded sheet that sets up silence. The images associate us with people whose heads have disappeared or are hidden in a folded sheet. The characters cannot think, speak or hear. They can only be silent, they can only exist. They are trapped in an area of silence. However, the artist criticises modern society, which degrades human thinking through mass media and social networks. Man becomes only an object, like works of art. The silence of thought becomes stronger and louder through the speech of an artist who has not yet lost his head and has a vision to change the human mentality with his work.

Bram Antheunis studies interpretations of vanishing memories in the collage technique. He embarked on an adventure of exploring the past, discovering in the fragments of found objects in which memories reside. The artist interprets these fragments into new stories of the future, where the common thread is forgetting and preserving lost memories. When we think of our own memories, we always remember only positive things, which means that our brains selectively read the memory base and regularly clean it of clutter that erases it, offering us a purified interpretation of the past. But perhaps we can preserve memories by locking them in wooden boxes and opening them as needed. In his work, the artist wonders why this duality resides in us, which on the one hand gives us the right to be forgotten, and on the other hand we are driven by the desire to leave an indelible mark. The artist plays with our perception of memory with images from collages.

ELKE DESUTTER (BE)

desutterelke.be

Galerija Layerjeve hiše in Galerija Stolpa Škrlovec

| Layer House Gallery and Škrlovec Tower Gallery

Elke Desutter

To Titillate nr. 13, 2018

Asemblaž, foto-instalacija / skulptura

| Assemblage, photo-installation / sculpture

Umetnica Elke Desutter je ob ustvarjanju novega umetniškega dela vsakič znova fascinirana nad ustvarjanjem lastnega vizualnega jezika s pomočjo podob, manipulacijo in popolnim nadzorom. Izhaja iz fascinacije nad človeškim telesom in našim odnosom do tega telesa. Telo vzame iz konteksta in s tem postane nekaj novega: z uporabo medijev - z videom, fotokolažem in instalacijami, raziskuje telo v vseh njegovih oblikah. Telo je dobesedno objektivizirano, vendar ne kot predmet poželenja. Deli telesa so reducirani na predmete in oblike, ki so združeni v večjo gmoto teles. Vsi smo iz mesa in krvi, a telo je kljub temu pogosto seksualizirano. Zaradi številnih sprememb, ki jih ljudje doživijo na in v svojem telesu, se mu zato bolj posvetijo. Pri imaginaciji golega telesa se pogosto porajata želja in poželenje, zato Desutter želi popolnoma izničiti seksualizacijo in izvzeti telo od njegove poznane oblike. Avtorica si prizadeva na novo izumiti telo in izpodbijati seksualizirani pogled. Figurativno želi ločiti dele telesa od telesa in posameznika. Deli telesa so zgolj oblika, s katero umetnica lahko manipulira v svojem umetniškem delu in se odmika od zavestno čutnega ali seksualiziranega pogleda na telo. Tone kože, okončine, oblike, konture in nepopolnosti uporablja kot osnovo za pridobivanje gledalčeve perspektive telesa. V svojem delu ne loči med spoloma, narodnostjo, starostjo…. Vse je združeno v eno 'telo teles'. Telo gledalec vidi golo, izven njegovega konteksta v njegovi najčistejši obliki in z vsemi pomanjkljivostmi. Gledalec vedno išče potrditev, vedno želi razumeti, kaj gleda. Elke Desutter skuša stalno potrebo po iskanju potrditve vključiti v svojo umetnost, zato poznano naredi neprepoznavno in ustvari pareidolijo. Kar gledalec misli, da vidi ali prepozna, v resnici ne obstaja. Velikokrat išče nekaj prepoznavnega in domačega, saj to izvira iz prvinskega nagona in sposobnosti prepoznati prijatelja ali sovražnika. Nagon in želja po razumevanju situacije gledalca hitro zavedeta.

Elke Desutter (1987) je vizualna umetnica, ki živi in dela v Brugesu v Belgiji. Elke je leta 2011 magistrirala na KASK/Umetnostni šoli v Gentu, kmalu zatem pa osvojila Provincialno nagrado za vizualne umetnosti Zahodne Flandrije. V zadnjih letih je pomagala pri realizaciji in kuriranju projektov, kot so 'Bokashi be', 'Inside/out' in 'Passie & Obsessie'. Posamezni projekti, kot sta 'Donate Yourself' in 'The Book of Bruises', nastanejo iz arhiva slik, ki jih sama dokumentira prek odprtih pozivov. V svoji delih obravnava teme kot so telo, objektivizacija, cenzura, pareidolija. Njena umetniška praksa raziskuje dobesedno objektivizacijo telesa skozi foto in video kolaže, instalacije in asemblaže.

While creating a new piece of art Elke Desutter is fascinated by creating one's own visual language by means of images, manipulating and controlling the matter completely. Her starting point is a fascination with the human body and how people relate to that body. She takes the body out of its context so it becomes something new by using media such as video, photo collage and installation, she explores the body in all its forms. The body is literally objectified, but not as an object of lust. Body parts are reduced to objects and shapes that are combined to make up a larger mass of bodies. Everybody undergoes multiple changes in their body. From child to young adult to adult and to senior. Lots of those changes make people dwell more on the body and its needs and desires. Although this lust and desire is often a topic when the naked body is used or presented. But it is not what drives her work as she wants to remove the sexualisation completely and disconnect the body from its known shape and form. The body is often sexualized. This continued sexualisation of the body overpowers someone’s view point and takes away the ability to see the body purely as a body and a form. The author strives to reinvent the body and challenge this view point while pulling the overly sexual gaze away from the viewer. She wants to separate (figuratively speaking) the body parts from the body and the individuals that we know. The body parts are merely a shape or form for Desutter to manipulate within the artwork, moving away from a consciously sensual or sexual approach towards the body. She uses skin tones, limbs, shapes, contours and imperfections as a foundation to challenge a viewer's perspective of the body. Within her work she doesn't make a distinction between gender, ethnicity, age... Everyone is brought together in one ‘Body of Bodies’. The viewer sees the body in its purest form, nude and with all its imperfections. Shown as it is but out of its context. As a spectator we tend to look for recognition. People always want to understand what they are looking at. This is something she tries to incorporate in her art - the constant need to search for recognition. She makes the familiar unrecognisable. This way she creates pareidolia. What the viewer thinks he sees or recognizes is not actually there. The urge and instinct to read a situation quickly leads the spectator or rather misleads the spectator.

Elke Desutter (1987) is a visual artist living and working in Bruges, Belgium. Elke obtained her Master's degree at the KASK/School of arts Ghent in 2011, after which she won the Provincial Prize for Visual Arts of West Flanders. In recent years she helped realize and curate projects such as 'Bokashi be', 'Inside/out' and ‘Passie & Obsessie’. Individual projects such as 'Donate Yourself' and 'the Book of Bruises' start from an archive of images that she herself documents through open calls. Themes such as objectification, censorship, pareidolias and the body itself occur throughout Elke's work. Her practice explores the literal objectification of the body through photo and video collages, installations and assemblages.

MIROSLAV ĆUKOVIĆ (BA/US)

miroslavcukovic.wixsite.com/miroslavcukovic

Galerija Layerjeve hiše in zid na ulici Škrlovec | Škrlovec Tower Gallery and wall on Škrlovec Street

Skozi različne medije kolaža, nekonvencionalne načine tiska, neobičajno situirane običajne predmete, serije umetniških del, javne intervencije in fotografije, se Miroslav Ćuković skuša odzvati in upodobiti/povezati idiosinkratične transformacije, ki jim je priča v pokrajini in kulturi, ki ga obdajata. Ker je živel v petih različnih državah in vsakodnevno govori štiri različne jezike, je njegov um temeljito naravnan na zapleteno igro besed in se osredotoča na tiste majhne podrobnosti, ki lebdijo med prostori in med jeziki. Ti navidez nepomembni elementi, običajno potisnjeni na stran, gradijo vizualno in formalno pripoved njegove umetniške prakse: opazovanje, preslikavanje ter razumevanje črt in prostora med vrsticami , skupaj z načinom strukturiranja informacij in oblikovanja - to so osrednje teme, ki avtorja ohranjajo pri življenju. Sam proces ustvarjanja umetniškega dela je sam po sebi dualen in nenehno niha med obsedenostjo in poskusi izničevanja ovir: namerna intuicija sproži mehanizem, a kompulzivnost postavlja pod vprašaj njegovo veljavnost, saj je (ponovno) ustvarjanje novega vizualnega jezika težka naloga, ki odpira nove perspektive na prestrukturirano realnost. Ta realnost ima obliko kolažev, skulptur iz kompozitnih predmetov in monoprintov, ki so v procesu nastajanja bližje slikam kot načinu, ki bi ga bilo mogoče enostavno ponoviti. Opisan proces se še vedno preoblikuje in redefinira, saj njegova narava zahteva neprimerljivo prilagodljivost.

Njegova dela so na ogled v Galeriji Layerjeve hiše. Hkrati je Ćuković tekom umetniške rezidence na letošnjem festivalu KAOS na zidu v ulici Škrlovec ustvaril zidno poslikavo - mural (delo v nastanku). Projekt bo končan, ko bo naletel na gledalčev odziv, na primer na fotografijo, misel, refleksijo.

Miroslav Ćuković (1982), ameriški umetnik jugoslovanskega rodu, je akademski slikar, ki je leta 2005 končal College for Creative Studies v Detroitu (Michigan, ZDA), kjer je bil nekaj časa tudi predavatelj za grafiko. Kot asistent je bil zaposlen na grafičnem oddelku v Detroit Institute of Arts. Svoje grafike, risbe, kipe ter instalacije redno razstavlja v Evropi in Združenih državah Amerike. Deluje tudi v javnem prostoru in sodeluje na številnih rezidenčnih programih po vsem svetu. Za svoja umetniška dela je prejel več mednarodnih nagrad. Trenutno živi in dela v Avstriji.

Glasna tišina Oblečena v zeleno Rdeči prepih Zaprtih oči

Through the different media of collage, unconventional printing tools, misplaced common objects, artwork editions, public interventions, and photography Miroslav Ćuković tries to attempt to respond and depict/ connect the idiosyncratic transformations that he witnesses in the landscape and culture that surrounds him. Having lived in five different countries and now speaking four different languages daily, his mind is much more attuned to intricate word play, to focus on those small details that hover in between spaces, between languages. Those seemingly unimportant elements suspended at the margins build the visual and formal narrative of his practice: observing, mapping and understanding lines, borders, text flourish, along with the way information is structured and designed are the core aspects that keep his attention alive. The process of making artworks is in itself dual and constantly swinging between obsession and attempts to extend the barriers: a deliberate intuition sets the mechanism in motion but the compulsive quality questions its validity, since (re)creating a new visual language is an arduous task that opens new perspectives over a restructured reality. This reality takes the shape of collages, sculptures made of composite objects and monoprints that are closer to paintings in their making process than to an easily reproducible medium. This very process is still transforming and redefining itself because its very nature demands unparalleled flexibility.

His works are on display in the Layer House Gallery. During his artist-inresidence at this year’s KAOS festival, Ćuković also created a mural on the wall in Škrlovec Street (work in progress). The project will be completed when it receives a response from the viewer - photography, thought, reflection.

Miroslav Ćuković (1982), an American artist of Yugoslav descent, is an academy trained painter, who completed his studies at the College for Creative Studies in Detroit (Michigan, USA) in 2005, where he was also a printmaking lecturer for a time. He was also employed as an assistant in the Graphic Arts Department at the Detroit Institute of Arts. He regularly exhibits his prints, drawings, sculptures as well as installations around Europe and in the US. He also works in the public space and collaborates at many artist-in-residency programmes around the world. He received several international awards for his artistic works. Currently he lives and works in Austria.

Loud silence Dressed in green Red draft Eyes closed

BRAM ANTHEUNIS (BE)

bramantheunis.com

Bram Antheunis Vegetable Beans

Galerija Layerjeve hiše in Galerija Stolpa Škrlovec | Layer House Gallery and Škrlovec Tower Gallery

Bram Antheunis je tekom umetniške rezidence na letošnjem festivalu KAOS ustvaril umetniško delo z naslovom Zimski vrt. Danes se zdi, kot da se vsi ukvarjajo z vrtnarstvom, ki je razumljeno tudi kot sodobno iskanje miru. Nazaj v naravo, stran od digitalnih zaslonov, stran od stresnega vsakdana. Rastlinjake in zimske vrtove lahko vidimo kot dobre nadomestke 21. stoletja za puščavnikovo jamo. Kljub temu, da so rastlinjaki in zimski vrtovi različnih velikosti, materialov in oblik, so vsi ustvarjeni z istim namenom, da služijo kot zatočišče tišine, v katerem je dovolj prostora za razmislek, eksperimentiranje, razvoj, rast, žetev. Gojenje sanj. Rezultat umetniškega dela Zimski vrt je grafični kolažni herbarij, v katerem Antheunis zbira in dokumentira, manipulira in rekonstruira najdene anonimne identitete v nove, neobstoječe spomine.

Bram Antheunis (1978) je belgijski kolažni umetnik in soustanovitelj kolektiva COUPEE Collage Collective, platforme za belgijsko sodobno kolažno umetnost. Nenehno iskanje interpretacij bledečih spominov je vodilni motiv njegovega ustvarjalnega procesa.

During artist- in-residence at this year’s KAOS festival Bram Antheunis created the artwork titled The Greenhouse Hermitage. Nowadays, it seems as if everybody is into gardening, as a contemporary quest for stillness. Back to nature, away from the digital screens, away from the bulging agenda. Greenhouses can be seen as a 21st century substitute for the hermit's cave. Different in size and materials, greenhouses are all created to serve the same purpose: a refuge of silence, where there is room for reflection, experiment, development, growth, harvest. The cultivation of dreams. The result of The Greenhouse Hermitage is a graphical collage herbarium in which Antheunis collects and documents, manipulates and reconstructs found, anonymous identities into new, non-existent memories.

Bram Antheunis (1978) is a Belgian collage artist and co-founder of COUPEE Collage Collective, a platform for Belgian contemporary collageart. The continuous search for interpretations of fading memories is the lead motive in his creative process.

RACHAEL JABLO (US)

rjablo.com

Rachael Jablo Laresa, 2020

Galerija Mahlerca | Gallery Mahlerca

Tekst | Written by: Doroteja Kotnik

Na letošnji ediciji Festivala Kaos sodeluje ameriška umetnica Rachael Jablo, ki živi in deluje v Berlinu. Ukvarja se s fotografijo, kolažem in instalacijami, v katerih obravnava vprašanja ženskosti, telesa in mitologije v sodobni družbi, kar povezuje z uporabo botanike in abstrakcije. Predstavlja se z aktualnim, še trajajočim, projektom Histerija (The Histeria Project), ki je sestavljen iz upodobitev zgodb, ki se navezujejo na osebne izpovedi povezane s tabu temo menstruacije.

Galerija Mahlerca je idealen prostor za predstavitev tega projekta, saj z dvorišča Layerjeve hiše opazimo le kompozicijo metuljčkov, ki se razpredajo po galerijskem prostoru. Privlačijo nas, da si jih pobližje ogledamo in hitro spoznamo, da to niso metuljčki. Umetnica je ustvarila abstraktne »portrete« maternic, ki izpovedujejo osebne zgodbe o boleznih reproduktivnih organov in njihovih disfunkcijah. Upodobitve maternic so intimna dela, narejena v naravni velikosti. S tehniko kolaža je ustvarila subtilne abstraktne podobe iz fotografij čipk na svetlikajočem kovinskem ozadju, ki predstavljajo razne nepravilnosti maternic.

Povod za projekt je bila osebna zgodba umetnice, saj so ji pri 42. letih odkrili endometriozo1. Ob tem spoznanju se je zatekla v umetnost. Frustracija zaradi bolezni jo je gnala, da je izdelala »portret« svoje maternice. Svoje delo je razkrila javnosti in s tem doživela novo izkušnjo, saj so ljudje ob tem začutili, da lahko z njo delijo svoje težave. In tako se je rodila ideja, ki je spodbudila nadaljevanje projekta. Na podlagi deljenih zgodb o boleznih maternic in o simptomih, je umetnica pričela upodabljati »poškodovane« maternice in deliti osebne izpovedi širši javnosti. Ob svoji težki izkušnji, soočiti se z boleznijo na rodilih, je ugotovila, da želi nekaj v naši družbi spremeniti. Sodobna družba že vrsto let spodbuja govor o tabu temah, vendar še vedno doživljamo menstruacijo kot umazano in sramotno. Ker je skrita pred očmi večine, se o njej ne razpravlja odkrito, sploh pa ne na glas. Tišina portretov maternic nas spodbuja, da se pričnemo odkrito pogovarjati o težavah in bolečinah, ki so prisotne v našem okolju.

Rachael Jablo (1975) je kronično bolna ameriška umetnica, locirana v Berlinu, ki se ukvarja s fotografijo, instalacijo in kolažiranjem. V svojih delih se dotika vprašanj ženstvenosti, telesa in mitologije, združuje analogne fotografske tehnike s kolažem, občasno pa tudi s tradicionalno fotografijo. Njena dela so bila nedavno razstavljena na festivalu Collagistas v Bruslju in Milanu, na festivalu Analogue Now Photography v Berlinu in v Muzeju za fotografijo v Braunschweigu v Nemčiji, omenjena pa so bila tudi v berlinski številki revije EverEmerging, Booooooom, Lensculture in Migraine.com. Jablo je tudi avtorica knjige My days of losing words, ki jo je leta 2013 izdala založba Kehrer Verlag.

This year's edition of KAOS Festival features American artist Rachael Jablo, who lives and works in Berlin. She is engaged in photography, collage and installations, in which she deals with issues of femininity, body and mythology in modern society, which she connects with the use of botany and abstraction. She presents herself with the current, still ongoing The Hysteria Project, which consists of depictions of stories related to personal confessions related to the taboo topic of menstruation.

Mahlerca Gallery is an ideal place to present this project, as from the courtyard of the Layer House we can only see a composition of butterflies scattering around the gallery space. They attract us to take a closer look and quickly realise that they are not butterflies. The artist has created abstract “portraits” of the uterus, which tell personal stories about diseases of the reproductive organs and their dysfunctions. Depictions of the uterus are intimate works made in life size. Using the collage technique, she created subtle abstract images from photographs of lace on a gleaming metal background that represent various uterine irregularities.

The reason for the project was the personal story of the artist, as she was diagnosed with endometriosis¹ at the age of 42. With this realization, she turned to art. Frustration at the disease drove her to make a “portrait” of her uterus. She revealed her work to the public and thus had a new experience, as people felt that they could share their problems with her. And so the idea was born that encouraged the continuation of the project. Based on shared stories about uterine diseases and symptoms, the artist began to portray "damaged" uteruses and share personal confessions with the general public. With her difficult experience, facing the disease in childbirth, she found that she wants to change something in our society. Modern society has been encouraging talk of taboo topics for many years, but we still experience menstruation as dirty and embarrassing. Because it is hidden from the eyes of the majority, it is not discussed openly, let alone out loud. The silence of the uterus portraits encourages us to begin to talk openly about the problems and pains that are present in our environment.

Rachael Jablo (1975) is a chronically ill Berlin-based American artist who works with photography, installation and collage. Dealing with issues of the feminine, the body and mythology, she joins analog photographic techniques with collage, as well as the occasional traditional photography. Her work has been seen recently in Collagistas Festival in Brussels and Milan, the Analogue Now Photography Festival in Berlin, and at the Museum für Fotographie in Braunschweig, Germany. Her work has been featured in Ever-Emerging Magazine's Berlin issue, Booooooom, Lensculture and Migraine.com, and her book, My days of losing words, was published by Kehrer Verlag in 2013.

1 Endometrioza je kronična bolezen žensk v njihovi reproduktivni dobi. Pri tej bolezeni se tkivo, imenovano endometrij in običajno obdaja maternico, zarašča zunaj maternice. / Endometriosis is a chronic disease of women in their reproductive age. In this disease, tissue called the endometrium, which usually surrounds the uterus, grows outside the uterus.

POGOVORI S TIŠINO CONVERSATIONS WITH SILENCE

ZVOČNO-VIZUALNI PROJEKTI IN INSTALACIJE AUDIO-VISUAL PROJECT AND INSTALLATIONS

Umetniki na rezidenci | Artists-in-residence : Nataša Berk (SI) , Jaka Berger (SI) , Mojca Senegačnik (SI) , William Blomstedt (US) Povabljeni umetniki | Invited artists: Fossick Project (BE/IT) , Katja Šulc (SI) , Maruša Štibelj (SI) , Louise Winter (UK/SI)

NATAŠA BERK (SI) X JAKA BERGER (SI)

@natasa.bergk X jakaberger.com

Zvočno-vizualna instalacija | Audio-visual installation

Klet Layerjeve hiše | Basement

GIF A F*** | LOOP A GIF

Pametni telefoni so odprli nove možnosti tudi kreativnemu izražanju. Nataša Berk novi medij izkorišča za različne prakse, ideje ter skiciranje le teh. V nekaterih primerih ji celo omogoča, da celotno umetniško delo izpelje do konca, tako narejena je serija gif kolažev, kratkih video klipov z naslovom Gif a F***. Gif je svoj »comeback« doživel leta 2017 in se ponovno upodobil vsepovsod. Berk je gife sprejela, kljub temu da so jo spravljali ob pamet, in iz njih oblikovala novo formo in podobo, #gifkolaž. Kolaži so nastajali povsem naključno in v predhodno neizkoriščenem času, največkrat med čakanjem in na stranišču. Nedvomno ima vsak #gifkolaž svojo zgodbo, tako kot ima vsak pogled svojo interpretacijo. Vsak #gifkolaž je dobil zlati okvir, saj je avtorica želela vsakega posebej poudariti kot nekakšno gibajočo se sliko in ne samo še eno v vrsti neskončnih spletnih gifov. Tehnika je spontana in hitra, neobremenjeno zlaganje s sproščenim pogledom in otroško igrivostjo, v tišini misli. Na umetniški rezidenci v sklopu letošnjega festivala KAOS pa je kot plod sodelovanja z Jakom Bergerjem tišino #gifkolažev možno tudi slišati.

Jaku Bergerju je kot glasbeniku, bobnarju, improvizatorju in umetniku, ki se primarno ukvarja z zvokom, tišina najpomembnejše izhodišče pri ustvarjanju. Ustvarjalni proces glasbenika je v osnovi poseg v tišino. S komponiranjem in aranžiranjem glasbe glasbeniki vnašajo zvočne dogodke v prazen prostor, ki pa ga kot popolno tišino lahko

Smartphones have also opened up new possibilities for creative expression. Nataša Berk uses the new medium for various practices, ideas and sketching. In some cases, it even allows her to finish the entire work of art as a series of gif collages, short video clips titled Gif a F***. The gif has seen its "comeback" in 2017 and is re-portrayed everywhere. Berk embraced the gifs, despite that they drove her crazy, and created a new form and image from them, #gifcollage. Collages were produced entirely at random and in previously unused time, most often during waiting and in the toilet. Undoubtedly each #gifcollage has its own story, just as each view has its own interpretation. Each #gifcollage was also given a golden frame, as the author wanted to highlight each one as a kind of moving image and not just another in a series of endless online gifs. The technique is spontaneous and fast, unburdened stacking with relaxed gaze and children's playfulness, in the silence of thought. At this year’s KAOS artistin-residence, the silence of #gifcollage can be also heard as a result of the collaboration with sound artist Jaka Berger.

As a musician, drummer, improviser and artist who primarily deals with sound, for Jaka Berger silence is the most important starting point in creation. The creative process of a musician is basically an intervention in silence. By composing and arising music, musicians enter sound events into an empty space, which can only be experienced as a complete silence in artificially created conditions such as digital silence in a computer

Nataša Berk Gif a F***, 2022

doživljamo le v umetno ustvarjenih pogojih kot je na primer digitalna tišina v računalniškem okolju, medtem ko v naravnem in urbanem okolju popolna tišina praktično ne obstaja, saj smo vedno in povsod obkroženi z zvočnim ambientom okolja v katerem delujemo. Jaka Berger se v trenutkih tišine in miru prične spopadati sam s seboj in z lastnim tokom misli, ki v večini primerov zveni kot »tup tutu pa tup tup tutu pa«, saj njegova bit vedno in povsod ustvarja ritme, pri tem pa je tako neumorna kot tok reke, ki se nikoli ne ustavi. Avtorjev tok misli se nikoli ne ustavi, tišina poskrbi za zavedanje trenutkov, ko se v glavi ujame v zanke v obliki kratkih sličic, zgodb in emocij, ki jih doživlja skozi ritmične vzorce. V primeru #gifkolažev Nataše Berk se poistoveti z vizualnim in ustvari kratke zvočne vzorce, ki uprizarjajo scenografijo njegovih misli v trenutkih tišine. Loop A Gif.

Nataša Berk (1978) se je po končani srednji šoli za Oblikovanje in fotografijo vpisala na dunajsko Akademijo za upodabljajočo umetnost (Akademie der Bildenden künste, Wien), kjer je leta 2005 magistrirala iz novih medijev. Berkova je vsestranska sodobna umetnica, ironičnoprovokativna avantgardistka eksistencializma z opaznim abstraktnim instinktom. Zvrsti in različni mediji je ne omejujejo, zato deluje na številnih področjih umetnosti, tudi kot kuratorka, galeristka, selektorica, zbirateljica ... Njen pogled na umetnost je široko odprt in spontan. Njeno delovanje je raznoliko. Pomemben del njenega umetniškega izražanja je tudi performans, konceptualni performans misli. Ostrina njenih misli je skrita za humorjem in naivnostjo otroškega dojemanja sveta.

Jaka Berger (1980) je eden najdejavnejših, najbolj ustvarjalnih in raznolikih bobnarjev, tolkalcev, skladateljev in improvizatorjev na slovenski glasbeni krajini v zadnjih petnajstih letih. Leta 2006 je posnel prvenec za italijansko založbo Splasch Records. Od leta 2014 do danes pripravlja glasbo za prepariran komplet bobnov, s katerim redno izdaja solistična dela, ki so redno objavljana v mednarodnih publikacijah za improvizirano glasbo. V letu 2013 je bil performer gledališke uspešnice Gremo Vsi! v režiji Mareta Bulca. Redno razvija eksperimentalni projekt Partija z vizualnim umetnikom Matejem Stupico ter koncertira s skupino Darla Smoking in Ludovik Material. V letu 2016 je izvedel svoje najzahtevnejše avtorsko delo, kompozicijo za desetčlanski orkester Tentet slišnega življenjskega toka. Leta 2019 je izdal ploščo posvečeno skladatelju Mortonu Feldmanu v sodelovanju s pisanistom Dejanom Berdenom ter izdal plošči z zasedbama Bootleg Unit trio in Fresh Dust trio za britansko založbo FMR Records. V letu 2021 pa je po dveh letih aktivnega sodelovanja s slovenskimi neodvisnimi pesniki in pesnicami izdal knjigo zvočnih prevodov Poetrix. Je mentor številnih tolkalskih in glasbeno -improvizacijskih delavnic.

environment, while in a natural and urban environment complete silence is virtually non-existent, as we are always and everywhere surrounded by the sound ambience of the environment in which we operate. In moments of silence and peace, Jaka Berger begins to confront himself and with his own stream of thoughts, which in most cases sounds like "tup tutu pa tup tup tutu pa", because his existence always and everywhere creates rhythms, while being as tireless as the flow of a river that never stops. The author's stream of thought never stops, the silence makes space for an awareness of the moments when he gets caught in a loop in the head in the form of short thumbnails, stories and emotions he experiences through rhythmic patterns. In the #gifcollages by Nataša Berk he identifies with the visual and creates short sound patterns that perform the set design of his thoughts in moments of silence. Loop A Gif.

Nataša Berk (1978) - after finishing High School of Design and Photography, she enrolled at the Vienna Academy of Fine Arts (Akademie der Bildenden künste, Wien), where she received her master's degree in 2005 in New media. Berk is a versatile contemporary artist, an ironic-provocative avant-garde existentialist with a noticeable abstract instinct. Genres and media are no limit for her as she works in different fields of art, also as a curator, gallerist, selector, collector ... Her view of art is wide open and spontaneous, her operation is diverse. An important part of her artistic expression is also performance, a conceptual performance of thoughts. The sharpness of her thoughts is hidden behind the humour and naivety of the child’s perception of the world.

Jaka Berger (1980) is one of the most active, creative and versatile drummers, composers and improvisers on the Slovenian music scene in the last fifteen years. In 2006 he released his debut album with Samo Šalamon and Achille Succi (Splasch records). Since 2014 till today he is regularly publishing music for prepared drums that he is constructing by himself. His albums are regularly reviewed by international media on improvisation and electroacoustic music. He is part of experimental sound installation project Partija/The game, member of bands Ludovik Material and Darla Smoking. He performed in independent theatre shows Gremo Vsi!, Novo mesto Readymade and Nein. Toured with EBM legends Borghesia. In 2015 he released an album of graphic composition Treatise by Cornelius Cardew. In 2016 he performed his most complex piece Audible life stream tentet for ten musicians. In 2017 he finished a Japan tour and released a second album with international VOB trio. Currently he is performing free jazz with Mezei Šalamon Berger trio, Džuklje Berger duo and Šalamon Džukljev Berger – Fresh Dust trio (FMR records UK), Bootleg Unit (FMR records UK). In 2021 he released a book of poetry remixes and sound translations called Poetrix, that includes poems of the best Slovenian independent writers. In recent years he was a mentor on drumming and musical improvisation workshops and is regularly teaching drums as private lessons.

MOJCA SENEGAČNIK (SI)

William Blomstedt Peacock Hungry

Mojca Senegačnik v Medprostor umesti bele, polprosojne papirnate kolaže, ki dajejo vtis iz stropa visečih zaves in prostor naredijo mehek, tih in skoraj nem. Obiskovalec je ob vstopu v prostor izzvan z dejstvom, da je tišina v resnici le navidezna, saj njegovo gibanje po prostoru in interakcija z instalacijo povzroči hrup. Reakcija obiskovalca je odvisna od njegovega značaja, lahko bo hrup raziskoval in se mu bo zdel zanimiv, lahko pa se mu bo skušal izogniti in bo iskal pot iz labirinta, da bo tišina ostala nedotaknjena. William Blomstedt v istem prostoru ustvari zvočni kolaž - vanj vključi zvoke šuštenja papirja, pogovore z Mojco v samem procesu ustvarjanja, zvoke iz zunanjosti, zvoke premikanja kristalnega lestenca. Kolaž na svojstven način zapolni praznino nemega prostora. Za obiskovalca je to morda dodaten izziv, saj se zvoki gibanja njegovega telesa po prostoru mešajo s prej posnetimi zvoki in v nekakšni palimpsestni formi tvorijo novo zgodbo. Obiskovalec se znajde v kaosu, ni mu več jasno, kaj je zvočno prisotno v sedanjosti in kaj je le navidezno. Kaos pa lahko postane tišina, če zvočna kulisa utiša zvoke gibanja obiskovalca.

Mojca Senegačnik (1971) je po končani Srednji šoli za oblikovanje in fotografijo nadaljevala študij slikarstva na Akademiji za likovno umetnost v Ljubljani. Leta 1994 je prejela študentsko Prešernovo nagrado, leta 1995 zaključila študij na ALUO z diplomo. Od leta 1996 do 2006 je imela status samostojne ustvarjalke na področju kulture. Je mentorica in vodja različnih likovnih delavnic za otroke in odrasle, članica DLUC in ZDLUS ter pridružena članica družine KunstHaus –Zavod ljudski muzej Rogaška Slatina.

William Blomstedt (1984) je geograf, čebelar in pisatelj. Rodil se je v ZDA, kjer je na fakulteti Dartmouth zaključil študij in nato desetletje na različnih koncih sveta delal kot čebelar. V letu 2010 je prvič prišel v Slovenijo v sklopu Fulbrightove štipendije, da bi preučeval čebele in se sem preselil leta 2015. Objavil je številne zapise na temo čebel v obliki kratkih zgodb in popotniških refleksij. Leta 2018 je bila izdana njegova knjiga Foraging Afar, v kateri preučuje selitve čebel. Na Radiu Študent ustvarja oddajo Tube(son), mesečni zvočni kolaž. Avtor je bil del 3. edicije festivala KAOS leta 2020.

In In-Between Space, Mojca Senegačnik places white, semi-sheer paper collages that give the impression of hanging curtains from the ceiling and make the room sleek, quiet and almost mute. When entering the room, the visitor is challenged by the fact that the silence is in fact only virtual, because his movement around the room and the interaction with the installation causes noise. The visitor's reaction depends on his character, the noise can be investigated and he may find it interesting, but he can try to avoid it and find a way out of the maze so that the silence remains intact.

William Blomstedt creates an audio collage in the same placeincorporating the sounds of paper screeling, conversations with Mojca in the process of creation itself, the sounds from the outside, the sounds of the movement of the crystal chandelier. A collage in its own way fills the void of the moon space. This may be an additional challenge for the visitor, as the sounds of his body's movement across the room mix with previously recorded sounds and form a new story in a kind of palimpsest form. The visitor finds himself in chaos, no longer clearing what is present in the present and what is just seemingly there. Chaos can become silence if the sound of the backdrop silences the sounds of the visitor's movements.

Mojca Senegačnik (1971) studied painting at the Academy of Fine Arts in Ljubljana. In 1994 she received the Prešeren Award for Students, in 1995 she completed her studies with a diploma From 1996 to 2006 she had a status of independent artist in the field of culture. She is a mentor and leader of various art workshops for children and adults, a member of DLUC and ZDLUS and an associate member of the KunstHaus family – The Rogaška Slatina Museum.

William Blomstedt (1984) is a geographer, beekeeper and writer. Born in the USA, he graduated from Dartmouth College and worked for a decade as a migratory beekeeper across the world. He first came to Slovenia on a Fulbright scholarship to study bees in 2010 and settled here in 2015. He has published dozens of articles on bees as well as short fiction and travel writing. Foraging Afar, a book detailing his bee travels was published in 2018. He also produces Tube(son): a monthly 'sound collage' show on Radio Študent. In 2020 he took part in the 3rd KAOS festival.

FOSSICK PROJECT (IT/BE)

fossickproject.com

Zvočno-vizualni performans | Audio-visual performance

V sklopu Festivala KAOS Fossick Project predstavi nov projek z naslovom Gilgamesh.

Fossick Project je glasbeno-performativni duo, ki ga sestavljata ilustratorka Cecilia Valagussa in glasbenica Marta Del Grandi. Njuno sodelovanje se je začelo leta 2016 v Belgiji in ju pripeljalo do nastopov v Italiji, Belgiji, Franciji, Indiji, Nepalu in na Tajskem. Projekt temelji na pripovedovanju zgodb, navdihnjenih z naravo in ogroženim živalskimi svetom. Cecilia analogne animacije prikaže na režijskem projektorju, na katerem premika znake, narisane na ostanke barvnega filma in druge materiale, kot so pesek, voda in majhni predmeti. Marta piše pesmi in instrumentalne komade, v katerih je glas združen s sinti, kitarami, utripi in terenskimi posnetki mest, kjer so predstave produciriane.

As part of KAOS Festival Fossick Project presents a new project entitled Gilgamesh.

Fossick Project is a duo formed by the illustrator Cecilia Valagussa and the musician Marta Del Grandi. Their collaboration began in 2016 in Belgium and led them to perform in Italy, Belgium, France, India, Nepal and Thailand. The performance evolved with storytelling as a central element: inspired by nature and the animal world, they decided to focus on the theme of animals in danger of extinction and to write visual and musical narratives that evoke their characteristics and fragility. Their live shows consist of Cecilia’s analog animation on the overhead projector, on which she moves the characters drawn on scraps of colored film and other materials such as sand, water and small objects. Marta writes songs and instrumental pieces in which the voice is combined with synths, guitars, beats and field recordings of the places where the shows are produced.

Foto: Lisa Carletta | Photo: Lisa Carletta

GILGAMEŠ GILGAMESH

KATJA ŠULC (SI) X MARUŠA ŠTIBELJ (SI)

katjasmusic.com X cargocollective.com/marusastibelj

Zvočno-vizualna instalacija | Audio-visual installation

Layerjeva soba | Layer Room

SENCA, KI POLJUBLJA

Senca, ki poljublja je kolaž plastenja vokalov, kitarskih strun, zvočnih repeticij, dronov in zvokov narave avtorice Katje Šulc. Osnovna vokalna linija izpoveduje soočenje s samoto, manjkom bližine, nemirom emocij. Glas skuša izpeti bolečino, umiriti kaos in doseči tišino v sebi, da bo nekoč spet lahko slišal lastno in drugo srce. Glas je v tem primeru orodje, ki pelje iz teme, obupa, emotivnega kaosa, da bi dosegel svetlobo, balans, tišino, ki, sestavljena v zadnjem akordu, odzvanja kot tibetanska posoda. Tišina je mir v notranjem svetu. Kaos je nemir lastnih emocij, misli, sveta okoli nas. Tišina je sveti prostor v srcu, kamor lahko popelje tudi lasten glas, uglašenost s sabo, z zvoki in frekvencami, ki sprožajo tišino. Delo je nastalo kot kolaž leta 2021, osnovna vokalna melodija je bila posneta v Mehiki januarja 2020, podložena z dronasto vokalno linijo, ki je v postprodukciji Luke Uršiča skozi plastenje zvokov in sestavljanjem zvočnih tekstur, barv, nians zrasla v celoto. Zvočni projekt Katje Šulc v Layerjevi sobi dopolnjujejo vizualna dela umetnice Maruše Štibelj.

THE SHADOW THAT KISSES

The Shadow That Kisses of author Katja Šulc is a collage of vocal layering, guitar strings, sound repetitions, drones and the sounds of nature. The basic vocal line professes to confront solitude, less proximity, restlessness of emotion. The voice tries to undo the pain, calm the chaos and achieve silence within itself so that one day it can hear his own heart and another heart. The voice in this case is a tool that leads from darkness, despair, emotive chaos, in order to reach light, balancing, silence, which is composed in the last chord, reheences like a Tibetan vessel. Silence is peace in the inner world. Chaos is the restlessness of our own emotions, thoughts, of the world around us. Silence is a sacred place in the heart, where it can also take its own voice, tune with itself, with sounds and frequencies that trigger silence. The work was created as a collage in 2021, and the basic vocal melody was recorded in Mexico in January 2020, lined with a drone vocal line that, in Luka Uršič's post-production, grew into a whole through the layering of sounds and the compilation of sound textures, colours, nuances. Katja Šulc's sound project is in Layer Room complemented by visual works by the artist Maruša Štibelj.

Maruša Štibelj

Tihi pogled | Silent Look, 2022 Digitalni kolaž | Digital collage

Katja Šulc (1973) je pevka, ki na izviren avtorski način prepleta poezijo in glasbo. Doslej je izdala štiri avtorske albume, MILA (2008), uglasbljeno ljubezensko liriko pesnice in igralke Mile Kačič, TWISTED DELIGHT (2013) z avtorskimi besedili, nastalimi na pesniških delavnicah v New Yorku, KAMLISAJLAN (2016), homage sodobni romski poeziji iz Balkana in Vzhodne Evrope - in CARICIAS (2021), intimen portret avtoričinega dolgoletnega razmerja z Mehiko in tamkajšnjo poezijo, vključujoč sodobne, tradicionalne in staroselske pesmi Mehike.

Maruša Štibelj (1986) je diplomirala na Pedagoški fakulteti Univerze v Ljubljani. Svoja dela razstavlja na samostojnih in skupinskih razstavah v Sloveniji in tujini. Nedavno je razstavljala v Galeriji Priča (Samobor, CRO), v Trart Gallery (Trst, IT), na Collagistas Festivalu 2017 (Milano, IT), na Skeetching connections (Zagreb, CRO), v Galeriji ZDSLU (Ljubljana, SI), v Palazzo Gopcevich (Trst, IT), in v Gallerie im Schloss (Spitall, AT). Pri svojem delu vedno poskuša razširiti meje kolažnega medija. Vse barve, ki jih uporablja so izdelane iz samega materiala. Živi in ustvarja v Kranju, v Sloveniji.

Katja Šulc (1973) is a singer who in an originally authored way interweaves poetry and music. So far, she has released four authorial albums, MILA (2008), a music-based love lyrics by poet and actress Mile Kačič, TWISTED DELIGHT (2013) with authorial texts produced at poetry workshops in New York, KAMLISAJLAN (2016), homage to contemporary Roma poetry from the Balkans and Eastern Europe, and CARICIAS (2021), an intimate portrait of the author's long-standing relationship with Mexico and poetry there, including Mexico's contemporary, traditional and aboriginal poems.

Maruša Štibelj (1986) earned her BA in Art education at the Faculty of Education of the University of Ljubljana. She exhibited her collage work on solo and group exhibitions in Slovenia and abroad. Some of the recent exhibitions include Galerija Priča (Samobor, CRO), Trart Gallery (Trieste, IT), Collagistas Festival 2017 (Milano, IT), Sketching connections (Zagreb, CRO), ZDSLU Gallery (Ljubljana, SI), Palazzo Gopcevich (Trieste, IT), Gallerie im Schloss (Spitall, AT). In her work she always tries to extend the boundaries of the collage media, and all the colours she uses in her work are made of the material itself. She lives and works in Kranj, Slovenia.

POT V POZABO

Osrednja tema v delih Louise Winter je ideja o premikanju. Avtorica se sprašuje, ali je lokacija materiala najbolj pomembna za njegovo opredelitev. Ko je material premaknjen iz svojega resničnega konteksta, se še vedno šteje za isti predmet, kje potem sploh obstaja? Winter zanima, kako lahko s premikanjem materialov začnemo dvomiti o mejah resničnega z ustvarjanjem napetosti med dobesednim in abstraktnim razumevanjem predmetov kot nosilcev pomena. Pojmi, kot so pomen in identiteta, lokacija in ne-lokacija so zanjo še posebej pomembni zaradi avtoričinega dvojnega državljanstva - angleškega in slovenskega. Kamni, ki so del instalacije in jih najdemo v Sloveniji, ne pa v Veliki Britaniji, so vzeti iz poti, povezane z osebnimi spomini na otroštvo. Avtoričina umetniška praksa je po svoji naravi in obliki preiskovalna, premika se med predmetom, procesom, dogodkom in predstavo. Ne ustvarja predmetov, ampak dela z že obstoječimi materiali, da poruši razdaljo med umetnostjo in vsakdanjim ter raziskuje poetični potencial vsakdanjega.

Louise Winter je umetnica, pisateljica in kustosinja s sedežem v Ljubljani. Leta 2011 je z odliko diplomirala iz likovne umetnosti in od takrat redno razstavlja v Združenem kraljestvu in drugod po svetu. Leta 2014 je bila uvrščena v ožji izbor za nagrado Beers Award za sodobno nastajajočo umetnost. Leta 2015 je bila izbrana za rezidenčno umetnico pri ARTERra na Portugalskem, njena dela so bila razstavljena v okviru projekta Multiple Exposure Project: Outside the White Cube v Metro Manili na Filipinih. Lani je Winter razstavljala z & Model Gallery, Leeds, The Royal Standard, Liverpool in galerijo Zero, Barcelona.

LOUISE WINTER (UK)

Instalacija | Installation

Kavarna Layerjeve hiše | Layer House Cafe

Louise Winter

Pot v pozabo | Path to Oblivion, 2021 Instalacija | Installation kamen, vrv, trak | gravel, string and tape

PATH TO OBLIVION

Central to Louise Winter’s practice are ideas of displacement: is the location of material central to its definition so that if it is displaced from its ‘real’ context, can it still be regarded as the same object, where then does it exist, if at all? Winter is interested in how the re-assembling of such material can start to question the boundaries of the real by creating a tension between the literal and abstract readings of these objects as signifiers. Notions of meaning and identity, site and non-site are especially pertinent to her because of her dual nationality as both an English and Slovenian citizen. These stones, which are commonly found in Slovenia though not in the UK, are taken from paths connected to personal, childhood memories. Winter’s practice is investigative in its nature and form, moving between object, process, event and performance. She doesn’t ‘create’ objects, but works with already existing materials to collapse the distance between art and the mundane, exploring the poetic potential of the everyday.

Louise Winter is an artist, writer and curator based in Ljubljana, Slovenia. In 2011 Winter graduated with an MA in Fine Art with distinction and, since then, has exhibited regularly across the UK and internationally. In 2015 she was selected as artist in residence with ARTErra, Portugal and exhibited as part of The Multiple Exposure Project: Outside the White Cube, in Metro Manila, Philippines. Last year Winter exhibited with & Model Gallery, Leeds, The Royal Standard, Liverpool and Galleria Zero, Barcelona.

SKUPINSKA RAZSTAVA DEL 11 DOMAČIH IN TUJIH VIZUALNIH UMETNIKOV GROUP EXHIBITION OF 11 SLOVENIAN AND FOREIGN VISUAL ARTISTS

| Written by: Doroteja Kotnik Izbor | Selection: Maruša Štibelj, Doroteja Kotnik

Galerija Stolpa Škrlovec | Škrlovec Tower Gallery

Festival KAOS je letošnjo edicijo obarval s temo tišine, ki se navezuje na čas epidemioloških razmer, ki so svet popeljale v negotovost, zmedo, strah in nemir. Nekateri so se v novi realnosti zaprli vase, v svojo tišino, spet drugi so pričeli kričati in se upirati. Nas pa zanima, kako so umetniki izrazili svoja občutenja tišine skozi kolaže. V Stolpu Škrlovec je predstavljenih enajst vizualnih umetnikov, ki se izražajo preko kolaža, tehnike, ki je postala popularna v času avantgarde. Ta nam ponuja združevanje različnih materialov, ne le starega papirja, kar vidimo tudi na tej razstavi.

Umetniki tišino največkrat povežejo z izginjajočim spominom, torej s spominom na pozabljene, osamljene in za vedno izgubljene osebe ali predmete. Belgijski umetnik Bram Antheunis je ustvaril zimski vrt, s katerim se navezuje na flamsko tradicijo in sodobnim iskanjem miru. Zimski vrt je postal odlagališče spominov, s katerimi lahko obujamo spomine in oblikujemo nove zgodbe prihodnosti. Ohranjanje spomina je rdeča nit predstavljenega dela slovenske mlade umetnice Urške Preis, ki je izoblikovala svojstveno zgodbo povezano s tišino. S fotografijo je beležila stanje ostarele dementne osebe ter je dokumentirala proces pozabljanja, ohranjanja in ustvarjanja spominov. Zasnovala je cikel, s katerim želi ohraniti spomin na svojo staro mamo, kateri je posvečeno umetniško delo. Ameriška umetnica Michele Landel obuja simbole moči, izgube in spomina. S pomočjo fotografije in vezenja na blago ustvarja pronicljive, malce srhljive upodobitve figur, ki delujejo kot sence iz onostranstva. Te nas kličejo in izzivajo k razmišljanju o našem bitu in o razsežnostih pandemije, ki prinaša nove oblike trpljenja

KAOS Festival colored this year's edition with the theme of silence, which is related to the time of epidemiological conditions that led the world into uncertainty, confusion, fear and unrest. Some closed themselves in their new reality, in their silence, while others began to shout and resist. We are interested, however, in how the artists expressed their feelings of silence through collages. The Škrlovec Tower presents eleven visual artists who express themselves through collage, a technique that became popular during the avant-garde. This one offers us a combination of different materials, not just old paper, which we also see in this exhibition.

Artists most often associate silence with vanishing memory, that is, with the memory of forgotten, lonely, and forever lost persons or objects. Belgian artist Bram Antheunis has created Greenhouse Hermitage that connects with Flemish tradition and the modern search for peace. Greenhouse Hermitage has become a repository of memories with which we can revive memories and shape new stories of the future. Preserving memory is the red thread of the presented work of the Slovenian young artist Urška Preis, who created a unique story related to silence. She used photography to record the condition of an elderly person with dementia and documented the process of forgetting, preserving and creating memories. She designed a cycle with which she wants to preserve the memory of her grandmother, to whom a work of art is dedicated. American artist Michele Landel reawakens symbols of power, loss and memory. With the help of photography and embroidery on fabric, she creates insightful, slightly creepy depictions of figures that act as shadows from the afterlife. These call us and challenge us to think about our way of life and the dimensions of the pandemic that brings new forms of suffering to modern

Bram Antheunis (BE) , Patrick Brandt (DE) , Elke Desutter (BE) , Enej Gala (SI) , Klementina Golija (SI) , Bodo Korsig (DE) , Michele Landel (US) , Florian Lang (AT) , Nieves Mingueza (ES) , Urška Preis (SI) , Simona Reisch (AT)

Tekst

sodobnega človeka. Na drugi strani pa avstrijska umetnica Simona Reisch ohranja spomin na objekte. Ustvarja nove krajinske podobe, vzete iz svojega fotografskega arhiva dokumentiranih stavb. Te delujejo kot utopije iz znanstveno-fantastičnih filmov, ki namigujejo na izginjanje stavbnih objektov. Skozi nastala mesta fantazije se vije veter tišine, ki nas spodbudi, da se pričnemo ozirati z odprtimi očmi in spremljamo arhitekturne gmote okoli nas.

Nekdaj so se ljudje načrtno umikali iz družbe, saj so iskali mir in tišino za meditacijo, molitev in učenje. Sodobna družba je vseskozi v vrvežu hrupa in akcije, kjer se le s težavo umaknemo v mir in tišino. Strah pred boleznijo je nekatere porinil v stanje osamljenosti, medtem ko so drugi končno našli čas zase in zadihali v tem kaosu. Sodelujoči avtorji so svojo interpretacijo tišine in meditacije prenesli na svoje kolaže. Umetniška dela Klementine Golja nas navdajajo s spokojnostjo. V teh abstraktnih podobah odkrivamo krajine, v katere se je podal sodobni zahodnjak, da bi odkril svojo tišino na tem viharnem svetu. Subtilnost risbe z barvnimi plastmi papirja deluje pomirjajoče, saj nas navdaja z upanjem na pozitivno prihodnost. Meditacijsko noto začutimo tudi na delih nemškega umetnika Patrika Brandta. Kolaže gradi z doma izdelanim papirjem in starimi fotografijami, ki jih pogosto poveže z ogledali. Ustvarja svojo zgodbo, ki se vije med preteklostjo in prihodnostjo ter nas popelje v raznolik mozaik podob. Bodo Korsig, nemški umetnik, v svojem opusu tematsko obravnava človeško vedenje v nenavadnih situacijah, povezanih s strahom, nasiljem ali pritiskom smrti, kar se dobro ujema s tišino, ki nas je obdajala zadnji dve leti. Umetniška dela so nov slikovni jezik, ki gledalca popelje v drug kontekst tišine, ki se skriva v zapleteni mreži kolaža, prostora in barv. Zanimiva dela so

man. On the other hand, the Austrian artist Simona Reisch preserves the memory of the objects. She creates new landscape images taken from her photographic archive of documented buildings. These act as utopias from science fiction films that hint at the disappearance of buildings. A wind of silence blows through the created places of fantasy, which encourages us to start looking around with open eyes and follow the architectural masses around us.

Once upon a time, people deliberately withdrew from society as they sought peace and quiet for meditation, prayer, and learning. Modern society is constantly in the hustle and bustle of noise and action, where we have a hard time retreating to peace and quiet. Fear of illness pushed some into a state of loneliness, while others finally found time for themselves and breathed in this chaos. The participating authors transferred their interpretation of silence and meditation to their collages. Klementina Golja's works of art fill us with serenity. In these abstract images, we discover the landscapes that the modern Westerner has ventured into to discover his silence in this stormy world. The subtlety of drawing with colored layers of paper has a calming effect, as it fills us with hope for a positive future. The meditative note is also felt in the works of the German artist Patrick Brandt. He builds collages with home-made paper and old photographs, which he often connects with mirrors. He creates his own story, which winds between the past and the future and takes us into a diverse mosaic of images. Bodo Korsig, a German artist, in his oeuvre thematically deals with human behaviour in unusual situations related to fear, violence or the pressure of death, which fits in well with the silence that has surrounded us for the past two years. Works of art are a new pictorial language that takes the viewer into another context of silence, hidden in an intricate web of collage, space and colour. Interesting works

asemblaži slovenskega umetnika Eneja Gala. Objekti se navezujejo na potrošništvo in kopičenje odpadkov, saj jih je ustvaril iz starih predmetov in najdenega lesa. Ustvarjeni objekti nas na satiričen način popeljejo k razmišljanju o tišini, preteklosti in o tihih dialogih med ljudmi in naravo.

Drugi sodelujoči umetniki so tišino razumeli v družbenokritičnem aspektu kot prepoved izrečenega in svoje kolaže navežejo na neizrečene teme. To temo je uporabila belgijska umetnica Elke Desutter, ki ustvarja kolaže, sestavljene iz fotografij človeškega telesa. Z manipulacijo gledalčeve perspektive, človeškemu telesu odvzema status predmeta poželenja in ga predstavi v vsej njegovi mesnatosti. Avstrijski umetnik Florian Lang kritizira našo družbo in njeno obsedenost z razkazovanjem na družbenih omrežjih. Ta so v času pandemije postala še bolj razraščena in so ostala skoraj edina točka stika z zunanjim okoljem v času izolacij. Prikaže izgubljanje v tem virtualnem svetu, kjer iščemo točke navdiha in stika z drugimi, a lahko naletimo le na tišino in praznost tega navideznega sveta, ko se izgubimo v množici. Zadnja predstavljena umetnica je Nieves Mingueza, ki izraža svoja stališča o ženski, kakšna je njena vloga v družbi in o tabu temah. Predstavljeni kolaži se navezujejo na temo nasilja nad ženskami v domačem okolju. Tišina je sicer prisotna v sami upodobitvi, vendar so močne teme preglasile to spokojnost.

Umetniška dela so nas nagovorila, da se zamislimo, kdaj smo se zares prepustili popolni tišini, takšni brez zvokov, brez zunanjih motilcev, prepuščeni sami sebi in svojim mislim. Tišina nam je ponudila možnost, da se ozremo vase in z umetnostjo zapolnimo delček tišine v sebi.

are assemblages by Slovenian artist Enej Gala. The facilities relate to consumerism and the accumulation of waste, as he created them from old objects and found wood. The created objects take us in a satirical way to think about silence, the past and silent dialogues between people and nature.

Other participating artists understood silence in a socially critical aspect as a ban on the utterance and tied their collages to unspoken themes. This theme was used by Belgian artist Elke Desutter, who creates collages made up of photographs of the human body. By manipulating the viewer's perspective, she deprives the human body of the status of an object of desire and presents it in all its flesh. Austrian artist Florian Lang criticises our society and its obsession with showing off on social media. These became even more widespread during the pandemic and remained almost the only point of contact with the external environment during the isolation. It shows the loss in this virtual world, where we seek points of inspiration and contact with others, but we can only encounter the silence and emptiness of this virtual world when we get lost in the crowd. The last artist presented is Nieves Mingueza, who expresses her views on women, her role in society and taboo topics. The presented collages are related to the topic of violence against women in the home environment. Silence is present in the depiction itself, but strong themes overcame this serenity.

The works of art persuaded us to imagine when we really indulged in complete silence, one without sounds, without external distractions, left to ourselves and our thoughts. Silence offered us the opportunity to look inside ourselves and fill a part of the silence within ourselves with art.

Patrick Brandt (DE)

Struktura Analogije | Struktur der Analogie 02, 2017 Časopisni izrezki, lapis specularis, ročno izdelan papir in črnilo na plošči | Newspaper cut-outs, lapis specularis, handmade paper and ink on finnboard

Enej Gala (SI)

Popravljeni predmeti | Repaired Objects, 2017-2020 Mešana tehnika | Mixed technique

Bram Antheunis (BE)

Zimski vrt | Greenhouse Hermitage, 2022 Skica | Sketch

Elke Desutter (BE)

Vzhičen objem | Titillated Embrace, 2022 In-situ instalacija s fotografijami na vinilu | In-situ installation with photo prints on vinyl

Klementina Golija (SI)

Iz cikla (V)pogled | From the series (In)sight, 2020

Prostorska slika / objekt | Spatial painting / object

Papir, pleksi steklo, karton, kolaž

| Paper, plexiglass, cardboard, collage

Michele Landel (US)

Dajmo. Vstani. | C'mon. Get up., 2020 Fotografija, blago, nit | Photograph, fabric, thread

Bodo Korsig (DE)

Živčevje (izhod) | Neural Network (output), 2022

Izrezan in pobarvan papir | Cut out and painted paper

Florian Lang (AT)

4 zmage | 4 gewinnt, 2018

Olje / kolaž na lesu / platnu | Oil / collage on wood / canvas

Diptih | diptych

Nieves Mingueza (ES/UK)

Ena od treh žensk | One in Three Women, 2021-2022 Asemblaž | Assemblage

Urška Preis (SI)

Pozabljati Pavlo Debeljak

| Forgetting Pavla Debeljak, 2021 AV kolaž | AV collage

Simona Reisch (AT)

Skica beton / opeka #2.1, iz cikla Arhitekturni arhiv | Sketch concrete / brick #2.1, from series Architectural archive, 2014 C-tisk na Alu Dibond, uokvirjen | C- Print on Alu Dibond, framed

navzen kot tudi obratno, od zunaj navznoter v osebni, kontemplativni svet likovne interpretacije in simbolnih pomenov. Kot medij optične komunikacije okna predstavljajo ločitev med zunaj in znotraj; obenem delujejo tudi kot usmerjevalec povezave med tema ločenima svetovoma. Doc. mag. Klementina Golija (1966) se je rodila na Jesenicah. Slikarstvo je študirala na Accademia di Belle Arti di Brera v Milanu, kjer je leta 1990 diplomirala, magistrski študij grafike je zaključila na Akademiji za likovno umetnost v Ljubljani leta 1993, magistrski študij slikarstva pa leta 1995 na isti akademiji. Za njen nadaljnji umetniški razvoj sta bili pomembni zlasti študijski bivanji v Bostonu in New Yorku v letu 1990 ter dvomesečno bivanje v Cité Internationale des Arts v Parizu jeseni 1995.

Painting and drawing in a spatial collage object of an artist Klementina Golija are pre-subordinated to imaginary structure: with selected colors it forms a vertical plane in their dialogue with other, mostly organic characters and symbolic values placed in the image field, in some segments the author adds collage applications-details of various papers, which she paints and map with structural layers and thus revisualize personal code marks into authorial semantic metaphors. In these light cores, which are partly derived from her series Insight window into the soul, she places a circle in the center of the composition, which symbolizes a round window. The window offers the viewer a view from the inside out and vice versa, from the outside inwards into a personal, contemplative world of artistic interpretation and symbolic meanings. As a medium of optical communication, windows represent the separation between the outside and the inside; at the same time, it also acts as a guide for connections between the themes of separate worlds.

Klementina Golija (1966) was born in Jesenice. She studied painting at the Accademia di Belle Arti di Brera in Milan, where she also graduated in 1990. She completed her master's degree in graphics at the Academy of Fine Arts in Ljubljana in 1993 and a master's degree in painting in 1995 at the same academy. Study visits to Boston and New York in 1990 and a two-month stay at the Cité Internationale des Arts in Paris in the autumn of 1995 were particularly important for her further artistic development.

BODO KORSIG (DE)

korsig.com

Odkar je umetnik Bodo Korsig začel ustvarjati, ga lastna praksa nenehno izziva, da izmenično raziskuje več medijev, vključno s kiparstvom, video instalacijo in scenografijo. Njegovo delo je vedno raziskalo odnos med umetnostjo in družbenimi povezavami. Sodeloval je s pisatelji, glasbeniki in plesalci. Približno dvajset let je bila njegova glavna tema modeliranje človeškega vedenja v ekstremnih razmerah, kot so strah, nasilje, pritisk ali smrt. Pri tem je Bodig še posebej navdušen nad nevrološkimi in kognitivnimi procesi, ki jih je težko zapisati zgolj znanstveno. Izzvati želi novo dojemanje procesov na stičišču biološke determinacije in človekove zavesti. Zanima ga ustvarjanje novega slikovnega jezika kot izraza možganskih funkcij in človekove zavesti, z uporabo biološkega telesa, metafizičnih simbolov in kristalizacije govorjene besede. Bodo Korsig (1962), rojen v Zwickauu v Nemčiji, je obsežno razstavljal v več kot sto muzejih in galerijah doma in v tujini, njegovo delo je v več kot petdesetih muzejih – tako v javnih kot zasebnih zbirkah, za svoje delo pa je prejel dvajset mednarodnih nagrad in štipendij.

Since he started creating,he’s continually challenged by his own practice to alternately explore multiple media including sculpture, video installation and stage design. His work has always explored the relationship between art and social connections. He has collaborated with writers, musicians and dancers.

For about twenty years his main theme has been to model human behavior under extreme conditions such as fear, violence, pressure or death. In this Bodig is especially intrigued by the neurological and cognitive processes that are difficult to record purely scientifically. He wants to provoke a new perception of the processes at the interface of biological determination and human consciousness.He is interested in creating a new pictorial language as the expression of brain functions and human awareness, using the biological body, metaphysical symbols, and

the crystallization of the spoken word. Bodo Korsig (1962), born in Zwickau (Germany), has exhibited extensively in over a hundred museums and galleries at home and abroad. His work is in over fifty museums - both in public and private collections. He has received twenty international awards and grants for his work.

MICHELE LANDEL (US)

michelelandel.com

Michele Landel z uporabo fotografij, blaga, papirja in niti ustvarja čudovita, a tudi malce srhljiva dela v tehniki patchwork. Da prikliče simbole moči, izgube in spomina, veze figure, rezano cvetje in prostore domačnosti. Ker avtorica želi opozarjati na samozavedanje in notranje svetove, se v njenih delih pogosto ponavljajo tehnike zrcaljenja in motivi senc. Na podlagi intimnosti, ki temelji na obarvanih in popravljenih rabljenih rjuhah, ter strojnega vezenja, povezanega z obrtjo, se njena umetniška dela sklicujejo na domačnost, obenem pa se namerno distancirajo od tradicionalne tekstilne obrti.

Michelle Landel (1976) je ameriška umetnica, ki živi in dela v Sèvresu v Franciji. Diplomirala je iz likovne umetnosti in umetnostne zgodovine. Njena umetniška dela so bila razstavljena po vsej Evropi in v ZDA. Trenutno jo zastopajo galerija Ségolène Brossette v Parizu, galerija Le Salon Vert v Ženevi in galerija Muriel Guepin v NYC.

Michele Landel creates beautifully eerie patchwork paintings using photographs, fabric, paper, and thread. She stitches over figures, cut flowers, and domesticated spaces to evoke symbols of power, loss, and memory. Mirroring and shadows are also often repeated to show self-awareness and internal worlds. Drawing on the intimacy associated with stained and mended secondhand bedsheets and the machine embroidery connected with craft, her artwork references the domestic while also deliberately distancing itself from traditional fiber arts.

Michelle Landel (1976) is an American artist who lives and works in Sèvres, France. She holds degrees in Fine Arts and Art History. Her artwork has been exhibited throughout Europe and the US. She is currently represented by the Ségolène Brossette Galerie in Paris, Le Salon Vert Gallery in Geneva, and the Muriel Guepin Gallery in NYC.

FLORIAN LANG (AT) florianlang.com

Florian Lang se ukvarja z neskladjem med individualizirano željo ljudi po samoportretiranju in njihovim izgubljanjem v množici. V svojih kolažiranih slikah in videih razčlenjuje motive iz družbenih omrežij in jih konkretno spreminja. Igra se z iluzijo prostora in dimenzijami ter se giblje izven standardiziranosti na vseh ravneh. Na razstavi Ni časa za tišino je predstavljen njegov diptih z naslovom 4 zmage / 4 gewinnt, ki je nemško ime za otroško igro connect 4. Barvita igra je bila v avtorjevem otroštvu vselej prisotna. Florian Lang je ustvaril zračno nadrealistično različico igre: nekatere točke so v vrsti, medtem ko druge nese stran - zdi se, kot da se delo igra samo in hkrati razpada.

Florian Lang je študiral na Akademiji za likovno umetnost na Dunaju, na School of Art v Glasgowu in Univerzi Marmara v Istanbulu. Diplomiral je leta 2010. Dele kariere je preživel v Londonu in Budimpešti. Trenutno živi in dela na Dunaju. Poleg razstav v Avstriji in tujini je zasnoval več odrskih scen, produciral glasbo in videospote, trenutno pa ustvarja risanko za odrasle.

Florian Lang deals with the discrepancy between people's individualized urge for self-portrayal and their getting lost in the crowd. In his collaged paintings and videos, he dissects motifs from social media and essentially changes them. He breaks with space, plays with dimensions and moves outside of standardised formatting. His represented diptych at KAOS exhibition carries the title 4 gewinnt, which is the German title for the children's game connect 4. The colourful game

was omnipresent in the childhood of the artist. Florian Lang created an airy surreal version of the game: some dots are in line while others are flying away - it seems like it is playing itself and falling apart at the same time.

Florian Lang studied at the Academy of Fine Arts in Vienna, the Glasgow School of Art and the Marmara University in Istanbul. He got his Diploma in 2010. He spent parts of his career in London and Budapest. Currently he lives and works in Vienna. In addition to exhibitions in Austria and abroad, he designed several stage sets, he produces music and music videos and is currently writing an adult cartoon.

NIEVES MINGUEZA (ES/UK)

nievesmingueza.com

Špansko britanska umetnica Nieves Mingueza je v pogovorih z znankami odkrila, da je ogromno žensk žrtev nasilja in ustrahovanja. Podobne zgodbe so zadnje čase prišle tudi v javnost po zaslugi feminističnih gibanj, kot je #metoo, razpoložljivosti podatkov ter zainteresiranosti medijev. Delo z naslovom Ena od treh žensk je razdrobljen vizualni, besedilni in kinematografski asemblaž, ki nasilje nad ženskim spolom razkriva v več poglavjih. Mingueza je v delu uporabila različne vrste podob; od kinematografskih lo-fi fotografij domačih interierjev, emuliranih forenzičnih posnetkov kraja zločina in najdenih fotografij, do kolažev, ustvarjenih iz družinskih foto albumov in uradnih besedil, pridobljenih od Združenih narodov. Podobe predstavljajo napetost med vse večjo splošno prepoznavnostjo nasilja nad ženskami ter konsistentno nevidnostjo takšne zlorabe v vsakdanjem življenju. Projekt obravnava tudi širše vprašanje spola, kot je naprimer dinamika moči v družbi.

Konceptualna in intimna umetniška praksa Nieves Mingueze (1971) pogosto prepleta vizualne podobe z raziskavami, dokumentarno fotografijo, arhivskim gradivom, kolažem, besedilom, filmom, zvokom in instalacijo. S premostitvijo prostora med osebnim in političnim, raziskuje in aktivira arhive za reševanje socialnih vprašanj in vprašanj spola. Leta 2019 je izdala prvo monografijo pod založbo IIKKI. Njeno delo je bilo razstavljeno po vsem svetu in recenzirano v

več revijah.

Speaking with friends and family, Spanish -British artist Nieves Mingueza was shocked to discover how many had experienced or witnessed gender-based violence and intimidation. Such stories are currently coming to light, with the encouragement of feminist movements such as #metoo, availability of data and a newly interested media. One in Three Women is a fragmented visual, textual and cinematic assemblage which unfolds the subject of gender violence over different chapters. Mingueza uses a multitude of image types in this work; from cinematic lo-fi exposures of domestic interiors, emulated forensic crime scene shots, and found photographic material, to collages created from family photo albums and texts taken from UN data. The visuals represent the tension between the increasing visibility of violence against women and girls in general and the persistent invisibility of such abuse in everyday life. In addition, the project addresses wider gender issues such as male gaze and power dynamics within society.

Conceptually driven and intimate practice of Nieves Mingueza (1971) often interweaves images with research, documentary photography, archival material, collage, text, film, sound, and installation.

Bridging the space between the personal and political, she explores and activates the archives to address social and gender issues. In 2019 her first monograph book was published by IIKKI books editorial. Her work has been exhibited widely and reviewed by multiple magazines. Educated to MA level in Documentary Photography, she regularly contributes to conferences and workshops.

URŠKA PREIS (SI)

rouge-ah (tumblr.com)

AV kolaž Pozabljati Pavlo Debeljak avtorice Urške Preis je izsek iz istoimenske spreminjajoče se instalacije, ki beleži stanje sedanjosti ostarele dementne osebe, sicer avtoričine stare mame. Urška Savič, kuratorka prve iteracije projekta, zapiše: „Medtem ko se spomin na Pavlo Debeljak kopiči, je spomin Pavle Debeljak zapisan pozabi. (…) Soočanje vnukinje, Urške Preis, z mamino pozabo, je izdatno beleženje tistega, kar je še ostalo - krajev, kjer se

je nek dogodek, sedaj spomin, zgodil ter Pavline gole prisotnosti v prostoru. (...) Nastali posnetki so simptom želje po ohranjanju spomina na izginjajoče in že izginulo, na vse tisto, ki ne more biti več poustvarjeno s skupnim spominjanjem. Spominjanje Pavlo namreč vleče iz pozabe, kateri je sama neizbežno prepuščena, pozabljanje pa Urško spravlja v stanje množenja, ki ga Pavla ni več zmožna.“ Urška Preis (1992) je glasbenica in vizualna umetnica, ki deluje tudi kot kuratorka in piska. Leta 2015 je po izmenjavi na Listaháskóli Íslands v Reykjavíku diplomirala iz smeri Grafično oblikovanje na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Na magistrskem študiju je prešla na modul Fotografija, kjer je leta 2021 študij zaključila z odliko, za magistrsko nalogo pa je prejela tudi študentsko Prešernovo nagrado UL ALUO. Razstavljala je na več skupinskih in samostojnih razstavah doma in v tujini. Svojo umetnostno in ustvarjalno strategijo gradi skozi izrazito intermedijsko delovanje, najraje v prepletu feminističnih teorij in praks.

AV collage Forgetting Pavla Debeljak of an artist Urška Preis is an excerpt from the changing installation of the same name, which records the current state of an elderly demented person, otherwise the author's grandmother. Urška Savič, curator of the first iteration of the project, writes: “While the memory of Pavla Debeljak is accumulating, the memory of Pavla Debeljak is forgotten. (…) The confrontation of her granddaughter, Urška Preis, with her mother's oblivion is a rich recording of what is left - the places where an event, now a memory, took place and Pavla's naked presence in space. (...) The resulting recordings are a symptom of the desire to preserve the memory of the vanishing and the already vanished, of all that can no longer be recreated by shared remembrance. Pavla’s remembrance pulls her out of oblivion, which she herself inevitably leaves behind, and Urška's forgetfulness puts her in a state of multiplication, which Pavla is no longer capable of. "

Urška Preis (1992) is a musician and visual artist who also works as a curator and writer. In 2015 she graduated in Graphic Design from the Academy of Fine Arts and Design in Ljubljana. In her master's degree, she transferred to the Photography module, where she completed her studies with honors in 2021, and also received the UL ALUO Prešeren Student Award for her master's thesis. She has exhibited in solo and

group exhibitions. She builds her artistic and creative strategy through distinct intermedia activities, preferably in the interweaving of feminist theories and practices.

SIMONA REISCH (AT) simonareisch.com

Motivi ekstrahiranih fotografij Simone Reisch so segmenti arhitekture. Arhitektura je vztrajno vpeta v okolico, kar je posledica fizičnih, statičnih in drugih pojavov. Kontekst arhitekturnih zgradb je zahvaljujoč fotografiji in njeni potrebi po izbiri posameznih detajlov lahko vključujoč ali izključujoč. Reisch ročno ureja fotografije, da se znebi normativnih formatov, kot sta pravokotnik ali kvadrat. To se ujema s človeškim pogledom na arhitekturne detajle, saj jih skoraj nikoli ne vidimo v tako natančnem formatu, razen v modularni predstavitvi. Točke, ki izginejo iz dosega človeškega pogleda niso vključene v proces ustvarjanja zgradbe. Pred leti je Reisch odprla arhiv z arhitekturnimi fotografijami, ki jih je posnela. Dele je kategorizirala v različne kategorije, kot so barva, perspektiva, razpad itd. Izhodišče njenih praks je uporaba arhivskih avtorskih fotografij arhitekture kot analognega, haptičnega materiala za ustvarjanje kiparskih del v kombinaciji z drugimi materiali, kot sta aluminij in les.

Simona Reisch (1985) je umetnica, fotografinja, grafična oblikovalka in likovna pedagoginja s sedežem na Dunaju v Avstriji. Od leta 2013, po končanem študiju umetnosti in fotografije na Akademiji za Fine Arts na Dunaju, dela kot samostojna delavka na različnih področjih. Njena dela so bila razstavljena v več državah, je tudi prejemnica različnih štipendij in nagrad. Kot umetnica se osredotoča na področje fotografije, ki združuje dotični medij s številnimi drugimi, na primer s skulpturo, instalacijo in videom.

The motifs of Simona Reisch’ extracted photographs are segments of architecture. Steadily architecture is embedded in its surroundings, a result of physical, static and other occurrences. Thanks to photography and its necessity to choose partial details from a scene, the context of architectural buildings can be in - or excluded. Furthermore the author edits photographs manually to get rid of the normative

format such as rectangle or square. This corresponds with the human view of architectural details as they are almost never seen in that accurate format except in the presentation of a model. Vanishing points from the human eye level are mostly not included in the process of creating a building. Years ago she started an archive with architectural detailed photographs she took. She categorised the pieces divided into different categories like colour, perspective, decay, etc. The starting point of her practices is to use her own architectural photographs from the archive as an analog, haptic material to create sculptural work combined with other materials such as aluminium or wood.

Simona Reisch (1985) is an artist, photographer, graphic designer and art educator, based in Vienna, Austria. Since 2013, after her studies of art and photography at the Academy of Fine Arts in Vienna she is working as a freelancer in these different fields. Her works were exhibited in several countries. She received different grants and scholarships like the state grant from the Austrian ministry of culture in 2022. As an artist her focus lies in the field of photography combining this medium with several others like sculpture, installation, or video.

LYNN BOOK [ART STAYS x KAOS]

CONDUCTOR PREVODNIK

Na vrtu gradu Khislstein je na ogled gostujoči projekt festivala Art Stays, čigar avtorica je Lynn Book, ameriška transmedijska umetnica, ki deluje v različnih disciplinah in kulturnih sferah in je v sodelovanju s festivalom pripravila avdio zapise za veliko zvočno instalacijo z naslovom Prevodnik, kjer njen glas postane prevodnik agonije ljudi, ki so se znašli v turbolenci aktualnih razmer po svetu.

Festival sodobne umetnosti Art Stays že od leta 2003 na Ptuj in v okolico prinaša vrhunsko produkcijo domačih ter tujih umetnikov, od najperspektivnejših mladih umetnikov do velikih imen sodobne umetnosti, kot so Ai Weiwei, Yoko Ono, Monira Al Qadiri, Gilbert & George, Jake & Dinos Chapman, Edward Burtynsky, Robin Meier, Ivan Navarro, IRWIN, Allora & Calzadilla, Koen Vanmechelen, Hannah Collins, Ilona Nemeth, Jordi Alcaraz, Perino & Vele, Fernando Prats, Roberto Pugliese, Michele Spanghero, Tiffany Chung, Gigi Scaria, Regina Jose Galindo, Grace Weir in mnogi drugi. Spada med najpomembnejše predstavitve sodobne, predvsem likovne umetnosti v Sloveniji in regiji, ter je postal referenčni dogodek za številne mednarodne galerije, muzeje, fundacije in seveda umetnike.

In the garden of Khislstein Castle, a visiting project of the Art Stays Festival is on display, authored by Lynn Book. She is an American transmedia artist who works in various disciplines and cultural spheres. In collaboration with the festival, she has produced sound files for a large sound installation entitled Conductor, whereby her voice becomes a conductor for transmitting the agony of people who have found themselves in a turbulent state of the current global situation.

Since 2003, the Art Stays Festival of Contemporary Art has been bringing to Ptuj and its surroundings top productions by Slovenian and international artists, from the most promising young artists to great names in contemporary art, such as Ai Weiwei, Yoko Ono, Monira Al Qadiri, Gilbert & George, Jake & Dinos Chapman, Edward Burtynsky, Robin Meier, Ivan Navarro, Allora & Calzadilla, Koen Vanmechelen, Hannah Collins, Ilona Nemeth, IRWIN, Jordi Alcaraz, Perino & Vele, Fernando Prats, Roberto Pugliese, Michele Spanghero, Tiffany Chung, Gigi Jose Scaria, Regina Jose Galindo, Grace Weir and many others. It is one of the most important presentations of contemporary, especially fine arts in Slovenia and in this part of Europe, and has become a reference event for many international galleries, museums, foundations and, of course, artists.

Vrt gradu Khislstein | Khislstein Castle Garden

Arhiv Art Stays Art Stays' archive

TIŠINA V KAOSU SILENCE IN CHAOS

Digitalni kolaž je v definiciji podoben tradicionalnemu, ročno izdelanemu kolažu, edina razlika je v tem, da njegovo ustvarjanje poteka z uporabo tehnologije. Medtem, ko je analogni kolaž ustvarjen iz obstoječih umetniških materialov, digitalni iz različnih virtualnih virov jemlje podobe in teksture ter jih s pomočjo računalniškega programa (Photoshop, Procreate, Corel Painter) prosto združuje v igrivih jukstapozicijah. Pri tem pa moramo omeniti tudi razlikovanje od foto manipulacije, kjer gre za proces spreminjanja ene podobe, medtem, ko je kolaž postopek plastenja in postavljanja več podob eno na drugo. Njegova fragmentarna struktura, igranje s časom, karakterjem, perspektivo in narativnostjo spodbuja gledalca k interpretaciji. Kolažna umetnost, bodisi analogna ali pa digitalna, je bila vedno način, na katerega so umetniki lahko predstavili svet v drugačni luči in preizpraševali racionalistično podlago našega pogleda na realnost.

Digitalni kolaž se običajno zanaša na tradicionalne strategije oz. tehnike kolaža, kot so na primer: ločitev, mešanje delov in ponovna združitev, podvojevanje in multiplikacija, fantastična interpretacija in projekcija, drobljenje in deformiranje podob etc.

Tudi izbrani umetniki na letošnjem javnem pozivu so pri svojem delu posluževali zelo različnih pristopov - nekateri ustvarijo zanimivo formo (ali narativo) z samo nekaj intervencijami, drugi pa so bolj kompleksni in uspešno gradijo kompozicijo s plastenjem in kopičenjem različnih elementov in tekstur. Vsi pa so nas prepričali s svojo izvirnostjo, likovnostjo ali zanimivo interpretacijo izbrane teme »Silence in Kaos«.

Že sam medij kolaža, za katerega je značilna nasičenost podobe (horror vacui) bi težko enačili s praznino ali tišino, virtualnost pa je še bolj nabita s presežkom informacij. Digitalen prostor ustvarja nenehen hrup in vizualiziranje tišine z uporabo digitalnih podob pomeni svojevrsten kontrast in izziv. Lahko pa bi naslov obrnili in ga interpretirali tudi drugače - morda se v odsotnosti zunanjih zvokov nenadoma zavemo kaosa svojega notranjega sveta.

RAZSTAVA DEL, IZBRANIH NA ODPRTEM POZIVU EXHIBITION OF ARTWORKS SELECTED BY AN OPEN CALL

hiša in galerija Na mestu | Layer house and Na mestu gallery

The digital collage is by definition similar to a traditional, handmade collage, one difference being that its creation takes place using technology. While analog collage is created from all art materials, digital collage takes images and textures from various virtual sources and freely combines them in playful juxtapositions with the help of a computer program (Photoshop, Procreate, Corel Painter). However, we must also mention the difference from photography, where it is a process of changing one image, during a process where the process of manipulation and placement is more similar to another. Its fragmentary structure, playing with time, character, perspective and narrative encourages the viewer to interpret. Collage art, whether analog or digital, has always been a way for artists to present the world in a different light and question the rationalist basis of our view of reality.

Digital collage usually relies on traditional strategies or techniques in collage art such as: separation, mixing parts and their re-union, duplication and multiplication, fantastic interpretation and projection, fragmentation and deformation of images, etc.

The selected artists at this year's public call also used very different approaches in their work - some created an interesting form (or narrative) with just a few interventions, while others are more complex and successfully build a composition by layering and accumulating different elements and textures. However, they all convinced us with their originality, artistry or interesting interpretation of the chosen theme "Silence in Chaos".

The medium of collage itself, which is characterised by image saturation (horror vacui) would be difficult to equate with emptiness or silence, and virtuality is even better charged with an excess of information. Digital space creates constant noise and visualising silence using digital ages represents a unique contrast and challenge. However, we could turn the title around and interpret it differently - perhaps in the absence of external sounds, we suddenly become aware of our inner world.

Tatiana Almond (RU) , João Amado (PT) , Bagrat Arazyan (AR) , Jorge Chamorro (ES) , Carmen Chiorean (RO) , Bernarda Conič (SI) , Michele de Costanzo (IT) , Rachel Derum (AU) , Ben DiNino (US) , Deborah Di Leo (IT) , Martin Došek (CZ) , Helen Grundy (GB) , Rocío Guerrero (CL) , Ramina Ibragimova (GR) , Olga Klim (UK) , Paola Lesina (IT) , Virginia Lorenzetti (IT) , Miranda Maher (US) , Virginie Maltais (CA) , Fernanda Porto (BR) , Angela Scardigno (AR) , Christine Stoddard (US) , Simon Welsh (AU)

Tekst | Written by: Eva Mlinar

Izbor | Selection: Eva Mlinar, Bill Noir, Christopher Kurts

Layerjeva

Tatiana Almond (RU)

Patina tišine | Patina of Silence, 2022

Digitalni kolaž | Digital collage

Joao Amado (PT)

Naraščajoče vode | Rising Waters, 2022

Digitalni kolaž | Digital collage

Bagrat Arazyan (AR/SI)

Poglej vase | Look into yourself, 2022

Digitalni kolaž | Digital collage

Jorge Chamorro (ES)

Nohti | Nails, 2021

Digitalni kolaž | Digital collage

Carmen Chiorean (RO)

Lucidne sanje | Lucid Dream, 2022

Digitalni kolaž | Digital collage

Bernarda Conič (SI)

Otok miru | Nails, 2021

Digitalni kolaž | Digital collage

Michele de Costanzo (IT)

Uspavanka za gluhe | Lullaby for Deaf, 2022

Digitalni kolaž | Digital collage

Rachel Derum (AU)

Sveta jama | The Sacred Cave, 2021

Digitalni kolaž | Digital collage

Ben DiNino (US)

Odsotnost oblike 5

| Formative Absence 5, 2019

Digitalni kolaž | Digital collage

Deborah Di Leo (IT)

Iskanje | The Search, 2022

Digitalni kolaž | Digital collage

Martin Došek (CZ)

Jagnečja runa | Fleece of Lambs, 2022

Digitalni kolaž | Digital collage

Helen Grundy (GB)

Anatomija prežvekovanja

| The Anatomy Of Rumination, 2022 Digitalni kolaž | Digital collage

Rocío Guerrero (CL)

Škorpijon | Scorpion, 2021

Digitalni kolaž | Digital collage

Ramina Ibragimova (GR)

Vse, kar si želiš postati | All you want to bee, 2020 Digitalni kolaž | Digital collage

Olga Klim (UK)

Tišina | Silence, 2022

Digitalni kolaž | Digital collage

Paola Lesina (IT)

Solze | Tears, 2022

Digitalni kolaž | Digital collage

Virginia Lorenzetti (IT)

Avtoportret | Self-portrait, 2022

Digitalni kolaž | Digital collage

Miranda Maher (US)

Sanje o letenju (Nisem spala)

| Dreamt of Flying (Didn’t Sleep), 2000/2022

Digitalni kolaž | Digital collage

Fernanda Porto (BR)

Kdo si, ko si tiho?

| Who are you when you are silent?, 2021

Digitalni kolaž | Digital collage

Virginie Maltais (CA)

Miljon solz | Millions de déchirures, 2022

Digitalni kolaž | Digital collage

Angela Scardigno (US)

Popolnoma utišan

| Completely Silenced, 2022

Digitalni kolaž | Digital collage

Simon Welsh (AU)

Bife | Buffet, 2021

Digitalni kolaž | Digital collage

Christine Stoddard (US)

Postavi se v svojo kožo

| Get Into Your Skin, 2020

Digitalni kolaž | Digital collage

TATIANA ALMOND (KZ/RU)

t.me/collage_almond

Za delo Patina tišine je avtorica navdih dobila v sodobni preobremenjenosti z informacijami, ki jih je mogoče dobiti na socialnih omrežjih. To je v nasprotju z jasnostjo oblik in konceptov starodavnih umetniških praks. Vendar je nov digitalni kaos pogoltnil vse obstoječe informacije (vključno s starodavnimi vizualnimi prikazi). Almond je prepričana, da potrebujemo več tišine in oziranja na dediščino, sicer bo vsaka nova interpretacija še naprej uničevala jedro umetnosti in jo izničila do točke, na kateri zadostuje le podoba za prodajo. Z neskončnim množenjem ustvarjamo kaos, namesto da bi tiho obujali našo zgodovino. Tatiana Almond je kolažna umetnica, rojena v Kazahstanu. Živela in delala je v Kitu v Ekvadorju, v Parizu in v Gruziji.

Patina of Silence was inspired by modern overload of information, which can be seen in social networks. This imagery opposes the clarity of forms and concepts of ancient sculptures. However, new digital chaos swallowed up all the existing information (including the ancient visuals). Almond is certain that we need more silence, cooperating with our heritage, otherwise each new iteration of interpretation will keep on destroying the core of art, "pixelating" it to a level where you only get an image for merchandising. We create chaos by endless multiplication, instead of silently retaining our history. Tatiana Almond is a collage artist born in Kazakhstan. She lived and worked in Quito, Ecuador; Paris, Georgia.

in opozoriti na morebitno civilizacijsko izginotje, če človek ne spremeni svojih vzorcev in ekološkega odtisa. Zatiskati si oči pred vsemi dokazi podnebnih sprememb je odpor. Tišina v kaosu izvira iz naše nepremične drže do nespornega napredovanja kaosa. V tišini hodimo proti kaosu, ki je tik pred nami. João Amado, rojen v São Miguelu na Azorih, je samoučeni vizualni umetnik, ki uporablja tehniko kolaža za sestavljanje vizualne in konceptualne strukture umetniškega dela. Približuje se temam, ki raziskujejo smisel za duhovnost in človekov odnos do sveta.

The work Rising Waters seeks to expose the rise of sea waters due to the melting of glacial areas, and its main objective is to warn of a possible civilizational disappearance if man does not change his patterns and his ecological footprint. There is resistance in closing one's eyes to all evidence of climate change. Here, the silence in the chaos comes from our posture immobile in the face of the undeniable advance of chaos. We walk in silence towards the chaos that is sitting in front of us. Born in São Miguel, Azores, João Amado is a self-taught visual artist who uses collage technique to compose the visual and conceptual structure of his work. He approaches themes that explore the sense of spirituality and the relationship of man with the world.

prejel državne in mednarodne nagrade in diplome za grafično oblikovanje.

In a world where we feel we have a solid foundation for life, everything can change in one second. War can turn our peaceful life into total chaos. But somewhere in the depths of us is an absolute silence in which we can find understanding. Bagrat Arazyan (1958) is an artist, designer, curator, musician. Since 2017 he is co-founder and curator of the Pivka Centre of Contemporary Art. He has held more than 40 solo exhibitions in different countries, participated in more than 30 group international exhibitions, received national and international awards and diplomas for graphic design for his work.

JORGE CHAMORRO

jorgechamorro.es

(ES)

JOAO AMADO (PT)

Delo Naraščajoče vode želi izpostaviti problem dviga morske gladine zaradi taljenja ledeniških območij

BAGRAT ARAZYAN (AR/SI)

V svetu, kjer se nam zdi, da imamo trdne temelje za življenje, se lahko vse spremeni v eni sekundi. Vojna lahko naše mirno življenje spremeni v popoln kaos. Toda nekje v globini nas samih je absolutna tišina, v kateri lahko najdemo razumevanje. Bagrat Arazyan (1958) je umetnik, oblikovalec, kurator, glasbenik. Od leta 2017 je soustanovitelj in kurator Centra sodobne umetnosti Pivka. Imel je več kot 40 samostojnih razstav v različnih državah, sodeloval je na več kot 30 skupinskih mednarodnih razstavah, za svoje delo je

Delo Nohti predstavlja nekoga, ki ga oblikujejo samo prsti, brez oči, ušes ali ust, zato ne more ne videti, govoriti ali slišati in je tako obsojen na življenje v popolni tišini ter zato obsojen na kaos. Jorge Chamorro (1972) je neodvisni grafični oblikovalec, kolažist in učitelj. Vse tri poklice ima enako rad in pri vsakem verjame v preprosto, neposredno in jasno komunikacijo. Leta 1995 je diplomiral iz avdiovizualne komunikacije in deset let delal kot grafični oblikovalec v studijih in agencijah. Leta 2005 je začel delovati samostojno. Kolaž je odkril leta 2006 in od takrat je zanj postal nenadomestljiva umetniška oblika izražanja.

Nails represents someone formed only by fingers, without eyes, ears or mouth, unable to see, speak or hear and is condemned to live in total silence and therefore doomed to chaos. Jorge Chamorro (1972) is an independent graphic designer, collage artist and teacher. He loves all three things equally and for all of them he believes in simple, direct and

clear communication. He got his bachelor’s degree in audiovisual communication in 1995 and he worked as a graphic designer for ten years in studios and agencies. In 2005 he started to work independently. He discovered collage in 2006, and it has since become an irreplaceable artform.

CARMEN CHIOREAN (RO)

@chi.carmen

Carmen Chiorean je umetnica, ki živi in dela v Brasovu; Romuniji. Diplomirala je na Narodni umetniški univerzi v Bukarešti. Umetniški odnos v njenih kreacijah odseva romantičen, utopičen, meditativni pogled na svet. Trenutno skozi prizmo kolažev, slikarstva in oblikovanja oblačil v svojih projektih preučuje človeško telo. Barva, tekstura, volumen, geometrija in fotografija ustvarjajo stališča in estetizirane dimenzije. Avtoričina dela razkrivajo in hkrati skrivajo, vabijo k meditaciji. V seriji kolažev deluje predvsem s prekrivajočimi se sekvencerji in nenehnim iskanjem. Zdi se, da številni svetovi, ustvarjeni v njenih umetniških delih, ponazarjajo sanje, v katerih se srečujejo in prepletajo bizarni prizori. V svojih dodelanih kompozicijah pogosto uvaja figure sodobnega moškega, ki jih predstavlja nasprotje med nepopolno krhko ženstvenostjo in nepremagljivimi modeli v reklamah.

Carmen Chiorean is the artist that lives and works in Brasov; Romania. She has graduated from the National Art University in Bucharest. The artistic attitude in her creations have a romantic, utopic, meditative worldview. Currently her projects are studying the human body, through the prism of collages, painting and clothing design. The color, texture, volume, geometry, photography generate attitudes and aestheticized dimensions.The artist's works reveal and in the same time hide, inviting meditation. In the series of collages, she operates primarily by

overlapping sequencers and a perpetual search. Many of the worlds generated in her artworks seem to illustrate dreams in which bizarre scenes meet and intertwine. In her elaborate compositions she frequently introduces figures of contemporary man, represented by a theme of imperfect fragile femininity in front of the invincible models in commercials.

BERNARDA CONIČ (SI)

nibera.eu

Kolaž Otok miru prikazuje prostor v katerem vlada mir in sije sonce, okoli pa vihra neurje in nevihtne strele grmijo v morsko gladino. Temna nevihta obkroža otok vendar na otoku še vedno prevladujejo modro nebo, turkizna voda in mir. Nevihto opazujemo od daleč in znotraj sebe ostajamo mirni, podobno kot v vsakdanjem kaosu lahko znotraj sebe poiščemo tišino in ne pustimo, da nas kaos prevzame. Bernarda Conič - Nibera (1992) je interdisciplinarna vizualna umetnica, ki kot samozaposlena v kulturi deluje na področju likovnega ustvarjanja, fotografije in grafičnega oblikovanja. Leta 2011 je zaključila Srednjo šolo za oblikovanje in fotografijo, leta 2019 pa je na Akademiji za likovno umetnost in oblikovanje v Ljubljani pridobila naziv magistrice oblikovanja vizualnih komunikacij. V času študija je imela čez 40 javnih predstavitev lastnega dela v obliki razstav, inštalacij, VJ nastopov in scenografij.

The work Island of Peace depicts a place where peace reigns and the sun shines, and around it a whirlwind of storms and storm lightning thunders into the sea surface. A dark storm surrounds the island but the island is still dominated by blue skies, turquoise waters and peace. We observe the storm from afar and remain calm within ourselves, just as in everyday chaos we can find silence within ourselves and not let chaos overwhelm us. Bernarda Conič - Nibera (1992) is an interdisciplinary visual artist who, as a

self-employed person in culture, works in the field of fine arts, photography and graphic design. In 2011 she graduated from the Secondary School of Design and Photography, and in 2019 she obtained a master's degree in visual communication design from the Academy of Fine Arts and Design in Ljubljana. During her studies, she had over 40 public presentations of her own work in the form of exhibitions, installations, VJ performances and scenographies.

MCAHNY (IT)

www.mcahnyart.com

Vsak obraz nam pripoveduje zgodbo brez besed. Ta hrupna tišina vedno zareže v misli Michele de Constanzo, ko vidi več kot je vidno. Kaos je od daleč tih. Kaos je tisto, kar prinesemo s seboj, naše misli, spomini, naše življenje – potovanje na tiho destinacijo. MCAHNY oziroma Michele de Costanzo je začela izdelovati digitalne kolaže leta 2018. Imela je eno samostojno razstavo v Foggii v Italiji aprila 2018 in številne druge skupinske razstave po vsej državi. Za svoje delo je prejela številne nagrade.

Every face tells us a story without using words. This noisy silence always pierce Michele de Constanzo’s mind when she sees much more than visible through the eyes. Chaos is silent from afar. Chaos is what we bring with us, our thoughts, memories, our life - a journey to a silent destination. MCAHNY aka Michele de Costanzo started making digital collage in 2018. She had one solo exhibition in Foggia, Italy in April 2018 and many other group exhibitions all over the country. For her work she received many awards.

RACHEL DERUM (AU)

rachelderum.com

Rachel Derum je avstralska umetnica, ki deluje na polju analognega in digitalnega kolaža ter s svojimi nadrealističnimi, figurativnimi kompozicijami raziskuje teme identitete, percepcije in zavesti. Derum je imela samostojne razstave v Melbournu in Sydneyju in je bila vključena v skupinske razstave po vsem svetu. Njeno delo je bilo predstavljeno v publikacijah, vključno z Art Almanac, Avstralija, Collage Collective Co Annual 2016, Annual 2015 in v Australian Avant Garde Magazine.Avtorica trenutno zaključuje javni umetniški projekt kiparskega kolaža v sodelovanju z arhitekturnim birojem SBLA Landscape Architects. Delo Sveta jama je nastalo v času covidne izolacije, ko smo bili ljudje kot v svojih majhnih jamah, včasih osamljeni in izolirani, drugič pa smo se počutili kot v varnem zatočišču.

Rachel Derum is an analogue and digital collage artist, exploring themes of identity, perception and consciousness through her surreal, figurative compositions. Rachel has held solo exhibitions in Melbourne and Sydney, and has been included in group exhibitions throughout the world. Her collages have featured in publications including Art Almanac, Australia, Collage Collective Co Annual 2016, Annual 2015 and Australian Avant Garde Magazine. Rachel is currently completing a sculptural collage public art project in collaboration with SBLA Landscape Architects. The work The Sacred Cave was created during Covid isolation when we were being in our separate little caves, at times lonely and isolating, and at other times our sacred havens.

BEN DININO (US)

bendinino.com

Ben DiNino je ameriški umetnik, ki je začel resno razstavljati svoja dela leta 2018, potem ko se je udeležil prvega Kolaj Festa v New Orleansu. Od takrat je sodeloval na več kot 50 mednarodnih razstavah, predstavljen je bil v različnih tiskanih in spletnih publikacijah, oblikoval je naslovnice za revije, knjige in albume. Leta 2019 je prejel priznanje in umetniško štipendijo mesta Minneapolis, skupaj z nekaterimi lokalnimi umetniki je ustanovil tudi Collage Twin Cities Collage Kolektiv. V delu Formative Abscence namiguje na ideje tišine, zadušitve in omejevanja, hkrati pa še vedno uteleša občutek gibanja in energije ter vzpostavi iluzijo tridimenzionalnosti.

Ben DiNino is an American artist who started seriously showing his work in 2018 after attending the first Kolaj Fest in New Orleans. Since that time he has been in over 50 exhibitions internationally, has been featured in a variety of print and online publications, and has designed covers for magazines, books, and albums. In 2019 DiNino was awarded with a recognition and an art grant of the city of Minneapolis, and he also founded the Twin Cities Collage Collective with some local artists. In the work Formative Abscence he hints at the idea of silence, suffocation, and restriction, while still embodying a feeling of movement, energy and the illusion of three-dimensionality.

DEBORAH DI LEO (IT)

@deborahselimkitty

“Nespremenljivega ne moremo spremeniti. Ko se razburkajo viharji naših čustev in hrup zunanjega sveta oglušuje, je tišina temeljna dimenzija, ki ohranja naš notranji prostor svoboden, zaradi česar zaznamo tisto šepetajočo melodijo, ki nas vodi proti

mirnim vodam, da najdemo moč za nadaljevanje.” Deborah Di Leo se je rodila v Milanu, kjer živi in dela kot svobodna ilustratorka in umetnica. Diplomirala je na milanski Politehniki za oblikovanje in magistrirala na newyorški Šoli za vizualne umetnosti. Leta 1990 se je začela profesionalno ukvarjati z izdelavo kolažev, kolažne ilustracije ustvarja tako v digitalni kot analogni tehniki. Trenutno dela za več italijanskih revij, sodeluje z različnimi studiji in oglaševalskimi agencijami.

“We cannot change the unchangeable. When the storms of our emotions tumult and the noise of the outside world is deafening, it is Silence the fundamental dimension that keeps our inner space free, making us perceive that whispered melody that guides us towards calm waters to find the strength to continue.” Deborah Di Leo was born in Milan, where she lives and works as a freelance illustrator and artist. She graduated at Milan Polytechnic of Design and obtained a master degree at the New York School of Visual Arts. In 1990 she started making collages professionally, collage illustrations are created using both digital and analog techniques. Currently she works for several Italian magazines, cooperates with various studios and advertising agencies.

MARTIN DOŠEK (CZ)

martindosek.com

“Svet je zapleten. Na nas vpliva veliko dražljajev in informacij, zaradi katerih smo nekako izgubljeni, simboli, arhetipi, religije, sporočila ... Pa niti sami sebe ne poznamo. Poskušamo začrtati vse in najti pot skozi ta kaos." Martin Došek (1967) ustvarja in razstavlja kolaže že od 90. let prejšnjega stoletja. Gradivo za svoja dela najde v revijah, katerih vizualni vidiki prenašajo novo podobo našega sveta; v tem viru zna najti bistvo procesov, odnosov in skritih povezav.

Vsak kolaž daje vtis izrezka iz glasbenega videa, samo enkrat predvajanega filma ali izjemno natančnega spomina na sanje. Avtorja kolaž fascinira, ker je popolnoma svobodna oblika in ne nekakšen pop art dekolaž, temveč pristna nadrealistična obsesija stare šole.

“The world is complex. We are influenced by a lot of stimuli and information in which we are kind of lost, symbols, archetypes, religions, messages ... And we don't even know ourselves. We try to map everything and find our way through this chaos.” Martin Došek (1967) has been creating and exhibiting collages since the 1990s. He takes his material from magazines, whose visual aspects convey a recent image of our world; in this source he is able to find the essence of processes, relationships, and hidden connections. Each collage gives the impression of a cut from a music video, a film screened just once in time, or an exceptionally precise memory of a midnight dream. Došek is interested in collage because it is an entirely free form. This is not some pop art décollage, but rather a genuine, properly oldschool surrealist obsession.

BRIGIT EGGER (AT)

Za zvočni kolaž knerrha (2020) je Brigit Egger posnela hrup ognja, ga izrezala in zmontirala ter združila z zvokom analognega sintesajzerja. Hrup ognja je posnet iz kamina na hodniku stavbe, v kateri živi, v 500 let stari kmečki stavbi. Zvok, ki ga je Egger dodala s sintesajzerjem, poudarja njeno osebno razpoloženje, ki je prihajalo od znotraj – izraža kaos njenih misli in občutkov v času pandemije, ki se končno konča z občutkom pripadnosti in upanja. Brigit Egger (1993) je založnica, novinarka in kulturna delavka, ki je v Innsbrucku končala magistrski študij primerjalne književnosti in filozofije.

For the sound collage knerrha (2020) Brigit Egger recorded the noise of the fire, she cut and edited it and combined it with the sound of an analogue synthesiser. The noise of the fire is taken from a fireplace in the hallway of the building in which she lives, in 500 year's old farmer building. The sound she added with the synthesiser underlines her personal mood, that came from within – it expresses the chaos of Egger’ thoughts and feelings during the pandemic time, which finally ends in a feeling of belonging and hope. Brigite Egger is a publisher, a journalist and a cultural worker, who finished MA studies in Comparative Literature and Philosophy in Innsbruck.

JOHANNES CHRISTOPHER GERARD (NL) johannesgerard.com

Delo m19 (2022) govori o raziskovanju razmerja med tišino in mešanjem zvokov, ki vsebujejo zvoke narave, elektroniko, glasbo in glasove, ki ustvarjajo v celoti kaotično zvočno vzdušje. Tišina nastopi nepričakovano, ne da bi sledila določenemu vzorcu ali časovnemu zaporedju. Ne moremo vedeti, kako dolgo bo tišina ostala ali kdaj se bo končala. To lahko povzroči zmedo in negotovost, a hkrati odraža kaotično svobodo. V vsem glasnem hrupu in besu celega sveta potrebujemo trenutke tišine. Johannes Christopher Gerard (1959) je študiral na šoli za umetnost in oblikovanje Dun Laoghaire. Svoja dela je razstavljal na mednarodni ravni. Zvočno delo The Healing je predstavljeno na Listing to a New Brave World Istanbul Cinema Museum, Turčija in Centro Negra, AADK SP Blanca, Murcia, Španija.

Work m19 (2022) is about exploring the relationship between silence and mix sounds containing nature, electronic, music and voices, which create altogether a chaotic sound atmosphere. The silence occurs unexpectedly without following a pattern of length or

time distance. There is no hind how long the silence will stay or if the end is reached. That can cause confusion and uncertainty but it reflects a chaotic freedom at the same time. In all the loud noise and rage of the whole world you need moments of silence. Johannes Christopher Gerard (1959) studied at Dun Laoghaire School of Art and Design. He exhibited his work internationally. The sound work The healing is presented at Listing to a New Brave World Istanbul Cinema Museum, Turkey and Centro Negra, AADK SP Blanca, Murcia, Spain.

HELEN GRUNDY (GB)

@grundyhelen03

Helen Grundy je sodobna kolažna umetnica in izdelovalka predmetov, ki živi v Birminghamu v Veliki Britaniji ter dela tudi z brezdomci v središču mesta. Stremi k okoljsko trajnostni umetniški praksi, saj je kolaž umetniška oblika, ki ima recikliranje in preoblikovanje v samem jedru. Njeno delo ima močno pripovedno noto, za raziskovanje “težkih” tem se pogosto poslužuje humorja. Za svoje delo je bila nagrajena s štipendijo, ki jo podeljuje The Arts Council. Delo Anatomija prežvekovanja se osredotoča na preveč tišine in na to, kako lahko postanemo ujetniki lastnih misli, ki se zlahka spreobrnejo v skrbi in tesnobo. Misli tvorijo cikel, miselni vzorec, ki ga je treba prekiniti.

Helen Grundy is an object maker and digital collage artist living in Birmingham, who also work with homeless men and women in the city centre. She is interested in making her art practice environmentally sustainable as collage is the art form that has recycling and repurposing at its core. Her work has a strong narrative quality and she often uses humour to explore difficult themes. She has been awarded funding from The Arts Council. The work The Anatomy of Rumination focuses on too much silence and how

we can become trapped with thoughts that can easily become worries and anxiety. The thoughts are forming a cycle, a thought pattern, that needs to be broken.

ROCÍO GUERRERO (CL) @rociogpalma

“Opazujte hrup in cenite odsev. Spominja me, da je v meni prostor za kontemplacijo, ki ostaja neustrašen, predan okoliščinam, z zaupanjem raziskuje neznano in še naprej ljubi njegovo naravo.” Rocio Guerrero je čilenska sodobna umetnica, ki je diplomirala iz umetnosti na PUCV in ima izkušnje na področju konzerviranja, restavriranja in umetniške produkcije. Od 2017 do 2020 je delala v muzeju Museo de Arte Precolombino v Santiagu de Chile, kjer se je seznanila s predkolumbovsko kozmologijo in vizijo življenja. Pod tem vplivom trenutno raziskuje povezavo med naturalistično umetnostjo kolaža in terapevtsko astrologijo. Poučuje likovne delavnice za odrasle in mladostnike ter sodeluje na kolektivnih likovnih razstavah.

“Observe the noise and appreciate the reflection. It reminds me that there is a contemplative place inside me that remains undeterred, given over to circumstances, explores the unknown with confidence and continues loving its nature.”Rocio Guerrero is bachelor of Art PUCV with experience in conservation, restoration and art production. From 2017 to 2020 she worked in the collection area of the Museo de Arte Precolombino in Santiago de Chile, place where she became acquainted with the pre-columbian cosmology and life's vision. Influenced by this, currently she explores the link between naturalistic collage art and therapeutic astrology. She teaches art workshops for adults and adolescents and has participated in collective art shows.

RAMINA IBRAGIMOVA (GR)

Ramina Ibragimova (1995) zadnjih nekaj let prebiva v Solunu v Grčiji. Analogni in digitalni kolaži ter njene multimedijske umetniške tehnike ponujajo edinstven aspekt, iz katerega ustvarja impresivna dela. Elementi narave, kot so rože, metulji, oči, žuželke in živali, se nanašajo na drug svet, poln barv. Skozi umetniško delo želi prebuditi čustva, kot so ljubezen, strah, strast, nevarnost in nas opomniti, da je človekov obstoj odvisen od ekosistema, flore in favne.

Ramina Ibragimova (1995) resides the last few years in Thessaloniki, Greece. Analog & digital collages and her mixed media art techniques, offer a unique aspect, out of which she creates impressive pieces of contemporary art. Elements of nature, such as flowers, butterflies, eyes, insects & animals, refer to another world full of colours coming from planet earth. Her goal is to create emotions through her work such as love, fear, passion, danger, and to remind us that our existence depends on the ecosystem, the flora and fauna.

nove poti zvoka, trenutke spokojnosti in tišine. Kikimore (Katarina Legat Blomstedt, Staša Guček in Sara Pegam) so pričele ustvarjati hrup in spajkati lastna glasbila na t.i. Noise čajankah, ki so se v sklopu Iniciative ČIPke (Rampa Lab, Kersnikova) ter na pobudo Saše Spačal in Ide Hiršenfelder začele januarja 2016. Do danes so imele preko 30 nastopov doma in v tujini.

Kikimore is looking for a new term for sound collages, introducing the DIY concept not only in the field of creating analog electronic instruments, but also in the field of recording and independent composing of recorded sounds in post-production. Each kikimora, as an individual within a group, faces various new challenges (motherhood, entrepreneurship ...), which however, connect them even more strongly; and in this beautiful chaos of everyday life they try to survive as individuals and as a group look for new paths of sound, moments of serenity and silence. Kikimore (Katarina Legat Blomstedt, Staša Guček and Sara Pegam) started making noise and soldering their own musical instruments on Noise tea parties, which began as part of the ČIPka Initiative (Rampa Lab, Kersnikova) and on the initiative of Saša Spačal and Ida Hiršenfelder in January 2016. To date, they have had over 30 performances at home and abroad.

KIKIMORE (SI) kimore.net

Kikimore s t.i. zvočnim kolažem iščejo nov izraz in pri tem vpeljujejo koncept DIY (“naredi sam”) ne samo na področje ustvarjanja analognih elektronskih inštrumentov, ampak tudi na področje snemanja in samostojnega skladanja posnetih zvokov v postprodukciji. Vsaka kikimora se kot posameznica znotraj skupine sooča z različnimi novimi izzivi (materinstvo, podjetništvo...), ki pa jih še močneje povezujejo med seboj; in v tem prelepem kaosu vsakdanjega življenja poskušajo pre-živeti kot posameznice ter kot skupina na srečanjih iskati

OLGA KLIM (UK)

@klim.art_2b

»Ali tišina povzroča izolacijo ali izolacija povzroča tišino? To je dvostranski proces. Brez komunikacije oseba preneha obstajati za druž in je obsojena na osamljenost. Zaradi kaosa pa se človek izgubi, vizija prihodnosti izgine, življenje se spremeni v en dolg dan z ozadjem spreminjajočih se dogodkov." Olga Klim (1977) je ukrajinska kolažistka, ilustratorka in scenaristka, diplomirala je na Akademiji za kulturo in umetnost v Kijevu. Od

leta 2020 se aktivno ukvarja z digitalnim kolažom v polju nadrealizma in uredniškega kolaža. Njena dela so bila objavljena v francoskem časopisu Libération in predstavljena na razstavi Nadrealistične sanje za dogodek Dreaming After Dark v muzeju Te Papa Tongarewa na Novi Zelandiji. Je tudi članica umetniške skupine ParisCollageCollective.

“Does silence breed isolation, or does isolation breed silence? This is a two-sided process. A person ceases to exist for society without communication and is doomed to loneliness. Chaos makes a person get lost, the vision of the future disappears, life turns into one long day against the backdrop of changing events.”

Olga Klim (1977) is Ukrainan collagist, illustrator and screenwriter, graduated from the Academy of Culture and Arts in Kyiv. Since 2020, during the pandemic, she has been actively engaged in digital collage in the genre of surrealism and editorial collage. The artworks were published in the national French newspaper Libération and presented at the exhibition Surrealist Dreams for the event Dreaming After Dark at Museum of Te Papa Tongarewa of New Zealand. She is also member of the ParisCollageCollective.

PAOLA LESINA (IT) paolalesina.com

Paola Lesina (1987) deluje kot multimedijska umetnica, ki se ukvarja s kombinacijo performansa, vizaulne umetnosti, zvoka in pisanja. Njeno estetsko raziskovanje se osredotoča na kompozicijo, montažo in improvizacijo. Je kustosinja Mosse, preglednih srečanj, povezanih s skupnostnimi praksami, in delavnic o eksperimentiranju in dojemanju govorice telesa in vizualnega. Ponavljajoča se značilnost umetniške prakse Lesine je filozofija ponovne uporabe materiala, besede ali slike za ponovno raziskovanje, spreminjanje, premikanje in ustvarjanje novih krajev ali konceptov z dekontekstualizacijo

njegove začetne narave. Letos je izdala svoj prvenec Hot Conversation (Falt Record).

Paola Lesina (1987) works as a visual artist mixing performance, painting, sound and writing. Composition, assembly and improvisation are the cardinal points on which her aesthetic research focuses. She is the curator of Mossa, a review of meetings related to community practices and workshops on the experimentation and perception of body language as well as visual. A recurring feature and practice of Lesina's work is the philosophy of reusing a material, a word or an image to re-explore it, modify it, move it and create new places or concepts by decontextualizing it from its initial nature. This year she released her debut album Hot Conversation (Falt Record).

VIRGINIA LORENZETTI (IT) @virgissima

Virginia Lorenzetti (1998) je italijanska umetnica in magistrska študentka s sedežem v Rimu, ki trenutno študira na HFBK v Dresdnu, v Nemčiji. Njena umetniška praksa želi doseči oblikovno ravnotežje, raziskati vidike njene realnosti in ponuditi refleksivno in občutljivo dramatično vizijo. Njen najljubši medij je papir, ki ji omogoča ustvarjanje tankih in minljivih struktur. Namen avtoričinega dela se vrti okoli raziskovanja in eksperimentiranja na grafični ravni ter se giblje skozi risanje, graviranje, kolaž in vezenje. Prav tako Lorenzetti raziskuje naravne tehnike barvanja na različnih vrstah papirja in tkanin. Delo Avtoportret je stalen proces, priča o določenem prehodu. Projekt gradi na poskusu izstopa iz stanja nadzorovanega in brezosebnega reda ter poskuša doseči stanje kaosa. Kaos ni uničujoč ali dezorientirajoč: je stanje, ki nam omogoča, da premagamo svoje meje in poskušamo najti dražljaje, ki posegajo v stanje (ne)udobnega ravnovesja.

Virginia Lorenzetti (1998) is an Italian artist and Master student based in Rome, currently studying at the HFBK Dresden, Germany. Her research aims to achieve balance in the image, investigate aspects of her reality, and offer a reflective and delicately dramatic vision. The favourite medium is paper, which allows her to create thin and evanescent structures. The purpose of her work revolves around research and experimentation on the graphic sign and moves through drawing, engraving, collage and embroidery. Likewise, she carries on her researches on natural dyeing techniques on different types of paper and fabrics. The work Self-Portrait is an ongoing process, it testifies to a passage. Project lays its foundations on the attempt to get out of a condition of controlled and impersonal order, trying to reach a state of chaos. Chao is not destructive or disorienting: it is a condition which allows you to overcome your limits, trying to find stimuli that break the state of (un)confortable equilibrium.

MIRANDA MAHER (US) miranda-maher.com

»Tihi kaos? Ko pogledam to sliko, slišim kakofonijo vseh ptic ... klicev, prepiranj in tudi krikov njihovega plena. Toda kolaž je vedno brez zvoka (mi zapolnimo tišino).” Miranda Maher, tako kot tudi večina njenih del, skuša odpraviti samodejne vrednostne sodbe, zlasti tiste v svetu narave. Miranda Maher (1955) je ameriška sodobna umetnica, ki je veliko razstavljala po vsem svetu.Uredila je tudi več kot 10 umetniških knjig (Printed Matter, New York), njeno delo pa je zastopano v zbirkah Muzeja moderne umetnosti, Muzeja ameriške umetnosti Whitney, Muzeja sodobne umetnosti (Chicago), bostonskega muzej in brooklynškega muzeja.

“Silent chaos? When I look at this image, I hear the cacophony of all those birds… calling, squabbling,

and their prey’s cries as well.” Like much of her work, Miranda Maher (1955) tries to unsettle automatic value judgments, especially of the natural world. Miranda Maher is American contemporary artist who has exhibited extensively all around the world. Along with her exhibition work, she has editioned more than 10 artist books (Printed Matter, New York) and is in the collections of Museum of Modern Art, Whitney Museum of American Art, Museum of Contemporary Art (Chicago), Boston Museum, and Brooklyn Museum.

VIRGINIE MALTAIS (CA)

virginiemaltais.com

Kanadska umetnica Virginie Maltais (1988) v svoji delih ustvarja sanjski prostor, poln gibanja. Dela odražajo osebne življenjske izkušnje in imajo veliko čustvenega naboja. Ima diplomo Univerze v Montrealu. Njeno avtorsko delo v stop-motion tehniki Rain je bilo izbrano na festivalu Collagistas 2019. Sodelovala je na nekaterih mednarodnih razstavah kolažev: Retroavangarda 2020, Espace MonetRollinat 2021 in Cut and Glue Fest 2021. Kurirala je tudi skupinske razstave v Montrealu, RetaillesuGalerija Marc Gosselin 2019 in Look Around - Coups de pinceaux coups de ciseaux 2022. Je ustanoviteljica kolažne skupnosti Quebec Collage.

Canadian artist Virginie Maltais (1988) creates dreamlike space full of movement in her works, which reflect her personal life experiences and carry a lot of emotional charge. She hold a bachelor degree (University of Montreal). Her stop-motion Rain has been selected at Collagistas Festival 2019. She took part at some international collage exhibitions, Retroavangarda 2020, Espace Monet-Rollinat 2021 and Cut and Glue Fest 2021. She has curated group exhibitions at Montreal City, Retailles - Marc Gosselin gallery 2019 and Look Around - Coups de pinceaux

coups de ciseaux 2022. She is the founder of Quebec Collage, a collage community.

FERNANDA PORTO (BR)

fernandaportoart.com

Fernanda Porto (1981) kot multidisciplinarna vizualna umetnica uporablja različne medije, kot so slikanje, instalacija, performans in predvsem kolaž. Porto se je rodila v Braziliji, kjer je študirala likovno umetnost na UFRGS, zdaj živi in dela v Berlinu v Nemčiji in je soustanoviteljica platforme Berlin Collage Platform. Njeni umetniški projekti so med seboj povezani s ponavljajočo se temo, vplivom uporabe mobilnih telefonov in interneta na sodobno družbo ter učinkom tehnologije na naš življenjski slog. Fernanda Porto je sodelovala na umetniških rezidencah v Španiji in Nemčiji ter predstavljala svoja dela na samostojnih in skupnih razstavah v Braziliji in Evropi. Njena dela so del zbirke The Prived Collage Collection Doug + Laurie Kayner (ZDA), kjer je bila za svoja dela tudi nagrajena. Deluje tudi kot kustosinja.

As a multidisciplinary visual artist, Fernanda Porto (1981) transits different mediums, such as painting, installation, performance, and foremost collage. The artist was born in Brazil, where she studied fine arts at UFRGS, she now resides and works in Berlin, Germany, and is co-founder of the Berlin Collage Platform. Her artistic projects are interconnected through a recurring topic: the impact of cellphone and internet use in our contemporary society and the effects of technology on our lifestyles. Fernanda Porto participated in artist residencies in Spain and Germany and presented her works in individual and collective exhibitions in Brazil and Europe. Her works are now part of The Prived Collage Collection Doug + Laurie Kayner (USA), where she was also selected as award winner. She also works as a curator.

ANGELA SCARDIGNO (AR/US)

angelascardigno.com

Angela Scardigno je v delu Popolnoma utišan združila elemente, ki predstavljajo kaos v napačni/naključni strukturi. Ta ustvarja intrigantno vzdušje. Avtorica se sprašuje o tišini in dilemi dodaja lastne ugotovitve, ker verjame, da je tišina neločljiv del kaosa. Angela Scardigno (1979) je argentinska umetnica, ki živi in dela v McAllenu v Teksasu. Je kolažna in multimedijska umetnica, ki nenehno raziskuje različne medije, kot so digitalni kolaž, papir, vezenje in druge. Njena dela so bila razstavljena na številnih samostojnih in skupinskih razstavah ter objavljena v več revijah in zbornikih.

In work Completely Silenced Angela Scardigno put together elements that represent chaos in an erratic/accidental structure generating an intriguing atmosphere. She questions silence and adds more interrogations to this dilemma because she believes that silence is an inextricably part of chaos. Angela Scardigno (1979) is an Argentinian artist who lives and works in McAllen, Texas. She is a collage/mixed media artist who continuously explores different media, such as digital, paper, thread, and more. Her work has been exhibited at many solo and group exhibitions and published in several magazines and journals.

DAFNA STEINBERG (US)

dafnasteinberg.com

Eden izmed najljubših načinov pobega Dafne Steinberg je nagnjenost k absurdu. Slišati nekaj neobičajnega lahko v vsakdanjik prinese veselje. Zvočno delo Zvok iz Ulice češenj / Cherry Street Sound Piece je bil prvotno navdihnjen s fotografijo poljskih mornarjev, ki igrajo glasbo, medtem ko so

zasidrani na pomolu v Philadelphiji. Narejen je bil kot odgovor na vprašanje “Zakaj ima polka glasba zven zvoka pod vodo?” Dafna Steinberg (1982) je fotografinja, ki živi in dela v Philadelphii, PA. Steinberg je svoja dela razstavljala na skupinskih in solo razstavah po vsej Ameriki. Njeno delo uteleša teme, kot so žalost, intimnost in spol.

One of Dafna Steinberg’s favourite ways to escape is to lean into the absurd. Hearing something out of place can bring a bit of joy into an otherwise dreary existence. The piece Cherry Street Sound Piece was originally inspired by a photograph of Polish sailors playing music while docked at a pier in Philadelphia. It was made to answer the question: What does polka music sound like underwater? Dafna Steinberg (1982) is a lens-based artist living and working in Philadelphia, PA. Steinberg has an extensive national exhibition career. Her work embodies themes such as grief, personal intimacy, and gender.

CHRISTINE STODDARD (US) worldofchristinestoddard.com

“Tišina v nas samih je lahko globoka kot morje. Plavam nazaj k sebi in plavam v sebi, da pobegnem od kaosa. Tako se ponovno zaženem in napolnim. Najvarnejše mesto je v moji lastni koži. Tam najdem zatočišče pred kaosom. () Moja tišina me ne samo rešuje, ampak je sveta.” Christine Stoddard (1988) je pisateljica in umetnica, ki ustvarja knjige, kolaže, filme, slike in drugo. Ustanovila je Quail Bell Press & Productions, ki vključuje revijo Quail Bell Magazine. Režirala je celovečerni film Sirena's Gallery in je med drugim avtorica knjig Heaven is a Photograph, Naomi & The Reckoning in Water for the Cactus Woman. Njena dela so bila objavljena v The Brooklyn Rail, Ms. Magazine, The Huffington Post, The Portland Review, The Feminist Wire in drugod.

“The silence within ourselves can be as profound as the sea. I swim back to and within myself to escape the chaos. This is how I reset and recharge. The safest place is inside my own skin. There, I find refuge from the chaos. () My silence is not only life-saving but sacred.” Christine Stoddard (1988) is a writer and artist creating books, collages, films, paintings, and more. She founded Quail Bell Press & Productions, including Quail Bell Magazine. She directed the feature film Sirena's Gallery and authored the books Heaven is a Photograph, Naomi & The Reckoning, and Water for the Cactus Woman, among others. Her work has appeared in The Brooklyn Rail, Ms. Magazine, The Huffington Post, The Portland Review, The Feminist Wire, and beyond.

SIMON WELSH (AU)

sydneycollagesociety.com/simon-welsh

Bife, delo avstralskega umetnika Simona Welsha, predstavlja mir v kaosu. Avtor izpostavi ravnovesje, s katerim se moramo vsi zadovoljiti, ko se soočamo s skrajnostmi hrupa, tesnobe in zunanjega sveta. Njegova osrednja figura je odeta v norost in kaos, svet presežkov in pomanjkanja. Z Bifejem je želel poudariti tudi okoljsko stisko planeta in presežne želje človeštva, da bi vzeli več, kot je potrebno. Simon Welsh (1984) je kolažni umetnik, ki svoj kolaž imenuje merilna naprava za odčitavanje zdravja družbe. V svojih delih je pogosto erotičen in igriv, osredotoča se na spol, združevanje naravnih elementov s spolno usmerjenostjo, religiozno ikonografijo in simboliko osebnih misli. Like konstruira, da dvomi o stališčih, stigmah in nenapisanih pravilih njegove LGBTQI+ izkušnje.

Simon Welsh’s work Buffet represents the calm amongst the chaos. Author is representing the balance we all must content with, when faced with the extremes of noise, anxiety and the outside world.

His central figure is clothed in insanity and chaos, a world of excess and want. With Buffet he also wanted to highlight the plight of the planet and humanity excess desires to take more than is needed. Simon Welsh (1984) is a Sydney based collage artist who calls his collages a measuring device of society’s health. In his works he is offten erotic and playful, focusing on gender, queerness with amalgamations of natural elements, religious iconography & symbolism of his own inner personal thoughts. Constructing characters to question the attitudes, stigmas and unwritten rules of his LGBTQI+ experience.

TIŠINA V FOKUSU SILENCE ON THE EYE

FESTIVAL KOLAŽA CUTOUT: KRIK IZ TIŠINE CUTOUT COLLAGE FESTIVAL: SCREAM IN SILENCE @CUTOUT.FESTIVAL

Mila Cheprasova, Anhelina Datsiuk, Olga Drozd, Yulia Fareniuk Chloe, Maryna Gerdiy, Eva Holts, Mykhailo Honcharenko,

Hrydasova,

“Mi smo, tako kot kolažne skupnosti na splošno, zelo prijazni. Tudi v vojni podpiramo drug drugega. Še vedno ne vem točno, kje so zdaj vsi. Ampak vem, da imamo drug drugega. Kolaž je v tem času postal za vsakogar dobra terapija, a nekateri od nas prva dva meseca vojne sploh nismo mogli ustvarjati umetnosti. Vojna nam je ukradla toliko stvari. Večina nas se celo boji pokazati občutke skozi umetnost, ker je prisotno toliko bolečine. Vsak dan poskušamo nadaljevati življenje in spati skupaj s sirenami. Zdaj ima vse koeficient vojne. Naučili smo se, da ne vemo, kaj se bo zgodilo čez minuto, in še vedno verjamemo v najboljše, saj nimamo druge izbire.” (Katya Syta)

Festival kolaža CUTOUT je prvi kolažni projekt v Ukrajini. Cilj festivala je promovirati kolaž kot sestavni del sodobne umetnosti. Ustanovile so ga umetnice Annete Sagal, Katya Syta in Olha Syta, članice kolektiva Kyiv Collage Collective, ki je začel delovati leta 2021. Prva edicija festivala se je zgodila junija 2021 v Kijevu v Muzeju zgodovine in Galeriji RA. Druga edicija je bila načrtovana za leto 2022, vendar je zaradi vojne z Rusijo trenutno odpovedana. Festival CUTOUT je ob osrednji razstavi razvil več kolažnih projektov: CUTOUT Collage Studio, odprt avgusta 2021, ponuja umetniški prostor rezidenčnim umetnikom, ki tam tudi mesečno razstavljajo, hkrati pa tudi delavnice kolaža in predavanja; CUTOUT Lovers je projekt, ustvarjen za razstave ukrajinskih umetnikov kolaža v ukrajinskih kulturnih ustanovah – prva razstava je bila februarja 2022 v galeriji “Mytets” v Kijevu; in CUTOUT Store, ki je umetniška platforma na Facebooku, kjer lahko ukrajinski umetniki prodajajo ter kupujejo avtorska kolažna dela. Kljub temu, da se Ukrajina danes sooča z grozljivimi posledicami ruske vojne, kolažna skupnost, ki se je zgradila okrog festivala, ne obupuje in trdo dela, da se bo naslednji festival enkrat odvil.

Za novice in podporo ukrajinskemu Festivalu kolaža CUTOUT obiščite @cutout.festival na Instagramu

“We, like the collage communities in general, are very friendly. Even in the war time we support each other. I still don’t know exactly where everyone is now. But I know that we have each other. Collage became for everyone a good therapy during this time, but some of us couldn’t make art at all for the first two months of war. War had stolen so many things from us. Most of us are even scared to show feelings through art because there is so much pain in it. Every day we sleep and try to continue life under sirens. Now everything has a coefficient of war. We learned that we don’t know what will happen in a minute and still believe in the best, because we don’t have another choice.” (Katya Syta)

CUTOUT Collage Festival is the first collage project in Ukraine that aims to promote collage as an integral part of contemporary art. It was founded by Annete Sagal, Katya Syta and Olha Syta, who are also members of Kyiv Collage Collective, which started to operate in 2021. The first festival was held in Kyiv in June 2021 in the Museum of Kyiv History and RA Gallery. The second festival was planned for 2022 but it is paused due to war with Russia. Festival, along the main event, developed several collage projects: CUTOUT Collage Studio was opened in August 2021 and it offers art space for the residents, with a new exhibition monthly, collage workshops and lectures; CUTOUT Lovers is a project created to have exhibitions outside of the studio in Ukraine’s cultural institutions with collage artists from all Ukraine - the first exhibition was held on February 2022 at the «Mytets'' Gallery in Kyiv; and CUTOUT Store, which is an art platform on Facebook where Ukrainian can sell/buy original collage artworks. Today, Ukraine is facing horrible consequences of the Russian war, but the community is not giving up and working hard to make the next festival happen. Please follow @cutout.festival for the updates.

To support the project you can purchase original CUTOUT merch via Redbubble store. The funds will go to the project's development.

Hanna

Yaroslava Huz, Sasha Kitaeva, Oleksandra Kulikovska, Katya Lisova, Alexandr Meshcheriak, Valeria Miroshnikova, Natalia Ohman, Vika Ostrenko, Ziu Poberezhniuk, Pro100isus, Annete Sagal, Anna Serbinova, Olesia Serohina, Maria Shapranova, Uliana Shchabel, Yaroslava Shkolna, Lena Solomenchuk, Katya Syta, Patricia Tokav-Sedh, Oleksandra Tretiakova, Kseniya Turenko, Anastasiia Viekua, Kovtun Vsevolod, Daria Zoria

Mergentalerjeva ulična galerija Layerjeve hiše in TAM-TAMa | Mergentaler Street Gallery of Layer House and TAM-TAM

RICARDO MIGUEL HERNANDEZ (CU)

Kolaži | Collages Layerjeva hiša | Layer House

KO SE SPOMIN SPREMENI V PRAH WHEN THE MEMORY TURNS TO DUST

Delo Ko se spomin spremeni v prah, je reflektivni proces, v katerem Ricardo Miguel Hernandez združuje empirično, psihološko in kritično. Naključno gesto med izbiro določenega fotografskega dokumenta in predsodkom v fakturi različnih zgodb pojmuje kot prakso, pri kateri navidezno za enkratno uporabo, staro ali preostalo nosi težo spomina. Ta se mu predstavlja kot pretveza za rekontekstualizacijo. Zgodbo resemantizira na fotografskem papirju. Vestno manipulira ter natančno razdeljuje druge realnosti, sestavljene in pohabljene, saj ne namerava prikriti sledi časa na papirju, ki izhajajo iz fotokolažev.

Ricardo Miguel Hernandez (1984) je kubanski umetnik, ki je študiral na Cátedra Arte de Conducta. Svoja dela je razstavljal na več samostojnih razstavah po vsem svetu, na primer v Grenze - Arsenali Fotografici, Verona; Ludwigova fundacija na Kubi, Havana; in tudi na skupinskih razstavah: PhotoEspaña 2020 in 2019, Madrid; FestFoto Brazil v Porto Alegreju, ESMoA El Segundo Museum of Art v Los Angelesu, Foto Museo 4 Caminos v México Cityju, PAC Padiglione D Arte Contemporanea, Milano; ZAC Zisa Arti Contemporanee v Palermu; DOX center za sodobno umetnost; Praga, 6. salon sodobne kubanske umetnosti, Havana in drugi.

When the memory turns to dust is a reflective process in which Ricardo Miguel Hernandez combines the empirical, psychological and critical. He conceives the random gesture between the selection of a certain photographic document and the preconception in invoice of different stories, as a rescue practice where the apparently disposable, old or residual bear the weight of a memory that is presented to him as a pretext to recontextualize and resemantize the frozen story on photographic paper. He conscientiously manipulates, meticulously elaborates other realities, juxtaposed, assembled, mutilated, where he does not intend to disguise the traces of time on paper, nor the seams resulting from these photo collages.

Ricardo Miguel Hernandez (1984) is Cuban artist who studied at the Cátedra Arte de Conducta. He has exhibited his work in several solo exhibitions all around the world, such as in Grenze - Arsenali Fotografici, Verona; Ludwig Foundation of Cuba, Havana; and also at group exhibitions: PhotoEspaña 2020 and 2019, Madrid; FestFoto Brazil in Porto Alegre, ESMoA El Segundo Museum of Art in Los Angeles, Foto Museo 4 Caminos in México City, PAC Padiglione D Arte Contemporanea, Milano; ZAC Zisa Arti Contemporanee in Palermo; DOX Centre For Contemporary Art; Prague, 6th Contemporary Cuban Art Salon, Havana and others.

DONESKI K SLOVANSKI MITOLOGIJI

Tomaž Črnej se v projektu Doneski k slovanski mitologiji ukvarja s pozicijo ženske figure, ubesedene skozi narativ slovanske mitologije, v kateri so bila ženska mitološka bitja močno zastopana in pomembna. V studiu posneti ženski liki so upodobljeni v maniri ženskih aktov iz sredine prejšnjega stoletja, ki jih avtor projecira na drevesne krošnje. Drevesa tako postanejo paravan za upodobitev anonimnih sodobnic, ki nastopajo v vlogi boginj, vil, rusalk, rojenic … Gre za mitološka bitja, ki so bila tudi spričo svoje človeškosti in zmotljivosti nekoč zelo popularna, dandanes pa se zdi, da so precej pozabljena. Njihova umestitev na drevesne krošnje sproža dodatne aluzije na pogansko izročilo, kjer so tudi rastline igrale pomembno vlogo. Avtorjeva intervencija tako hkrati izpostavlja princip ženske kot tudi narave in njunih skrivnosti.

Tomaž Črnej se je začel s fotografskim medijem ukvarjati kot samouk in se kmalu usmeril v polje, ki se giblje med narativno dokumentarno in umetniško fotografijo. S svetlobno instalacijo Doneski k slovanskimi mitologiji je sodeloval na festivalu Celje Fokus 2015 in Svetlobna Gverila 2016 (Ljubljana). Avtorja zanimajo družbeno angažirani in participatorni projekti. Črnej je razstavljal v Sloveniji, Italiji in Avstriji. Za svoje fotografsko delo je prejel domače in mednarodne omembe, priznanja in nagrade.

TOMAŽ ČRNEJ (SI)

Svetlobna projekcija | Light projection

CONTRIBUTIONS TO SLAVIC MYTHOLOGY

In the project Contributions to Slavic Mythology, Tomaž Črnej deals with the position of the female figure, articulated through the narrative of Slavic mythology, in which female mythological beings were strongly represented and important. The female characters filmed in the studio are depicted in the manner of female nudes from the middle of the last century, which the author projects onto tree canopies. Trees thus become a screen for depicting anonymous contemporaries who act as goddesses, fairies, mermaids, natives… These are mythological creatures that were once very popular due to their humanity and fallibility, but today they seem to be quite forgotten. Their placement on tree canopies triggers additional allusions to the pagan tradition, where plants also played an important role. The author's intervention highlights the principle of women as well as nature and their secrets.

Tomaž Črnej started his photographic media activities as a self-taught person and soon focused on the field that moves between narrative documentary and art photography. He participated in the Celje Focus 2015 festival in Svetlobna Gverila 2016 (Ljubljana) with the light installation Doneski k slovanski mitologiji. The author is interested in socially engaged and participatory projects. Črnej has exhibited in Slovenia, Italy and Austria. He has received national and international mentions, recognitions and awards for his photographic work.

MARTIN GERIGK (DE) NIKOLA GOCIĆ (RS)

Video kolaž in kolaž

| Video collage and collage ČUTNOST NARCIZMA

La Sensualité du Narcissisme Martina Gerigka in Nikole Gocića je čuten, nadrealističen esej o temni plati našega trenutnega medijskega okolja: vse večji težnji posameznikov, da svoje spletne osebnosti tržijo kot blagovne znamke, kar se hrani v neskončnem poželenju pozornosti. Nastali spektakel samoprikazovanja je lahko moteč. Delo je drugi del avdiovizualne serije, imenovane Demi-Bogovi. Zvočna podlaga je mešanica svetlih, prekrivajočih se četrttonskih zvokov in eksperimentalnih godalnih ter pihalnih tehnik, v kombinaciji z ekspresivnimi, erotičnimi ženskimi glasovi. Je priklic nekdaj tabuiziranega užitka občudovanja narcizma drugih.

Martin Gerigk (1972) je skladatelj sodobne glasbe. Njegove skladbe redno izvajajo mednarodno znani solisti in ansambli. Znan je tudi po svojih izjemnih eksperimentalnih filmih, ki se osredotočajo na sinestetične povezave zvočnih in vizualnih zaznav. Poleg ustvarjanja prepletenih zvočnih in vizualnih pokrajin glasbe, zvoka in videa je pomemben vidik njegove umetnosti ponazoritev skrite poezije naravnih pojavov, sociologije in znanosti. Njegovi eksperimentalni filmi so prejeli več mednarodnih nagrad in so bili predvajani na znanih festivalih.

Nikola Gocić (1980) je filmski recenzent in kolažist. Avtor bloga NGboo Art pogosto in uspešno sodeluje s filmskim ustvarjalcem Rouzbehom Rashidijem pri pisanju kinematografskih člankov, in s skladateljem Martinom Gerigkom pri kratkih animiranih kolažnih filmih. Pet njegovih esejev je objavljenih v knjigi Sijoča praznina: Dvajset let eksperimentalne filmske družbe. Oblikoval je številne filmske plakate in posamezne naslovnice za newjorškega umetnika Martina Del Carpia. Od leta 2019 je soselektor Kinoskopa – mednarodnega festivala analognega eksperimentalnega filma v Beogradu. V svoji umetniški praksi združuje različne vplive v lastno ezoterično mitologijo.

LA SENSUALITÉ DU NARCISSISME

La Sensualité du Narcissisme is a sensual, surreal essay about one of the dark facets of our current media environment: the increasing tendency for individuals to market their on-line personas as brands, feeding into a never-ending lust for attention. The resulting spectacle of self-display can have a disturbing beauty. It’s the second part of an audiovisual series called Demi-Gods. The soundtrack is a mixture of bright, overlapping quarter tone sounds and experimental techniques of string and woodwind instruments, combined with expressive, erotic female voices. An evocation of the formerly taboo pleasure of admiring the narcissism of others.

Martin Gerigk (1972) is a composer of contemporary music. His compositions are regularly performed internationally by well-known soloists and ensembles. He is also known for his remarkable experimental films which focus on synesthetic connections of sound and visual perceptions. Besides creating interwoven aural and visual landscapes of music, sounds and video, one important aspect of his art is the illustration of the hidden poetry of nature phenomena, sociology and sciences. His experimental films won several international prizes and were screened at noted festivals.

Nikola Gocić (1980) is a film reviewer and collage artist. An author of NGboo Art blog, he has frequently and successfully collaborated with filmmaker Rouzbeh Rashidi on cinema-related articles, and with composer Martin Gerigk on animated collage shorts. Five of his essays are published in the book Luminous Void: Twenty Years of Experimental Film Society. He has designed numerous film posters and single covers for NYC-based artist Martin Del Carpio. Since 2019, he is a co-cselector of Kinoskop –International Festival of Analog Experimental Cinema in Belgrade. In his art practice, he blends varied influences into his own esoteric mythology.

Nikola Gocić: Polbog zlovešče tišine The Demigod of Ominous Silence

SŠOF LJUBLJANA

SREDNJA ŠOLA ZA OBLIKOVANJE IN FOTOGRAFIJO LJUBLJANA HIGH SCHOOL FOR DESIGN AND PHOTOGRAPHY LJUBLJANA

2. in 3. letnik umetniške gimnazije in grafičnega oblikovanja Srednje šole za oblikovanje in fotografijo Ljubljana | 2nd and 3rd year of the Art Gymnasium and Graphic Design of the Secondary School of Design and Photography Ljubljana

Tekst | Written by: Kaja Urh Mentorice | Mentors: Svetlana Jakimovska Rodić, Veronika Vesel Potočnik in Kaja Urh

TIŠINA V ČASU HRUPA SILENCE VS. NOISE

Je tišina le odsotnost hrupa, ali obstaja nekaj globljega, kar jo opredeljuje - nekaj, kar je treba razumeti; priložnost za meditacijo; nuja, ki jo je treba povabiti v svoje življenje? Če govorimo o pravi moči tišine, ali mir zraste iz tišine? Tišino včasih bolj kot niz pogojev, opredeljuje izkušnja. Kako torej zapolniti to vrzel? Kako razlikovati mirno okolje od izkušnje tišine? Onkraj tega očitnega razumevanja tišine lahko njen pomen povežemo z marsičim - vse od enostavnosti, velikega miru, pa do izpraznjenosti materialnih hrepenenj. Najglasnejši argument za tišino je lahko refleksija tega, kar sicer ostaja v nevarnosti, da bo ostalo neslišano.

Predstava tišine je skupni imenovalec razstavljenih kolažev, ki so jih dijaki ustvarili v okviru predmeta likovna teorija. Vse ostalo je zmes likovnih elementov, ki nam v svoji sopostavitvi odprejo vrata v svet likovnega jezika kompozicije. Bistveno za razumevanje kompozicije in posledično vsebine je opazovanje posameznih elementov in predvsem odnosov, ki vladajo med njimi. Le-ti izhajajo iz likovno teoretskih iztočnic obravnave vrst kompozicij in likovnih spremenljivk, ki so jih dijaki spoznali na novo.

Stolp Pungert in kavarna Layerjeve hiše | Pungert Tower and Layer House Cafe

Is silence only the absence of noise, or is there something deeper that defines it - something to be understood; opportunity for meditation; a necessity to be invited into your life? Speaking of the true power of silence, does peace grow out of silence? Silence is sometimes more defined by experience than a set of conditions. So how do you fill that gap? How to distinguish a peaceful environment from an experience of silence? Beyond this obvious understanding of silence, its meaning can be linked to many things - from simplicity, great peace, to the emptiness of material longings. The loudest argument for silence may be a reflection of what otherwise remains in danger of remaining unheard.

The performance of silence is the common denominator of the exhibited collages created by the students within the subject of art theory. Everything else is a mixture of artistic elements, which in their juxtaposition open the door to the world of the artistic language of composition. It is essential for understanding the composition and consequently the content to observe the individual elements and, above all, the relationships that prevail between them. These are based on art-theoretical starting points for the treatment of types of compositions and art variables that students have learned anew.

Jana Badovinac, Manja Ban, Kaja Bernot, Nik Bernot, Nika Bochl, Tara Bogovič, Anita Boštic, Nika Buček, Pia Cerar, Nina Črček, Anja Gartnar, Živa Hegler, Maša Hostak Gobec, Maša Jančar, Tamara Jelušič, Neža Konjar, Barbara Katarina Kranjec, Lina Kadunc, Ula Laharnar, Galina Malik, Lea Marn, Nina Nadj, Lucija Pečarič, Tijana Popovič, Irinea Potočnik, Nina Ribič Vodlan, Ela Rihar, Ema Rizvič, Jaka Rot, Špela Rotar, Pia Smolič, Mithra Strojan, Manja Šiška, Lucija Štefančič, Maša Težak, Tinkara Vatovec, Gaja Zorič, Matic Žigman

KAOS 2020

Foto Photo: Maša Pirc

KOLAŽ V JAVNEM PROSTORU 2020 COLLAGE IN OPEN SPACE 2020

Rezidenčni umetniki so v sklopu 3. edicije Festivala sodobnega kolaža KAOS tekom bivanja v Layerjevi hiši ustvarili murale, instalacije in kiparska dela v javnem prostoru.

As

part of the 3rd edition of the KAOS Festival, resident artists created murals, installations and sculptures during their stay in Layer House.

Anja Kranjc (SI)

Nevidno vidno Invisibly Visible, 2020 Layerjeva hiša Layer House

Foto | Photo: Maša Pirc

Karol Kuhar (SI)

Fragmenti nekega časa Fragments of some time, 2020

Medprostor | I n–Between Space

Foto | Photo: Maša Pirc

Eva Mlinar (SI)

Omizje izbirčnih bralcev Elective Readers' Table, 2020

Zid pred Mestno knjižnico Kranj Wall in front of kranj City Library

Foto | Photo: Maša Pirc

KAOS X ALMA

Gostujoča razstava festivala sodobnega kolaža KAOS

| KAOS Visiting exhibition

Hiša ALMA in Spominska hiša Alojza Gradnika in Ludvika Zorzuta

| ALMA House and Memorial House of Alojz Gradnik and Ludvik Zorzu t 16. 9. - 16. 11. 2021

@alma_medana

Po treh plodnih letih je Festival KAOS jeseni 2021 gostoval v Hiši ALMA in v Spominski hiši Alojza Gradnika in Ludvika Zorzuta s skupinsko razstavo rezidenčnih umetnikov Urške Mazej, Bruta Carniollusa, Barbare Demšar, Andreja Štularja, Eve Mlinar in Anje Kranjc ter samostojno razstavo Karla Kuharja.

Hiša ALMA je hiša sodobne umetnosti, ki se je oblikovala v sodelovanju z akademskim slikarjem Klemnom Brunom, v njej ima tudi svoj atelje in stalno razstavlja. Gre za briško hišo, umeščeno v samo jedro vasi Medana. Nedavno je bila prenovljena in predstavlja nekoliko drugačen razstavni prostor, saj se zdi kot da se sprehajate po stanovanjski hiši, v kateri lahko tudi prespite. Urejena v duhu 50-ih let preteklega stoletja pripoveduje svojo zgodbo in obstoj na poseben način.

After three fruitful years, the KAOS Festival organised a visiting exhibition in ALMA House and Memorial House of Alojz Gradnik and Ludvik Zorzut in the autumn of 2021. On the group exhibition works of resident artists were presented: Urška Mazej, Brut Carniollus, Barbara Demšar, Andrej Štular, Eva Mlinar and Anja Kranjc; and a solo exhibition by Karl Kuhar.

ALMA House is a house of contemporary art, designed in collaboration with the academic painter Klemen Bruno, it also has its own studio and constantly exhibits. It is a typical Brda house located in the very core of the village of Medana. It has been recently renovated and represents a slightly different exhibition space, as it feels like you are walking around a residential house where you can also sleep. Arranged in the spirit of the 1950s, it tells its story and existence in a special way.

Foto | Photo: Lojze Kalinšek

Informacije o razstavi | Exhibition Info

KAOS

4. festival sodobnega kolaža

4th Festival of contemporary collage

10. 6.—13. 8. 2022

Layerjeva hiša | Layer House, Kranj

Kuratorki | Curators: Maruša Štibelj, Doroteja Kotnik

Izvršna producentka | Executive producer: Danaja Batinič

Promocija | Promotion: Neža Mlakar

Tehnična podpora | Technical support: Miha Marenčič, Rok Pavlin

Oblikovanje | Design: Maruša Štibelj, Hanna Juta Kozar

Produkcija | Production: Zavod Carnica, zanj / represented by Selman Čorović

Zahvala | Thanks to: Line Juan, Mona Le Maitre, JUHAHU, Tatjana Zorman s.p., Pivovarna Mali Grad, Fotomorgana, Andraž Muljavec s.p., Maša Pirc, Urban Valjavec, Brina Leber, Anja Kokalj

www.layer.si/kaos

Produkcija | Production Koprodukcija | Co-production

Sofinancerji | Co-financed by