ARTWORK
Domestic Research Society, Škuc Gallery and Celje Centre of Contemporary Arts launched a joint long-term project, which focuses on individual works of art. Today it is easier to justify interest in the context and conditions for producing art than in artworks themselves (Raymond Williams cautions that we must turn down this 'attractive invitation'). Therefore, we have invited authors who still dare to think about a work of art, analyse it or even write a short book about it.
2007 | 2008 | 2009 | 2010
In 2010, we kindly invite you to attend the following lectures:
BETI ŽEROVC: SLOVENIA PAYS RESPECT TO LJUBLJANA
(Ivana Kobilca, 1903)
Likovni salon Celje: Thursday, 22 April 2010 at 19.00
Galerija Škuc, Ljubljana: Friday, 23 April 2010 at 19.00
URŠKA JURMAN: A METER OF JUNGLE
(Mark Dion, 1992)
Galerija Škuc, Ljubljana: Monday, September 2010 at 19.00
Likovni salon Celje: Thursday, September at 19.00
JIŘI BEZLAJ: POLJUB
(Constantin Brâncuşi, 1908-1938)
Galerija Škuc, Ljubljana: Monday, October 2010 at 19.00
Likovni salon Celje: Thursday, October 2010 at 19.00
2009
DRAGAN ŽIVADINOV: TRIESTE CONSTRUCTIVIST AMBIENT
(Vlah, Carmelich, Stepančič, Černigoj, 1927)
Galerija Škuc, Ljubljana: Monday, 19 March 2009 at 19.00
Likovni salon Celje: Tuesday, 31st March 2009 at 19.00
META GABRŠEK PROSENC: SELF-PORTRAIT
(Jan Oeltjen, 1961)
Galerija Škuc, Ljubljana: November 2009
Likovni salon Celje: November 2009
MARTINA VOVK: I LIKE AMERICA AND AMERICA LIKES ME
(Joseph Beuys, 1974)
Galerija Škuc, Ljubljana: November 2009
Likovni salon Celje: November 2009
2008
DUNJA KUKOVEC: EXPANSION IN SPACE
(Abramović and Ulay, 1977)
Galerija Škuc, Ljubljana: Monday, 19 May 2008 at 19.00
Galerija sodobne umetnosti Celje: Tuesday, 20. May 2008 at 18.00
Marina Abramović and Ulay staged one of their first joint performances at documenta 6 in Kassel in 1977. The lecture did not focus on detailed description and defining the place of this work in the history of performance, but was formed above all as creative and non-academic thinking, toying with performative elements at the level of the text. Kukovec addressed the issue of art practice based on partnership and collaboration and uniqueness of performance, and researched the relations between the personal and the political, determined and undetermined.
The lecture included a screening of a 14-minute recording of the performance Expansion in Space (with the permission of the author and the Netherlands Media Art Institute).
Dunja Kukovec (born 1975) is an art historian, curator and former programme director of the City of Women festival.
MIKLAVŽ KOMELJ: DIPTYCH OF FEDERICO DA MONTEFELTRO AND BATISTA SFORZA
(Piero della Francesca, ok. 1472)
Galerija Škuc, Ljubljana: Monday, 1 December 2008 at 19.00
Galerija sodobne umetnosti Celje: Tuesday, 2 December 2008 at 18.00
This lecture posed a question related to Piero's diptych: what does inscribing time into a painting mean at the level of painting technique. Piero della Francesca is usually described as a timeless painter par excellence - but is not this "timelessness" above all the consequence of time tensions, which the painting establishes with the subtle painting approaches with which the painter draws the line between life and death?
Miklavž Komelj (born 1973) is a poet with a PhD in the history of art.
JOŽE BARŠI: TOURIST
(Janja Žvegelj, 1996)
Galerija Škuc, Ljubljana: Monday, 8 December 2008 at 19.00
Galerija sodobne umetnosti Celje: Tuesday, 9 December 2008 at 18.00
2007 TOMAŽ BREJC: RDEČI REVIRJI / RED DISTRICTS
(Irwin, 1987)
Galerija sodobne umetnosti Celje: Tuesday, 25 September 2007 at 19.00
Galerija Škuc, Ljubljana: Wednesday, 26 September 2007 at 19.00
In 1987 the Irwin collective finished their grand painting entitled Red Districts (350x420x40cm), which through social realist graphics, coal, blood and gold, commemorates history and work, art and totalitarianism, in a fascinating and violent unity of 'ideology and aesthetic effect'. In his lecture, Tomaž Brejc analysed the history underlying the painting, its local sources and iconography, social effects, collective reception model, and its cult status. He also focused on 'Slovenian motifs' in their Laibach phase, which culminated in a series of paintings entitled Slovenian Athens (1983--1987). He examined Red Districts as an 'original' work of art beyond established post-modernist models (appropriations, simulacra, recycling, nomadism, etc.).
BOJAN GORENEC: CREMASTER 1--5
(Matthew Barney, 1994-2002)
Galerija sodobne umetnosti Celje: Thursday, 15 November 2007 at 19.00
Galerija Škuc, Ljubljana: Wednesday, 28 November 2007 at 19.00
Gorenec analysed aspects of The Cremaster Cycle by American artist Matthew Barney, who turns the situation in contemporary art - in which context overflows and pressurises the autonomy of an individual artwork - upside down by co-opting individual works (paintings, sculptures, readymades, performances, etc) into the larger whole of an 'extended' work of art. By so doing, he enables individual works/pieces on the one hand to become alive, while on the other they become incorporated into a broader context which is established by an exhibition/layout/happening, and points to the possibility of surpassing both the autonomy of a particular work and the sheer conceptualisation. Gorenec also discussed issues such as finiteness-infiniteness, completion-openness, closed work-open work, the economy of work, and others that emerge during the analysis. He attempted to draw attention to parallels which exist in contemporary Slovenian art and define it as a unique production within the scope of visual arts.
Programme conceived by Alenka Gregorič, Alenka Pirman, Jani Pirnat and Nevenka Šivavec.
Thanks to Alenka Domjan and Joško Pajer.
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