l j u b l j a n a 2 020 l j u b l j a n a 2 020 l j u b l j a n a 2 019 l j u b l j a n a 2 018 l j u b l j a n a 2 018 Dušank l j u b l j a n a 2 018 EKONOMSKA a . l j u b l j a n a 2 018 dm.slik Her Da man vid ilen Žbona ak T. Holzinger vanje: mago OKNA II , Oblik slike in objekti iz Gr T OBZORJA i C egor l utting e n Ž B O svile in tekstila N A . dm.slik Through II Žitk M O R E S o M E C H A N I C A / V I S K O Z N O S T VI Dani D N E G A ilen Žbona ak . T. 1 1 . FEBRU dm.slik “Nesk AR 2 vanje: dr ončnost T 0 o ajda 2 0 ” Oblik ilen Žbona ak Žbon T. . tar .slik dad Lekše vanje: mag LIKOVNIH PODOB o 3 . MAREC Oblik 2 0 2 0 ilen Žbona ak T . . “ Č L .slik e eon 8 K . JANU lop dad AR 2 0 vanje: dr z 1 č 9 o r t o” Oblik ilen Žbona ak T . . .slik ad V 1 idmar 0 . MA J 2 0 1 vanje: dr 8 o Oblik ilen Žbona, ak . T. .slik 1 vanje: dr “Slo 9 . JUNIJ dad o vo - mak 2 ing of 0 1 Oblik ” l j u b l ilen Žbona ak j 8 a n a 2 0 1 T 9 . ECONOMIC HORIZONS OF vanje: dro 4 . SEPTEMBER Oblik 2 l j u 0 b l j a n 1 a 2 0 1 9 8 9 . OK TOBER 2 0 l j u b 1 l j a n a 8 2 0 1 9 FINE ART IMAGES l j u b l j a n a 2 018 l j u b l j a n T a 2 0 1 aja 8 Marina Z l j u v b l j a n en Truso a 2 0 1 7 va Iv l j u ančič b l j a n a 2 0 1 7 Žensk Eduar e - to do l j u b l j a n a 2 020 Rastišče je pomlad Oliveira . M ilena dm.slik l j u b l j a n a 2 020 Bentub SLAVICA Ognjen ilen Žbona ak T . . K dm.slik l j u b af l j a n a 2 ol ŠTR Ko vanje: mag 0 2 0 UKEL v o Momentos J ačević Oblik ilen Žbona ak T . . dm.slik ETUDE l j u b “ l j a Z n a g 2 KOKOR o d b vanje: mag 0 1 9 5 . MAREC 2 0 1 A a o 9 o VEC Lidija Oblik č ilen Žbona ak l o T v e k . . u , k i j e .slik dad l j u b l z j a n a a 2 BARVE č r t a vanje: mag 0 1 8 2 . APRIL 2 0 1 l 9 p o o t i n Plestenjak Oblik l i n i ilen Žbona ak j o / T . P r . i č a o .slik FLAMENK dad l j u b l j a č n A o v e vanje: dr a 2 0 1 k u o 8 7 . MA J 2 0 1 9 k o j i j e “ P o p Oblik z a m o t n i k ilen Žbona ak . i s ” T l i o . p u t i dm.slik l i n i vanje: dr j u ” o Alenk 6 . NOVEMBER Oblik ilen Žbona ak a T . Ana l j u b l j a n a 2 01 2 0 1 8 . dm.slik vanje: mago S 8 tan 4 . t DECEMBER e Dušank a . dm.slik 2 Oblik ilen Žbona ak l j u 0 b T l j a 1 n a 2 0 . 1 8 9 Her Da No man vid va umetnost . . slik ad ilen Žbona ak T. 3 . JANUAR vanje: mago Oblik starih čuste 2 0 l j u 1 b l j a n Holzinger 7 a 2 0 1 9 v ilen Žbona ak T. vanje: mago OKNA II , Oblik vanje: dro 7 . FEBRU slik Oblik e in objekti iz AR 2 0 l j u b 1 l j a n a 7 2 0 1 9 Gr T i C egor l utting e n Ž B l j u b l O svile in tekstila j a n a 2 0 1 N . dm.slik Through II 7 7 A . JANU Žitk AR 2 o 0 2 M O 0 R E S M E C H A N I C A / V I S K O Z N O S T VI Dani D N E G A ilen Žbona ak . T. l j u b l j a n a 2 017 1 1 . FEBRU dm.slik “Nesk AR 2 vanje: dr ončnost T 0 o ajda 2 0 ” Oblik ilen Žbona ak Žbon T. . l j u b l j a n a 2 01 tar .slik dad 7 Lekše vanje: mago 3 . MAREC Oblik onomics and Business 2 0 2 0 ilen Žbona ak T . . .slik Tatjana l j u b l j a n a 2 017 c 8 K . JANU lop dad “ Halida AR Č M 2 e 0 vanje: dr z etk 1 č 9 o r t o” Oblik ilen Žbona ak T . . .slik Mijat a 1 o 0 ad vić . MA Emr J P ić 2 epelnak T 0 anja 1 vanje: dro Oblik l j u 8 b ilen Žbona, ak l j a n a T 2 0 1 9 . Društvo . Z r e S . slik 1 9 . k o S ead P ad . JUNIJ o l v rezelj . slik 2 e 0 vanje: dr 1 o Oblik l j u b l j liko ad 8 a n a 2 0 1 9 vniko ilen Žbona ak e t v T C . 4 . o SEPTEMBER a g u l a Emr “ O d ilen Žbona ak ić t i s T . i č . a r o vanje: dr b n o i . slik 2 l j u h Loga Sašo ad 0 b l j a n 1 a 2 0 1 9 8 s v Oblik e t vanje: dr t o v ec o ” Oblik ilen Žbona ak T. l j u b l j a n a 2 0 I T I N E R A R I U M 1 9 8 . OK TOBER 2 0 1 9 “ B a r Vrabič vanje: dr v n o a . Oblik Blaž dm.slik p l j u b r l j a e n a 2 p 0 1 8 1 2 . NOVEMBER l e t a 2 n 0 j a 1 9 v chool of E ilen Žbona ak a T . k . v a r e l u Eko-nom-sk 3 ” de Gler . DECEMBER dm.slik a vanje: mag ia o LA Oblik URA l j u b l j a n a 2 018 2 0 1 9 ilen Žbona ak T . . dm.slik vanje: mago LIČER Taja Marina 7 . MAREC 2 0 1 7 Oblik ilen Žbona ak T . . dm.slik Z l j u v b l j a n vanje: mag en Truso a 2 0 1 7 4 . APRIL 2 o 30 Oblik ilen Žbona akT. B v 0 1 l j u b UBE a 7 l j a n a 2 0 1 8 Ivančič vanje: mago Ž 9 ensk Eduar Oblik do . MA . e J - to .slik 2 dad 0 1 onomics and Business l 7 j u b l j a n a 2 018 Rastišče je pomlad Oliveir 6 . a ilen Žbona ak . T. JUNIJ 2 0 1 c l j u b 7 l j a n M a 2 0 1 8 ilena dm.slik vanje: dr B SLA O o entub VICA gnjen Oblik ilen Žbona ak T . . y at the S l j u b l j a n a 2 017 5 K . FEBRU dm.slik afol ŠTR AR Ko 2 0 UKEL v 1 vanje: mag ač 9 o Momentos J ević Oblik ilen Žbona ak T . . l j u b l j a n a 2 017 5 . M dm.slik ETUDE AREC KOK “ Z g 2 OR o d 0 b 1 vanje: mag A a o 9 o VEC Oblik č ilen Žbona ak l o T v e k . . u , k i j e .slik Taja l j u b l j a n a 2 017 2 . APRIL dad B z Univ a 2 AR č r er 0 VE t a 1 l Z za 9 vanje: mag p o o t i n Oblik l i n i ilen Žbona ak j o / T . P r . i č a o v .slik en FLAMENK l j u b l j a n a 2 017 7 . za tr MA dad č J etje R 2 A o Iv ado 0 v e 1 k u ančič 9 vanje: dro k o j i j e Oblik z a m ilen Žbona ak . i s T l i o . p u t van 6 i življenjsk . NOVEMBER dm.slik l i n i “ V P Gregorčič o Sead j O 2 vanje: dr u ” o Oblik ilen Žbona ak l j u G 0 b T l j a n L 1 a 2 0 . 1 9 E y activit 8 D ” obdobje . 4 . DECEMBER “ K o z Emrić dm.slik m i č n a 2 vanje: mago Oblik l j u 0 b l j a 1 n a 2 0 1 8 9 m i n u t a ilen Žbona ak ” T . “ S . k 3 o . d e l i c a dm.slik JANU AR chool of E vanje: mag 2 b o 0 l j u 1 b l j a n 7 a 2 0 1 9 r e z k a v e. Lech Oblik . .” ilen Žbona ak T. . .slik dad l j u b l j a n a 2 Nataša vanje: mag 0 1 9 6 . FEBRUAR 2 0 1 8 o Kolasińsk Oblik ilen Žbona ak T . i . Menar dm.slik l j u b l j a Lučk vanje: dr n a 2 0 t o 1 7 6 . MAREC 2 0 1 8 “ Independenc a Oblik t galler ilen Žbona ak e T . . 1 Ž 0 . APRIL i dm.slik of Natur v l j Šićar e 2 n 0 vanje: dr e j 1 ” e o 8 o v Oblik ilen Žbona ak . T. dm.slik Darja l j u b l j a n a 2 01 “Ženska s poslednjim vanje: dr 7 3 0 . JUNIJ 2 0 1 o 7 Oblik pisalnim str ilen Žbona ak T . . ojem” dm.slik Štefančič l j u b l j a n a 2 017 4 . vanje: mago Oblik T JULIJ atjana B 2 a l k o n 0 s k a d 1 ilen Žbona ak v o r a 7 n T a , G a l . e r i j a U L V prizmi Halida 5 . SEPTEMBER vanje: mago Oblik Mija Metk a . pogleda tović 2 0 1 7 P Emrić dm.slik epelnak Tanja Društ 3 . OK v ilen Žbona ak o T. . TOBER Z y at the S r 2 e 0 1 S . slik k o S 7 ead P ad o l v e . rezelj vanje: mago . slik liko ad vniko Oblik ilen Žbona ak e t v T C . o a g u ears of ar l a Emr “ O 4 ić d t . JUNIJ ilen Žbona ak i s T . i č a 2 . r o 0 b n 1 vanje: dr i h 9 o . slik Loga ad s v Oblik e t vanje: dr t o v ec o ” Oblik 8 . OK ilen Žbona ak TOBER I T I N E R A R I U M T. 2 0 vnosti na EF 1 9 “ B a r vanje: dr v n o a . Oblik Blaž 1 2 . 30 y NOVEMBER dm.slik p r e p l e t a 2 n 0 j a 1 9 v ilen Žbona ak a T . k . v a r e l u 3 ” de Gler . DECEMBER dm.slik 2 0 vanje: mag ia 1 o 9 Oblik ilen Žbona ak T . . 7 . M dm.slik AREC 2 0 vanje: mago Oblik ilen Žbona ak l 1 j u b T l j 7 a n a 2 0 . 1 8 4 . y activit APRIL 2 0 1 vanje: mago Oblik let l j u b 7 l j a n a 2 0 1 8 9 . MA J 2 0 1 l 7 j u b l j a n a 2 018 e deja l j u b l j a n a 2 018 l j u b l j a n a 2 017 N ivea l j u b l j a n a 2 0 Kof 1 7 vnosti na EF ol Taja l j u b l j a n a t galler Univ 2 0 1 7 ijsk “ Vez mater Zven erza e z otrokom za tr ” Ivančič R adovan etje . Gregor življenjsk dm.slik “ V P O G L E o S D ead ” čič obdobje ilen Žbona ak T . . “ K o z Emrić dm.slik m i č n a e deja vanje: mago m i n Oblik u t a ilen Žbona ak ” T . “ S . k o d e l i c 9 a . JANU dm.slik AR 2 0 b 1 vanje: mag r L 8 o e z k a v e. ech Oblik . .” ilen Žbona ak T. . .slik ijsk 6 . FEBRU dad Nataša AR 2 0 1 vanje: mag 8 o Kolasińsk Oblik ilen Žbona ak T . i . M 6 . M enar AREC dm.slik 2 t 0 vanje: dr 1 8 o “ Independenc Oblik ilen Žbona ak e T . . 1 Ž 0 . ears of ar APRIL i dm.slik of Natur v l j e 2 n 0 vanje: dr e j 1 ” e 8 o Oblik ilen Žbona ak . T. let galer 3 0 dm.slik . JUNIJ 2 0 vanje: dr 1 o 7 Oblik ilen Žbona ak T. 4 . JULIJ let galer 30 30 y 30 vanje: mag o B 2 a Oblik l k o n 0 s k a d 1 v o r a 7 n let a , G a l e r i j a U L 5 . SEPTEMBER 2 017 30 Uredniki / Editors: Slavica Zrakič Tomaž Ulčakar Tanja Gvozdenović Mojca Ogrin EKONOMSKA OBZORJA LIKOVNIH PODOB 30 let galerijske dejavnosti na EF ECONOMIC HORIZONS OF VISUAL IMAGES 30 years of the SEB LU Art Activities 30 let EKONOMSKA OBZORJA LIKOVNIH PODOB: 30 let galerijske dejavnosti na EF / ECONOMIC HORIZONS OF VISUAL IMAGES: 30 years of the SEB LU Art Activities E-izdaja Uredniki / Editors: Slavica Zrakič, Tomaž Ulčakar, Tanja Gvozdenović, Mojca Ogrin Založila / Publisher: Univerza v Ljubljani, Ekonomska fakulteta / University of Ljubljana School of Economics and Business za založnika/for the publisher: dekanja prof. dr. Metka Tekavčič Svet za umetnost EF / Arts Council: Slavica Zrakič (predsednica / president), mag. Tilen Balon, Tanja Gvozdenović, prof. dr. Branko Korže, prof. dr. Bogomir Kovač, Mojca Ogrin, prof. dr. Marko Pahor, prof. dr. Adrijana Rejc Buhovac, Tomaž Ulčakar, izr. prof. dr. Tilen Žbona Strokovni pregled / Reviewer: prof. dr. Bogomir Kovač Lektura in prevod v angleški jezik / Proof read and translation by Nives Mahne Čehovin Fotografije / Photography by Jure Gubanc in arhiv Ekonomske fakultete Oblikovna zasnova / Design by T. Žbona, UP PEF PEFPriprava spletne izdaje/E-book prepared by Nina Kotar Ljubljana, 2021 Cena / Price 0,00 € Monografije je v PDF dostopna na spletni strani/PDF available on the website: http://www.ef.uni-lj.si/galerija_umetnosti Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID 73477635 ISBN 978-961-240-372-0 (PDF) VSEBINA Uvodnik 6 Umetniške stranpoti ekonomije, Bogomir Kovač 8 Stene, avtomobilske gume, heavy metal in … umetniška dela, Tanja Gvozdenović 16 Umetnost na Ekonomski fakulteti danes, Marko Pahor 23 Galerijska dejavnost EF vstopa v četrto desetletje, Petja Grafenauer 34 Likovne podobe skozi prizmo ekonomskih obzorij 42 Galerijska dejavnost EF skozi čas 104 CONTENTS Introductory note 6 Economics’ side entrance to art, Bogomir Kovač 8 Walls, car tyres, heavy metal and … works of art, Tanja Gvozdenović 16 Art at the School of Economics and Business today, Marko Pahor 23 Gallery activity at the SEB LU in its fourth decade, Petja Grafenauer 34 Artistic images through the prism of economic horizons 42 EF gallery activity over time 104 6 Uvodnik Introductory note Ekonomska fakulteta letos obeležuje 75 let svoje- This year, the School of Economics and Business ga uspešnega delovanja. Kot osrednja slovenska (SEB LU) is celebrating the 75th anniversary of its izobraževalno-raziskovalna ustanova na področju successful operations. As the major Slovenian edu-ekonomije in poslovnih ved je močan steber Uni- cation and research institution in the field of busi-verze v Ljubljani in mednarodno uveljavljena šola, ness and economics, the SEB LU is a strong pillar of ki dosega najvišje kakovostne standarde na pod-the University of Ljubljana and an internationally ročju poslovno-ekonomskega izobraževanja. Mo-established school that has achieved the highest zaik njene sedanje podobe so oblikovale zgodbe quality standards in business and economics edu- o uspehih, dvomih, kresanju mnenj, izzivih in odzication. Its present image is a patchwork of success vih nanje. Različne preizkušnje so prinašale nova stories, doubts, different opinions, challenges, and spoznanja in dragocene izkušnje, s katerimi si je fa-responses to them. Diverse trials have led to new kulteta utirala svojo pot ter izgrajevala in utrjevala findings and invaluable experience, thus paving svojo družbeno vlogo. the way towards strengthening the school’s role in the society. Ekonomska fakulteta je vselej želela utirati pot no-vemu, slabo raziskanemu, neuveljavljenemu. Tudi The SEB LU has always tried to be a trailblazer for tedaj, ko je bilo zaželeno le tisto, kar je v prevla-the new, the less researched, and the not yet es- dujoči družbeni paradigmi veljalo za sprejemljivo, tablished. Even in times when the acceptable and je posameznikom dovoljevala svobodo misli in the desirable have been dictated by the dominant ustvarjalnega vrvenja. V znanosti so njeni sodelav-social paradigm, our institution has granted each ci iskali resnico, v sporočanju neprijetnih dejstev individual the freedom of thought and creative pa umetnost možnega. Tisto umetnost, ki skozi effervescence. The staff members have always ustvarjalni nemir odstira lepoto in razkošje svo- searched for truth in science, while in communi- bodne misli. cating unpleasant facts they pursued the art of the possible. The art that unveils the beauty and luxury of free thought through creative restless-Umetnost je vpeta v številne zgodbe Ekonomske ness. fakultete. V njih fakulteta sodeluje z umetniškimi akademijami ljubljanske univerze in s številnimi umetniki, domačimi in tujimi, ki pri nas dobijo pros-Art is interwoven in the numerous SEB LU stories. tor za predstavitev svojega ustvarjalnega poten- They tell about the school’s continuous coopera- 30 let U v o d n i k I n t r o d u c t o r y n o t e ciala in opusa. Podpiramo vsa področja umetnosti, tion with art academies of the University of Lju-monografija, ki jo imate v rokah, pa prikazuje našo bljana as well as with many Slovenian and foreign likovno zbirko in galerijsko dejavnost. Umetnine, ki artists who have been regularly invited to present vlivajo življenje prostorom Ekonomske fakultete, their creative potential and artistic opus at our pritegnejo naše poglede in nam pomagajo umiriti premises. We support all fields of art and the cur-razburkane misli ter razvedriti zaskrbljene obraze. rent monograph is yet another example of our Umetnost daje svetu številk in zapletenih družbe- devotion to fine arts. A devotion that is demon- nih odnosov življenjsko radost in potrebni pogum strated by our fine arts collection and gallery ac-za nujne spremembe. tivity. Exhibited works of art do not only catch the attention and make the premises look lively, but they also lift the mood and soothe the mind. In Na Ekonomski fakulteti smo ponosni, da sta umet- the world of numbers and complex social relation- nost in kultura del našega vsakdana. Cenimo so- ships, art provides the joy of life and boosts cour-bivanje neizprosne realnosti in mehkobo brezmej- age to face the necessary changes. ne umetnosti. Ob treh četrtinah stoletja, v katerih smo izoblikovali našo sedanjo podobo, naši galerijski dejavnosti posvečamo pričujočo monografi- At the SEB LU, we are proud to embrace art and jo, slovenski družbi pa nove kakovostne programe culture as a meaningful part of our everyday life. managementa v kulturi. We cherish the coexistence of unrelenting reality and the delicate impact of all-encompassing art. It has taken us three-quarters of a century to create the current school image and on this occasion, we dedicate this monograph to our gallery activity and at the same time devote our new programmes on culture management to the Slovenian society. Dekanja Ekonomske fakultete Metka Tekavčič 7 UMETNIŠKE STRANPOTI EKONOMIJE ECONOMICS’ SIDE ENTRANCE TO ART 30 Bogomir Kovačlet30 let 30 vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZ let O A ONOMSKKE 30 let g a l e r i j s k e d e j a v n o s t i n a E F 10 Umetniške stranpoti Economics’ side ekonomije entrance to art Že celo stoletje se zdi, da umira umetnost in da je v For all of the last century it seems as if art has razcvetu ekonomija. Prva ne more umreti, ker ni iz-been dying while economics is blossoming. Still, polnila svojega večnega poslanstva, razcvet druge art cannot die because it has not fulfilled its eter-pa se je izkazal bolj kot prevara pričakovanj. Zato nal mission, whereas the flourishing of the latter smo sicer razsvetljeni, toda apatični; ljubezen do has turned out to be a scam of expectations. We lepega smo zamenjali z lepoto trga in kapitala. Le are enlightened, yet apathetic, having replaced redki so dojeli, da ne moremo biti razumni v eko- our love for beauty with the beauty of the mar- nomiji, če nismo hkrati čutni do umetnosti. Kdor ket/capital. Only a few have sensed we cannot act bo pogledal življenjske usode Smitha, Keynesa ali reasonably in economics if at the same time we pa Hayeka, bo razumel, o čem govorim. Očitno so are not sensitive towards art. Anyone considering nekateri bolj od drugih razumeli, da umetnost in the life course of Smith, Keynes or Hayek will know ekonomija veljata za arhetip človekovega obstoja, what I am talking about. Evidently, some have un-dva prepletena načina življenja in stanja duha. In derstood better than others that art and econom-v zadnjih stoletjih smo storili vse, da bi to poveza-ics constitute two archetypes of human existence, nost prikrili ali vsaj naredili problematično. Če ob two intertwined lifestyles and mindsets. In the tem nastaja nelagodje, potem nam trk umetnosti past few hundred years, we have done everything in ekonomije lahko celo odpre vrata kritične zaves-to conceal this connectedness or at least make it ti in morda prevetri običajno zatohlost univerzitet-problematic. If a sense of unease is caused, the nih prostorov. Oscar Wilde je v Sliki Doriana Graya collision of art and economics can even open up zapisal, da dandanes ljudje očitno poznajo ceno our critical consciousness and perhaps inject a vsega, toda vrednosti ničesar. Nihče ne bi mogel breath of fresh air into the proverbial stifling uni-bolje zadeti bistva prepleta nam tako ljube eko- versity premises. In his novel The Picture of Dorian nomije in zavržene čutnosti vrednot, ki jo v imenu Gray, Oscar Wilde wrote that nowadays people lepega pooseblja umetnost. know the price of everything and the value of nothing. No one could better pinpoint the essence of Umberto Eco je ponudil delno rešitev, ko je zgodo-the interweaving of our beloved economics with vino umetnosti cinično obrnil k zgodovini grdega. the discarded sensuality of values that art embod-Uklonimo se božjemu razodetju stroke in predpo- ies in the name of beauty. stavimo, da je ekonomija v svoji ideji, pojavnosti in učinkovanju nekaj »grdega«, zato nujno potre-Umberto Eco arrived at a partial solution; name- buje oplesk lepega. Če poenostavimo, umetnost ly, he cynically turned the history of art into the na Ekonomski fakulteti je potrebna, da prikrije ne-history of the Ugly. Let’s accept the divine revela-lagodje našega ekonomskega evangelija, ki ga na tion of the profession and assume that, in terms 30 let U m e t n i š k e s t r a n p o t i . . . E c o n o m i c s ’ s i d e . . . vsakem koraku oznanjamo študentom. Ekonom- of ideas, manifestations and effects, economics is ska eksegeza govori, da so trg in cene vse, konku-indeed ‘ugly’ and desperately in need of a make- renca je deus ex machina, profit edino poslanstvo, over. To simplify, at the School of Economics and z denarjem pa je tako ali tako mogoče kupiti vse Business art is required to disguise the uneasiness in vsakogar. David Throsby je nekoč ponudil do-of the economic gospel that in every step we are volj zanimivo in celo za ekonomiste sprejemljivo preaching to our students. Economics explains primero, ki je z neverjetno pronicljivostjo že tedaj that the market and prices are all that matter, that združila idejo danes priljubljenega feminističnega competition is deus ex machina, profit is the sole gibanja »me too« s tradicionalnim moškim cepi-pursuit and, evidently, that money can buy ev- vom »to me«. Zamislimo si, da sta profana ekono- erything and anyone. David Throsby once offered mija in vzvišena umetnost realni osebi. Ekonomija quite an interesting comparison, even accepted je poosebljanje moške racionalnosti, z običajnim by economists, and already then with incredible presežkom kilogramov, nekakšno lovsko agre- insightfulness combined the idea of the currently sivnostjo, toda hkrati ranljivo hipohondrijo, da je popular Me Too feminist movement with the tradi-nihče prav ne razume. Umetnost je na drugi strani tionally male vaccine “to me”. Imagine that profane videti kot ženska, bistra in nepredvidljiva, spletkar-economics and elevated art are two real people. ska in hkrati šibka v svoji pojavnosti, ki se poigrava Economics embodies male rationality, is typical-z emancipacijo znotraj neznosnega moškega sve- ly overweight and possesses some kind of hunt- ta. Ali je med njima sploh mogoča kakšna očarljiva er aggressiveness, while also being vulnerable to romanca ali pa sta obsojena na vznemirljivi dra-hypochondria that nobody really understands. On molet večnega medsebojnega nerazumevanja? the other hand, art is seen as a woman, smart and unpredictable, conniving and yet weak in mani-Zagovor svojeglavih pričnimo z domačim prime- festation, playing with emancipation within this rom. Visoko na steni v preddverju velike dvorane intolerable world of men. Is it even possible for an EF se domala desetletje bohoti čudovita stalna enchanting romance of any nature to develop or razstava treh slik, ki ponazarjajo tri velike bankov-are they doomed to an exciting mini-drama about ce: japonski jen, evropski evro in kakopak ameriški the eternal lack of understanding between them? dolar. Prvotna razstava leta 2011 je bila med vsemi v tridesetletni zgodovini galerije za ekonomiste in Let us start to consider the defence offered by the njihov svet z naskokom najbolj angažirana in pro-headstrong with a local example. High up the wall tislovna. Umetniška skupina z nenavadnim ime-in the lobby of the Large Hall at the SEB LU a won-nom CYP2C9 je svojo predstavitev pospremila s derful permanent exhibition has been on display skromnim, toda provokativnim pripisom: KOLIKOR for almost a decade now. It is composed of three VELJAŠ, TOLIKO IMAŠ. Toda naše sporočilo študen- paintings, depicting three big banknotes – the tom je običajno ravno nasprotno: KOLIKOR IMAŠ, Japanese yen, the European euro and, of course, TOLIKO VELJAŠ. Razlika je v razmerju umetnosti in the US dollar. The original exhibition in 2011 was ekonomije očitna. Umetniško ogledalo je postavi-easily the most socially engaged and controver- lo v ospredje »človeški kapital«, naše zrcalo pa eko-sial for economists and their world of all the ex-11 30 let g a l e r i j s k e d e j a v n o s t i n a E F 12 nomskega. Umetniška provokacija CYP2C9 je bila hibitions in the 30 years of the SEB LU Art Gallery. povedna. Zapiranje razstave je bilo dejansko njena The art group with the unusual name CYP2C9 otvoritev; zatvoritev pa je bila estetski znak, da bo accompanied its presentation with a humble yet treba po veliki finančni krizi poslanstvo ekonom- thought-provoking message: WHAT YOU VALUE skega izobraževanja temeljito spremeniti. Morda YOURSELF AT IS WHAT YOU SHALL RECEIVE. How- je pot spreobrnjenja prav v dojemanju portretov ever, the message we usually send to our students treh bankovcev, ki so bili izdelani posebej za to is the very opposite: WHAT YOU POSSESS DETER-razstavo. Prav njihova likovna ekspresivnost nas MINES HOW YOU SHALL BE VALUED. The difference vsak dan sooča z umetnostjo ekonomskega kot in the art–economics relationship is obvious. The ekonomizacijo lepega. art mirror brings ‘human capital’ to the fore, while our mirror reflects the ‘economic’ variety of capital. Likovna upodobitev denarja je stara provokacija, v The provocative artistic statement by CYP2C9 was njej lahko občutimo vsa protislovja prepleta eko- quite telling. The exhibition’s closing was actually nomije in umetnosti. Na najbolj profani ravni se its opening; the closing was a visual sign that, after umetnost vedno predstavlja kot tržno neulovljiva the great financial crisis, the mission of economic vrednost, ki ji daleč od želene tržne potrditve ved-education would have to change fundamental- no znova zmanjka finančnih sredstev. Umetnost je ly. Perhaps the path to conversion is simply the v tej najbolj razširjeni interpretaciji ekonomska de-perception of the portrayal of three banknotes kla. Druga, bolj sofisticirana razlaga nam umetnost created specifically for this exhibition. It is their predstavlja kot nekakšen družbeni presežek, ki artistic expressiveness that every day brings us mu je usojeno, da v svoji transcendenci preživi vse face to face with the art of economics as econ-družbene transformacije in ekonomske cikle. Eko- omisation of the Beautiful. nomija je minljiva, umetnost pa večna. Tretji pristop, podoben drugemu, razume umetnost kot ci- The artistic rendering of money is an old provo- vilizacijski cement, zgodovinski artefakt, »razširjen cation and we can feel in it all the controversies red«, kjer kultura nastopa v obliki tradicij in morale that emerge when economics and art are interpred razumom in ekonomijo. V tej Hayekovi eksis- twined. At the most profane level, art is always tencialni podobi je umetniška esenca dejansko te- presented as holding elusive value in terms of melj družbene eksistence. Kultura in umetnost sta the market that, far from the desired market pred in nad ekonomijo. In tu nastopi naša ekono- validation, runs out of finances time and again. mika denarja kot točka kulturnega preloma. In this broadest interpretation, art is an eco- nomic servant. Another, more sophisticated Podobno kot je umetnost nekakšen vzvišen civi- interpretation suggests that art is a social sur- lizacijski cement, se tudi denar med vsemi eko- plus which, in its transcendence, is destined to nomskimi rečmi predstavlja kot substancialnost survive all social transformations and economic tržne ekonomije, bistveni gradnik danes nepogre- cycles. Economics is transient, art is eternal. The šljivega kapitalizma. Denar je v hierarhiji ekonom-third approach, very much like the second one, skih vrednosti dejansko vrednota, temeljno merilo views art as a cement for civilisation, a histori-30 let U m e t n i š k e s t r a n p o t i . . . E c o n o m i c s ’ s i d e . . . vrednosti, vezno tkivo menjave, gradnik kulturne cal artefact, an ‘extended order’, where culture identitete in politične suverenosti. Denar ima kot takes on the role of traditions and morality, be-simbolni znak ekonomije v evoluciji družbenih fore reason and economics. In this existential skupnosti podoben status kot umetnost, skupaj si image of Hayek, artistic essence is actually the delita usodo medsebojne povezanosti, pa tudi ne- foundation of social existence. Culture and art razumevanja. Ustavimo se za trenutek. Denar od precede and rise above economics. And here nekdaj krasijo podobe, svojo ekonomsko vrednost comes our monetary economics as the cultural in moč skuša potrjevati s svojo umetniško prepri- breaking point. čljivostjo. Denarna vrednost se zliva z umetniško, Similarly to how art is perceived as an elevated njegova vizualna obleka je naš najbolj vsakdanji cement for civilisation, among all economic phe- stik z umetniškim svetom. nomena it is money that appears as the substance Triptih treh valut nad vhodom v največjo predaval-of the market economy, as the essential corner- nico Ekonomske fakultete je torej nekakšna metafo-stone of today’s indispensable capitalism. In the ra vizualne komunikacije zapletenih politično eko-hierarchy of economic values, money is indeed a nomskih razmerij; nad dolarjem bdi podoba Mao value, a fundamental measure of value, a medium Ce Tunga. Tako umetnost upodablja desetletja prej, of exchange as well as a building block of cultural kar bomo profesorji študentom povedali o novi ve-identity and political sovereignty. As a symbol of liki divergenci, menjavi gospodarskih in političnih the economy in the evolution of social communi-prostorov med ZDA in Kitajsko. Se pri tem morda ties, the status held by money is similar to that held zavedamo, kakšno sporočilo nam v umetniški li-by art; they share a destiny of interconnectedness kovni govorici sporoča evro? Evro predstavlja jedro and also misunderstanding. Let us stop for a mo-ekonomske ideologije evropskega povezovanja, v ment. Money has always been adorned with im- sebi nosi vse iluzije in upanja prihodnosti EU. Toda ages in an attempt to confirm its economic value/ ali ste opazili, da na papirnem denarju ni podob power via its cogent art. Monetary value blends evropskih kulturnih, znanstvenih ali celo političnih with artistic value and its visual appearance is our veljakov? Krasijo ga abstraktne podobe vrat, mos-most common contact with the world of art. tov, nekakšen arhitekturni konstruktivizem brez The triptych of the three currencies hanging jasne identitete. Evro je politično-ekonomski torzo, above the entrance to the biggest lecture room umetniška zabrisanost izraža politično ekonomsko in the School of Economics and Business thus acts praznino. Evro nima prave likovne identitete, ker as a kind of visual communication metaphor for EU nima svoje jasne politično ekonomske podobe. complex political and economic relationships, In na drugi strani imamo drobiž, kovani denar, ki je with Mao Zedong’s image looking at the dollar. lahko namenjen nacionalnim podobam, decentra- Art was thus decades earlier depicting the new lizirani estetiki članic. V tej igri umetniško eko-great divergence, the economic and political shift nomskih sporočil velja umetnost za drobiž, between the USA and China, about which profes- prazna abstrakcija papirnega denarja pa za sors are only now set to give lectures to our stu-ekonomsko vrednost. 13 30 let g a l e r i j s k e d e j a v n o s t i n a E F 14 Denar je dokaz, zakaj ekonomija potrebuje subver- dents. Are we perhaps aware of the message the zivnost likovne vizualizacije. Šele estetika denarne euro conveys in its artistic expression? The euro forme nam razkrije njegovo politično in ekonom-represents the core of the economic ideology of sko substancialnost. Če je v denarju umetnost pri-European integration and contains all the illusions krita ekonomska substanca, pa na drugi strani me-and hopes of the EU’s future. But have you noticed nedžersko izobraževanje posvečamo umetnosti that euro banknotes are devoid of any images of vodenja in obvladovanja poslov. Pri vstopu v našo European cultural, scientific or even political lumi-galerijo nas na to spominja velika Šalamunova po- naries? They are decorated with abstract images slikava: kozmos abstraktne barvne kompozicije of a door and bridges – a kind of architectural con-ponazarja estetiko politično ekonomskega tržnega structivism without a clear identity. The euro is a kaosa, ki nas obdaja. Med tema dvema stalnima politico-economic torso with its artistic fuzziness postavitvama, Šalamunovim kaosom in denarnim expressing a politically economic void. The euro triptihom, živijo vsakokratne podobe mesečnih lacks a true artistic identity because the EU lacks a razstav naše galerije, leto za letom, z vedno novimi clear politico-economic image. And then there is podobami in starimi spomini. V svetu vsesplošne the change, the coins, that include a national side vizualizacije je najlažje spregledati tisto, kar bi mo-with images dedicated to the member states’ de- rali videti in vedeti na vsakem koraku. Naše likovne centralised aesthetics. In this game of artistic eco-razstave so zato vedno znova predvsem estetske nomic messages, art is ‘loose change’, whereas provokacije, ki morajo buditi odziv, nekaj zaradi the void abstraction of paper money carries lagodja lepega, še bolj zaradi nezadržne ustvarjalreal economic value. nosti vsakokratnih razstavljavcev. Money is the proof that economics needs the sub- Vrnimo se na koncu k Umbertu Ecu, ko raziskuje versiveness of artistic visualisation. It is only the razmerje lepega in grdega. Čeprav je grdo kratko aesthetics of the form attributed to money that malo nasprotje lepega, pa se njuno razmerje lahko give it its political and economic substance. If art spreminja. Kar je bilo nekdaj grdo, postaja morda is a covert economic substance of money, then we danes lepo in nasprotno, torej sta zgodovini grdega may be said to be devoting our managerial educa-in lepega vsaj združljivi, če že nista povsem zamention to the art of management and governance. At ljivi. Nekaj podobnega je z razmerjem ekonomije the entrance to our Art Gallery, we are reminded in umetnosti, na katero smo želeli opozoriti v tem of the above by a large painting by Šalamun, with uvodnem razpravnem krokiju. Če umetnosti in eko-the cosmos of the abstract colour composition il- nomije ne moremo združiti, ju pustimo vsaj sobi- lustrating the aesthetics of the politico-economic vati. Z nekaj cinizma kritičnega uma bi lahko dejali, market chaos that surrounds us. Between these da je podoba ekonomije lahko lepa, če bomo znali two permanent exhibitions, Šalamun’s chaos and prav upodobiti njeno grdoto. Toda problem so ver- the money triptych, the monthly exhibitions of niki na eni in drugi strani, ki spregledajo vse njune our Art Gallery live their lives, year after year, with skupne idiosinkrazije in odklone. incessant new images and old memories. In a world of all-pervasive visualisation, we can simply 30 let U m e t n i š k e s t r a n p o t i . . . E c o n o m i c s ’ s i d e . . . Sklep je najbolje spremeniti v naklep. Ekonomisti se overlook what we should have seen and be appre-bomo morali na domačih likovnih razstavah nauči- hending in each step we take. This explains why our ti starega Kantovega trika iz Kritike razsodne moči: art exhibitions are often aesthetic provocations that uživati v ugajanju umetnosti brez vsakršnega inte-must cause a reaction, partly for the sake of the ele-resa. Čeprav bi radi kupili tisto, kar nam ugaja, so-gance of beauty, but even more due to the irrepress-delovali pri vsem, kar se nam zdi dobro, nam mora ible creativity of our exhibitors. pogled na lepoto umetniške stvaritve zadoščati. Let us now return to Umberto Eco and his exploration Trenutki na prepihu Galerije EF nam morajo ponu-of the relationship between the Beautiful and the Ugly. diti zgolj užitek, ki ni povezan z željo po lastništvu Although the notion of ugly is basically the opposite in kapitalu, koristnosti in profitu. Zato moramo na of beautiful, this relationship can change. What was vsakokratnih umetniških razstavah v naši galeriji tr-once ugly is perhaps today becoming beautiful, and peti. In to (po)trpljenje je edino, kar se lahko ekono-the other way around. Therefore, the histories of the mistom (iz)plača. Beautiful and the Ugly are at least compatible, if not completely interchangeable. Something similar applies to the relationship between economics and art, which was intended to be highlighted in this rough introductory discussion. If art and economics cannot be merged, we can at least let them coexist. With a little cynicism of a critical mind, we might even say that the image of economics can be beautiful if we know how to properly portray its ugliness. Yet, the problem is believers on one side or the other who overlook all of their shared idiosyncrasies and deviations. It is best to convert a conclusion into a statement of intent. At our art exhibitions, economists will have to learn Kant’s old trick from his Critique of Pure Reason: find satisfaction in art, free of any interest. Although we want to buy what we find pleasure in and take part in everything we think is good, taking in the beauty of an artwork should suffice. The lingering moments in our Art Gallery must offer us simple, pure joy not associated with the desire for ownership and capital, use-fulness and profit. We must therefore be tormented at every art exhibition in our Art Gallery. For economists, it is this torment-transcending-into-pa- tience which is the only thing that pays dividends. 15 30 let g a l e r i j s k e d e j a v n o s t i n a E F 12 Stene, avtomobilske gume, heavy metal in … umetniška dela 30 Walls, car tyres, heavy metal and … works of art Tanja Gvozdenović let 30 let U m e t n i š k e s t r a n p o t i . . . E c o n o m i c s ’ s i d e . . . 30 vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZ let ODOBP VNIH O IKL ORJA BZO A ONOMSKKE 12 E 30 let g a l e r i j s k e d e j a v n o s t i n a E F 18 Stene, avtomobilske Walls, car tyres, heavy metal gume, heavy metal in … and … works of art umetniška dela The development of gallery activity at Razvoj galerijske dejavnosti the School of Economics and Business na Ekonomski fakulteti Umetnostna zgodovinarka v knjižnici An art historian in a library Zamisel o galeriji na Ekonomski fakulteti se je po-The idea of an art gallery at the School of Econom-rodila leta 1986 v Centralni ekonomski knjižnici. ics and Business was born in 1986 in the Central Takrat knjižnica ni bila tako sodobna, kot je danes. Economics Library. Back then, the library was not Kar nekaj prostorov ni imelo jasno določene na-as modern as it is today. There were several un- membnosti, bili so precej neizkoriščeni – kot da so derused spaces without any specific purpose, as if le čakali na svoje novo poslanstvo. awaiting a new mission. V knjižnici je bila takrat že zaposlena umetnostna One library employee was the art historian Slavica zgodovinarka Slavica Zrakič, ki je v praznih prosto-Zrakič who saw potential in those empty spaces, rih videla potencial ne le za knjižnično, temveč tudi not only for the library but as an art gallery. She za galerijsko dejavnost. Imela je pravo izobrazbo, had the right education, she held a vision and an imela je vizijo in nepogrešljiv občutek za estetiko, unmistakable sense of aesthetics whose traces ki ga še dandanes prepoznamo vsi na fakulteti. A can be seen right across the SEB LU even now. But, morda je bilo najpomembnejše, da je imela veliko perhaps most crucially of all, she had a fair share mero vztrajnosti. of perseverance. Več milijonov ali nekaj sto evrov Several millions or a few hundred euros V tistih letih je bil posluh za umetnost na fakulteti, In those years, the School, a place for teaching kjer so poučevali ekonomijo, zanemarljiv. Prošnje, economics, was quite indifferent to art. Requests da bi si lahko z minimalnimi sredstvi opremila vsaj for funding to equip at least the work premises, delovni prostor, v katerega je zahajalo veliko šte-regularly visited by large numbers of people, were vilo ljudi, so bile preslišane. A po štirih letih se je ignored. However, after 4 years, something final-le nekaj premaknilo. V tistem času je na fakulteti ly changed. In that period, the Blue and the Lilac potekala gradnja Plave in Lila dvorane, pri kateri so Halls were being built and many sponsors were pomagali številni sponzorji, ki so omogočili ta velik helping to ensure such a big construction project gradbeni poseg. Slavici se je porodila zamisel, da was effectively accomplished. Slavica had an idea bi lahko tudi sama s pomočjo dekana in sponzor-to collect, with the help of the Dean and some skih sredstev pridobila nekaj sto evrov v takratnih sponsors, a few hundred euros (i.e. in the then tolarjih za osnovno prenovo sten v knjižnici, kjer Slovenian tolar equivalent) to basically upgrade bi lahko obešala slike. Ker je bil to v primerjavi z the walls in the library so she could hang pictures 30 let S t e n e , a v t o m o b i l s k e . . . W a l l s , c a r t y r e s . . . investicijo v gradnjo dvoran povsem nepomem- there. As this was quite a negligible amount com- ben znesek, ga je takratni dekan prof. dr. Vekoslav pared to the total investment in construction of Potočnik, ne da bi vedel, kako velik in uspešen pro-the two halls, the Dean Prof. Dr. Vekoslav Potočnik jekt je s tem krenil na pot, odobril. Sedaj vemo, da approved it still without knowing how important je bil to tudi formalni začetek galerijske dejavnosti and successful this project would eventually be-na Ekonomski fakulteti. come. Today, this may be seen as the formal be- ginning of the School of Economics and Business’ gallery activity. Stoenka in ravna stena zadoščata Slavica Zrakič je sedaj imela sredstva. Z njimi je lah- One Zastava 101 car and a single ko poravnala kar nekaj sten v pritličju knjižnice, s properly prepared wall were enough sodelavko pa sta se s stoenko kmalu odpravili še v specializirano delavnico pri Litiji, kjer sta kupili vo-Now Slavica Zrakič had some funds available. She dila za obešanje slik in jih skupaj s tehniki namestili arranged for certain walls on the library’s ground na poravnane stene. Ideja o galeriji je tako v letu floor to be properly prepared. Then she and her 1990 zaživela. Omejena je bila na delovni prostor colleague got into a Zastava 101 car and headed knjižnice, oddelek za informacije in izposojo revij, off for a specialised shop near Litija, where they a Galerija CEK je začela s svojim delovanjem. Prvi bought rail-based picture hanging systems and, razstavni prostor na fakulteti je dobil ime po kratici together with the technicians, mounted them on knjižnice, ki mu je prva ponudila svoje gostoljubje. the wal s. In 1990, the idea of an art gallery was thus brought to life. It was limited to the functional spaces of the library, including the information desk and Rdeča nit mora biti! magazine borrowing area, yet this was the start of the CEL Art Gallery. The first SEB LU exhibition area Pri nastajanju in oživljanju galerije je v letu 1990 po was named using the acronym of the library which vseh svojih močeh pomagala tudi druga umetnostna had given it a home. zgodovinarka v knjižnici – Alma Pengal. Slike je vedno postavila na tla v posebnem vrstnem redu in jih nato cel teden opazovala in razmeščala, da bi v njih, kot je There must be a common thread! sama rekla, našla rdečo nit. Prvi razstavljavec v Galeriji CEK je bil priznani akademski slikar Marko Butina. Another person in the library also helped to the Izbor umetnika je bil samoumeven, saj je bil Butina best of her ability in creating and launching the mož Slavičine in Almine dobre prijateljice in sošolke s art gallery in 1990 – the art historian Alma Pen- študija umetnostne zgodovine. gal. She would always place the paintings on the floor in a specific order and look at them all week, rearranging them several times to find, as she put it, the common thread. The CEL Art Gallery’s first exhibitor was the renowned academic painter 19 30 let g a l e r i j s k e d e j a v n o s t i n a E F 20 Iz KUD France Prešeren v Galerijo CEK Marko Butina. The choice of this artist was easy as Butina was the husband of Slavica’s and Alma’s Alma Pengal je ob svojem delu v knjižnici honorarno close friend and a fellow art history student. vodila galerijo KUD France Prešeren v Trnovem. Tako so bili vsi razstavljajoči umetniki v KUD France Prešeren vabljeni tudi v Galerijo CEK. From the premises of Razstave so bile izjemno dobro obiskane, saj so bile v KUD France Prešeren to the CEL Art Gallery prostoru, kjer je obenem potekalo naročanje literatu-Besides working in the library, Alma Pengal part- re. To je bil delovni prostor, ki pa je bil odtlej namen-time managed the KUD France Prešeren Gallery in jen tudi druženju. Ob mesečnih razstavah uporabne Trnovo, Ljubljana. As a result, all the artists exhibit-keramike, slikarstva in skulptur se je kmalu prelevil v ing their works of art at KUD France Prešeren were center družabnosti na Ekonomski fakulteti. also invited to the CEL Art Gallery. The exhibitions were extremely well attended, V dvajsetih letih 90 razstavljavcev, given that the artworks were on display in a space a le eno odprtje razstave where study literature was ordered. Although a working space, it was also intended for socialising. V dvajsetih letih obstoja je v Galeriji CEK tako raz-With the monthly exhibitions of applied ceramics, stavljalo okoli 90 umetnikov, ki so se predstavili z paintings and sculptures, it soon evolved to be-različnimi vrstami umetnosti, od slikarstva, kipar-come a socialising hotspot in the School of Eco- stva in fotografije do keramike. Prihajali so iz Slove-nomics and Business. nije, Hrvaške, Bosne in Srbije. Vsak mesec je bila na ogled nova razstava, nova postavitev. Umetnik je prišel razstavo pogledat, 90 exhibitors in 2 decades, nekateri so pomagali tudi pri njeni postavitvi, a but only 1 exhibition opening uradne otvoritve v teh letih še ni bilo. Izjema je In the 20 years of its existence, the CEL Art Gal-bila razstava v maju 2004, ko so v Galeriji CEK raz-lery has hosted some 90 artists, entailing different stavljali delavci EF z naslovom: » V vsakem izmed types of art, from painting, sculpting and photog-nas se skriva mali Picasso«. Takratni dekan fakul-raphy to ceramics. They have come from Slovenia, tete prof. dr. Maks Tajnikar je odobril nekaj sim-Croatia, Bosnia and Serbia. boličnih sredstev, da so odprtje v Galeriji CEK lahko pospremili s skromno pogostitvijo. To je bila Every month a new exhibition was put on display, izjemno dobro obiskana razstava, ki je razkrila, da a new arrangement. Artists would come to see the je smisel za umetniško ustvarjanje na EF precej exhibition, some even helped to set it up, but in bolj razširjen, kot se je zdelo na prvi pogled. this period there were no official openings. The only exception was in May 2004, when the CEL Art Gallery hosted an exhibition of artworks by SEB 30 let S t e n e , a v t o m o b i l s k e . . . W a l l s , c a r t y r e s . . . Težka izkušnja LU staff, entitled “There’s a little Picasso concealed in all of us”. The then Dean, Prof. Dr. Maks Tajnikar Ker je bila galerijska dejavnost izključno stvar dob-granted the CEL Art Gallery symbolic funding to re volje in iznajdljivosti, sta Slavica in Alma poma-enable the exhibition opening to be accompa- gali poskrbeti tudi za prevoz umetnin na fakulteto nied with modest catering. This was an extremely in potem nazaj k umetniku ali umetnici. Gani Llal-well-attended exhibition, revealing that the SEB loshi, danes priznan umetnik, je v Galeriji CEK raz-LU staff were rather more artistically creative than stavljal svoja izjemno velika platna. Tudi takrat sta one might have initially thought. Slavica in Alma s svojim avtom odpeljali zelo dobro sprejeta dela do avtorjevega doma v centru Ljubl-jane. Privezali sta jih na streho avta. Na Aškerčevi A difficult experience cesti sta zaslišali nenavaden ropot in ugotovili, da sta dve platni z avta zdrsnili na cestišče. Umetnini As the gallery activity was solely a gesture of good-sta v trenutku dobili večno sled odtisa avtomobil-will and resourcefulness, Slavica and Alma also skih gum. Bili sta skrušeni in v veliki zadregi, kako helped transport the artworks to the school prem-avtorju sporočiti težko novico. Umetnik je bil ob ises and then back to the artist. Gani Llalloshi, a sprejetju slabe novice sicer zadržan, a se na Eko-renowned artist today, had exhibited his works in nomsko fakulteto s svojimi deli ni nikoli več vrnil. the CEL Art Gallery on very large canvases. Slavica and Alma used their car to return these well-ac-Današnje razstave so vse zavarovane in umetniška claimed works to the artist’s home located in cen-dela razstavljavcev povsem na varnem. tral Ljubljana. They tied them to the car’s roof. On Aškerčeva Road they heard an unusual noise, only to discover that two canvases had slipped off the Izjemnih 20 let car roof and fallen onto the street. The artworks V dvajsetih letih je v Galeriji CEK razstavljalo ve-were immediately run over by car tyres, leaving liko umetnikov, mnogi med njimi so danes zve- permanent marks. The two women were devas- neča imena v slovenskem kulturnem prostoru. tated and embarrassed about how they would tell Bogatili so nam vsakdan, plemenitili naša razmišl-the artist the bad news. While being somewhat re- janja in nas povezovali z drugimi svetovi. Veliko served in response, he has never returned to the umetniških del je našlo tudi svoj drugi dom. SEB LU for an exhibition. Z nami na fakulteti so bili Alenka Sotler, Silvan Rest assured, all the exhibitions are insured today Omerzu, Jože Barši, Gani Llalloshi, Barbara Dem-and our exhibitors’ artworks are completely safe. šar, Daniel Demšar ter močna zagrebška likovna šola, Karina Sladović, Krešimira Gojanović in številni drugi. 21 30 let g a l e r i j s k e d e j a v n o s t i n a E F 22 To je prava družbena odgovornost! Extraordinary 20 years Fakulteta se je s prihodom mednarodnih akreditacij Over two decades the CEL Art Gallery has host-vedno bolj zavedala, da ima družbena odgovornost ed a huge number of artists, many being people organizacij, predvsem v mednarodnih skupnostih, of eminence in Slovenia’s cultural sphere. They vedno večjo težo. Dolgoletne razstave v Galeriji have been enriching our every day, ennobling our CEK so vsekakor pomenile popestritev delovnih thoughts and connecting us with other worlds. dni tako zaposlenih kot študentov in stik z dejav-Many works of art were sold at the exhibitions and nostmi, ki niso neposredno povezane s študijem. found a new home. Večini je srečevanje z vedno novimi likovnimi deli We have featured the following artists: Alenka pomenilo odprtost, širino misli in pogleda izven Sotler, Silvan Omerzu, Jože Barši, Gani Llalloshi, običajnih ekonomskih okvirjev. Takratni prodekan Barbara Demšar, Daniel Demšar as well as Kar- za znanstveno-raziskovalno delo prof. dr. Aljoša Va-ina Sladović and Krešimira Gojanović from the lentinčič je ob ocenjevanju družbene odgovornosti powerful Zagreb Academy of Fine Arts and tujih akreditatorjev zaznal, da bi bil lahko vstop v many more. področje organiziranja umetniškega dogajanja tudi družbeno odgovorno dejanje. Slavico Zrakič je zato pozval, da svoje znanje in pripravljenost za orga- This is true social responsibility! nizacijo razstav usmeri v večji in bolj urejen prostor ob glavnem vhodu fakultete. Tej dejavnosti se je Upon the arrival of international accreditations, vodstvo odtlej precej bolj posvetilo – tako s pove-the SEB LU became aware that social responsi- čano senzibilnostjo kot tudi s finančnimi sredstvi. bility was increasingly gaining ground, particu- larly in international communities. Years of ex- hibitions at the CEL Art Gallery have genuinely Začetek naj bo mednaroden! embellished the workdays of employees and students alike, while also providing contact with Dekan prof. dr. Dušan Mramor je 7. aprila 2010 že extra-curricular activities. In the constant explo-imel otvoritveni govor na prvi razstavi v Galeriji Eko-ration of new artworks, many have found open- nomske fakultete. Ta se je 20. aprila razširila še z več ness, broad-mindedness and a view beyond typ-sodelujočimi umetniki. Udeležba tako umetnikov ical economic thinking. When foreign accreditors kot tudi obiskovalcev je bila mednarodna, fakulteta were assessing the School’s social responsibility, pa je po dvajsetih letih galerijske dejavnosti končno the then Vice-Dean for Research, Prof. Dr. Aljoša dobila urejen in dobro obiskan galerijski prostor. Valentinčič, sensed that the organising of art Citat iz novice EF: events could also be seen as a socially respon- sible activity. He asked Slavica Zrakič to invest V Galeriji Ekonomske fakultete nas je v torek, 20. aprila her knowledge and energy in the organisation 2010, s svojimi umetniškimi deli počastila delegacija of exhibitions in the larger and much better ar-umetnikov: Tilen Žbona, Manuel Chabrera in Polisse. ranged space near the SEB LU’s main entrance. Razstavo z naslovom »Evropske umetnosti in obljube 30 let S t e n e , a v t o m o b i l s k e . . . W a l l s , c a r t y r e s . . . flamenka« (European Arts & Promises of Flamenco) The school management thereafter redoubled je otvoril dekan prof. dr. Dušan Mramor, nato pa so its efforts in this activity, increasing both its sen-udeleženci ob penini skupaj uživali v prepletanju sibility and funding. ekonomije in umetnosti. Razstave sta se udeležili tudi predstavnici španskega veleposlaništva v Sloveniji in predstavnik Ministrstva za visoko šolstvo, znanost The start should be international! in tehnologijo. On 7 April 2010, Dean, Prof. Dr. Dušan Mramor gave the opening speech at the first exhibition to be held in the SEB LU Art Gallery. On 20 April it fea- Brez zidarjev ne gre, tako ali drugače tured several artists. The attendance of both art-Leta 2013 so na fakulteto prišli zidarji, da bi obnovili ists and visitors was international. After 20 years of notranje stene nekaterih prostorov. Slavico Zrakič je gallery activity, the SEB LU finally had a properly na hodniku ujel sodelavec Robert Bregar, spremljal arranged and well-visited gallery. pa ga je zidar, ki je pleskal stene fakultete. V nefor-A quote from the SEB LU news: malnem pogovoru je zidar omenil, da v prostem času zelo rad slika, in Robert je nemudoma izkoristil On Tuesday, 20 April 2010, a delegation of artists ljubeznivost takrat že utečene skrbnice velike Ga-honoured us with their artworks: Tilen Žbona, lerije EF in rekel: »Ona ti bo postavila razstavo!« Po Manuel Chabrera and Polisse. The exhibition called grenkem nasmehu je Slavica Zrakič kasneje vseeno “European Arts & Promises of Flamenco” was razmislila in ugotovila, da bi res lahko nekoliko po-opened by the Dean, Prof. Dr. Dušan Mramor, while pestrila hodnik pred knjižnico. Vodila za obešanje those in attendance, sipping a glass of sparkling slik so bila še v prostorih nekdanje Galerije CEK, teh-wine, enjoyed the interweaving of economics and niki so jih samo prestavili na hodnik in prve slike v art. The exhibition was also attended by two tem delu fakultete so bile postavljene. Ne le to, hre-representatives of the Spanish Embassy to Slovenia penenje Nahoda Sijarića - Naleta po javni razgrnitvi and a representative of the Ministry of Higher lastnega ustvarjanja je bilo izpolnjeno. To je bila za Education, Science and Technology. Slavico odlična iztočnica, da si zagotovi nov prostor za številne umetnike, ki so želeli razstavljati na Ekonomski fakulteti, pa zanje ni bilo prostora. Takratni One way or another, it just can’t be done without dekan dr. Mramor je v duhu družbene odgovor- masons nosti odobril sredstva za ravnanje stene tudi v tem In 2013, the SEB LU hired masons to renovate the delu fakultete in ob tem komentiral: »Sedaj si dobila internal walls of certain school premises. Slavica Malo galerijo. In kje bo prostor za tvojo naslednjo?« Zrakič ran into her colleague Robert Bregar in the Uradno sta bili tako v letih 2010-2013 ustanovlje-hallway, accompanied by a mason who had been ni kar dve galeriji: Galerija Ekonomske fakultete ter painting the school walls. In a casual conversation, Mala galerija. the mason declared that he loved to paint in his 23 30 let g a l e r i j s k e d e j a v n o s t i n a E F 24 Najbolj obiskana razstava free time and, immediately seizing the opportuni- ty, Robert looked at the by now well-established V desetletnem obdobju razstav v Galeriji EF se je curator of the large SEB LU Art Gallery and an-ura otvoritve nekajkrat spremenila. Organizatorji nounced: “She’ll set up an exhibition for you”. Slavi-so želeli zajeti tako zunanje goste kot tudi zaposle-ca first smiled awkwardly but then gave this idea ne na fakulteti in študente. A vsaka ura bi bila pri-a second thought and discovered that the hallway merna za izredno veliko množico obiskovalcev, ki leading to the library could actually be made sig-so prišli na tako imenovano »Trentarsko razstavo«. nificantly more interesting. The picture-hanging Marca 2011 je na fakulteti razstavljal imeniten tren-rails were still in the former CEL Art Gallery, so the tarski fotograf Branko Bradaškja, ki je v objektiv za-technicians moved them to the hallway and the jemal čudežne lepote svoje doline. first paintings were soon hanging on the wall. And to top it all, Nahod Sijarić-Nale’s desire to have his Na njegovo odprtje razstave so prišla kulturna dru-own creations exhibited was fulfilled. This was a štva iz Trente, bovški župan, z njim tudi ljubljanski great starting point for Slavica to reserve the new- župan in poleg njega tudi vsi v Ljubljani in njeni ly acquired area for artists wanting to exhibit their okolici živeči ljubitelji Trente. Tako bogatega obis-works in the SEB LU but had been rejected due to ka Galerija EF še ni doživela. Za pogostitev pa so a lack of space. Within the spirit of social respon-poskrbele same Trentarke in povsem osvojile Eko- sibility, the Dean Dr Mramor granted the funding nomsko fakulteto. to properly prepare the walls in that part of the Citat iz novice EF: school premises, telling Slavica: “Now you’ve got your Small Art Gallery. So where is the space for Na otvoritvi smo se prepustili čarom fotografij, tradi-your next one?”. cionalnim dobrotam iz Trente, pa tudi zvokom mo- škega pevskega zbora Triglav Trenta, ki neprekinjeno As a result, two galleries were officially established deluje že od leta 1972 in neguje tradicijo zborovskega between 2010 and 2013: the SEB LU Art Gallery petja v Zgornji Soški dolini, od leta 2002 pa ga vodi and the Small Art Gallery. Zdravko Kravanja. Udeležence dogodka, ki ga je povezovala Ajda Lah, je najprej nagovoril dekan EF, The best-attended exhibition prof. dr. Dušan Mramor. Razstavo sta obiskala tudi bovški župan in poslanec Danijel Krivec ter podžu-Over the decade of exhibitions in the SEB LU pan Valter Mlekuž, ljubljanski župan Zoran Janković Art Gallery, the opening hours have changed pa je Trentarje po koncu prijazno sprejel v mestni a few times. The organisers have wished to at-hiši. Sprejema se je udeležil tudi mag. Žiga Debeljak, tract guests from the outside as well as SEB LU predsednik uprave Mercatorja. employees and students. However, any opening hours would do for the masses of visitors to the “Trenta Exhibition”. 30 let S t e n e , a v t o m o b i l s k e . . . W a l l s , c a r t y r e s . . . Razstava z največ komentarji In March 2011, photographs taken by the emi- nent photographer Branko Bradaškja were put on V juniju 2015 se je v Galeriji Ekonomske fakultete display in the art gallery, capturing the wondrous predstavila akademska slikarka Taja Ivančič. Ob beauty of his homeland the Trenta Valley. otvoritvi je Peter Mlakar prebral svojo kratko no-velo »Večno meso« in nastopila je glasbena hea- Cultural societies from the Trenta Valley, the May-vymetalska skupina, ki je z bombastičnim ritmom or of the Bovec Municipality and the Mayor of the prav živo preplavila prostore fakultete. City of Ljubljana attended the opening, along with all lovers of the Trenta Valley living in Lju-Razstava je z motivi velikih platen sprožila plaz bljana and on its outskirts. The SEB LU Art Gallery pozitivnih kot tudi kritičnih komentarjev, ki so zahas never seen so many visitors. The local women jeli razpon od »povsem neprimerna za Ekonom- of the Trenta Valley took care of the catering and sko fakulteto« do »najbolj subtilna dela doslej, vr-thus completely won over the SEB LU. hunska umetnost«. A quote from the SEB LU news: Tako je Ekonomska fakulteta doživela pravo kon- troverzno predstavitev, ki je sprožila vrsto različ- At the exhibition opening, we surrendered ourselves nih mnenj, pisano paleto še nikoli doživetih ob-to the charms of the photographs, the traditional čutij in nasprotujočih si estetskih prepričanj. Vsi delicacies from the Trenta Valley as well as the voices udeleženi pa so jo odnesli za spoznanje zrelejši ali of the Triglav Trenta male choir, which has been per-kot bi rekel prijatelj Ekonomske fakultete in umet-forming since 1972, nourishing the tradition of cho-nik razstavljavec Sead Emrić: »Umetnost ne odsli- ral singing in the Upper Soča Valley and since 2002 kava tistega, kar vidimo, ampak nam odpira oči, been led by Zdravko Kravanja. The event was mod-da to lahko vidimo.« erated by Ajda Lah and the first address was given by the SEB LU Dean, Prof. Dr. Dušan Mramor. The exhibition was also attended by Daniel Krivec, the May- Svet se zdi ponovno velik or of the Bovec Municipality and an MP, and Valter Zdi se, ko da ni vse ostalo le na stenah in današnjem Mlekuž, the Deputy Mayor of the City of Ljubljana, obujanju spominov. V tridesetih letih je bila galerij-whereas Zoran Janković, the Mayor of the City of Lju-ska dejavnost na fakulteti tista, ki nas je zbliževala z bljana, warmly welcomed all guests from the Trenta umetnostjo in iz nas izvabljala posebne senzibilnosti. Valley in the City Hall. Žiga Debeljak, MSc, President Na fakulteti je začel delovati Svet za umetnost, postali of the Management Board of Mercator, was another smo aktivni člani univerzitetnega Sveta za umetnost, guest at the reception. na pobudo dekanje prof. dr. Metke Tekavčič in prof. dr. Bogomirja Kovača pa je že leta 2015 začela s svojim delovanjem Poletna šola kulturnega menedžmenta. Ta bo v sodelovanju z drugimi članicami Univerze v Ljubljani prerasla v izbirni program naše univerze. Recept? Odprte oči, odprto srce, znanje, radovednost in veliko vztrajnosti. 25 30 let g a l e r i j s k e d e j a v n o s t i n a E F 26 The exhibition attracting the most comments In June 2015 the academic painter Taja Ivančič presented her work in the SEB LU Art Gallery. At the opening, Peter Mlakar read his short novel Eternal Flesh, whereas a performance by a heavy-metal group filled the school premises with pounding rhythms. The exhibition, consisting of large canvases, at- tracted an avalanche of both positive and critical comments, ranging from “completely inappropri-ate for the SEB LU” to “the most subtle artworks so far, the pinnacle of art”. Thus, the SEB LU’s truly controversial presentation had incited a multitude of opinions, a colourful mix of unprecedented feelings and contradicting aesthetic beliefs. All those in attendance left the exhibition a little more mature or, as a friend of the SEB LU and exhibiting artist Sead Emrić would say: “Art does not reflect what we see, but opens our eyes so that we can see.” The world seems big again It appears that not everything has been about decorated walls and recalling memories today. In the last three decades, the SEB LU’s gallery activity has been pulling us closer towards art, evoking special aspects of sensibility within us. The SEB LU established the Arts Council which became an active member of the Arts Council of the University of Ljubljana. On the initiative of the Dean Prof. Dr. Metka Tekavčič and Prof. Dr. Bogomir Kovač, the Summer School on Cultural Management already started operating in 2015 and, in cooperation with other University members, has grown to become an elective programme of our University. The recipe? Open eyes, an open heart, knowledge, curiosity and considerable perseverance. 30 let S t e n e , a v t o m o b i l s k e . . . W a l l s , c a r t y r e s . . . vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZO A ONOMSKKE 27 Umetnost na Ekonomski fakulteti danes 30 Art at the School of Economics and Business today Marko Pahor 30 let 30 let let 30 vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZ let O A ONOMSKKE 30 let g a l e r i j s k e d e j a v n o s t i n a E F 30 Umetnost na Art at the School Ekonomski of Economics and fakulteti danes Business today Ne glede na to, skozi katerega izmed številnih Whichever of the many entrances a visitor takes vhodov vstopi obiskovalec na Ekonomsko fa- upon arriving at the School of Economics and kulteto, so nedvomno ena od prvih stvari, ki jih Business, one of the very first things they notice opazi, številna umetniška dela, ki krasijo našo is the many artworks hanging on our walls. This fakulteto. Naj si bo to kateri izmed eksponatov could be any of the exhibits from the SEB LU’s ex-iz bogate zbirke umetniških del Ekonomske fa- tensive art collection or an exhibition in one of the kultete ali pa razstava v eni izmed dveh galerij, two galleries that culturally enrich the School – ev-ki kulturno bogatita fakulteto; vsakdo lahko tu eryone can find something for their eyes and soul. najde nekaj za oči in dušo. The SEB LU’s art activity relies mainly on its own Jedro umetniške dejavnosti Ekonomske fakul-collection of artworks that it has been building tete tvori lastna zbirka umetnin, ki jo fakulteta for a very long time, especially since the CEL Art gradi že od samega začetka, načrtno pa od časa Gallery started to flourish. First, it consisted of razcveta Galerije CEK. V njej so bila najprej umet-artworks presented by the SEB LU’s partners but, niška dela, ki jih je dobila od svojih partnerjev, z as the gallery activity began to increase, the col-začetkom galerijske dejavnosti pa je zbirka pri- lection also started to expand due to regular pur- čela rasti tudi z rednimi odkupi umetnin razstavl-chases of artworks from the exhibiting artists. jajočih umetnikov. Today, the SEB LU’s collection boasts over 60 works Danes je v zbirki umetnin Ekonomske fakultete of art. It includes gifts from schools in the former že več kot 60 eksponatov. V njej so darila fakul-Yugoslav republics, purchased works and dona- tet republik nekdanje Jugoslavije, kupljena dela tions by exhibiting artists. The collection grows ter donacije umetnikov razstavljavcev. Zbirka se every year, with works by rising young Slovenian vsako leto dopolnjuje, prednjačijo pa dela mla- and foreign artists dominating. This includes the dih perspektivnih slovenskih in tujih umetnikov. splendid painting creations by Andraž Šalamun, Tu so tudi izvrstna dela Andraža Šalamuna, Rudi- Rudi and Dorian Španzl, Biljana Unkovska, Dani- ja in Doriana Španzla, Biljane Unkovske, Danijela jel Demšar, sculptures by Jiři Bezlaj, Božidar Jak-Demšarja, Jiřija Bezlaja, Božidarja Jakca ter Vla-ac and Vladimir Potočnik, along with many other dimirja Potočnika, poleg njih pa mnogo drugih more or less established creators. The SEB LU’s art znanih in manj znanih avtorjev. Umetniška zbirka collection is not on display in only one exhibition Ekonomske fakultete nima enega samega raz-area, but is scattered across the campus. Works in stavnega mesta, ampak je razpršena po celotni the collection decorate the walls in common spac- fakulteti. Eksponati zbirke krasijo skupne prosto-es, lobbies, the atrium and many offices. re, avle, atrij in tudi številne pisarne. 30 let U m e t n o s t n a E k o n o m s k i . . . A r t a t t h e S c h o o l . . . Srce umetniške usmeritve Ekonomske fakultete At the heart of the SEB LU’s artistic endeavours is pa je galerijska dejavnost, ki ni zgolj v enem, its gallery activity, found in not one but two art ampak v kar dveh galerijskih prostorih. Od za-galleries. It is now 30 years since the gallery took četnih korakov galerijske dejavnosti je preteklo its initial steps. The approach to exhibiting art-trideset let. V tem času je odnos do razstavljan- works has developed from amateur aspirations ja prerasel iz začetnega ljubiteljstva v pravi pro-to a genuine professional approach. Today, the fesionalni pristop. Danes na fakulteti delujeta SEB LU runs two exhibition areas: the SEB LU Art dva razstavna prostora: Galerija Ekonomske fa- Gallery, located in the centre of the school, and kultete, ki je zasedla osrednji prostor fakultete, the Small Art Gallery, artistically enriching the in Mala galerija, ki bogati hodnik pred Central-hallway in front of the Central Economics Library. no ekonomsko knjižnico. Each of these areas has its own place and mis- Vsaka od njiju ima svoje mesto in poslanstvo. sion. The SEB LU Art Gallery is located in the Galerija EF je umeščena na najbolj vidno mesto, most visible part of the campus, immediately takoj za glavnim vhodom in recepcijo fakultete, after the main entrance and the reception, and in ima kot taka ključen reprezentativni namen. therefore plays a key representative role. It hosts Na razstavah gosti vidne umetnike različnih li-exhibitions by recognised artists from different kovnih zvrsti, ki segajo od slikarstva, kiparstva, art genres: painting, sculpting, photography and fotografije in keramike do vizualne umetnosti ceramics through to visual art and animated film. in animiranih filmov. Razstave se menjujejo me- Exhibitions are officially opened every month. sečno, spremljajo jih otvoritve. The Small Art Gallery is mainly dedicated to Mala galerija je namenjena predvsem mlajši gene- younger artists and, as such, its mission is just as raciji umetnikov in opravlja ravno tako pomemb-important as that of its ‘big sister’. To date, almost no poslanstvo kot njena večja sestra. Doslej je v 200 artists have already shown their works in Galeriji EF in Mali galeriji razstavljalo že skoraj the SEB LU Art Gallery and the Small Art Gallery. 200 umetnikov. O visoki priljubljenosti razstavnih The SEB LU’s exhibition space is very popular, as prostorov Ekonomske fakultete priča tudi dejstvo, revealed by the fact that both art galleries are da sta obe galeriji z razstavljavci zasedeni že nekaj booked several years in advance. let vnaprej. Yet there would be no artistic activities without Umetniške dejavnosti pa seveda ne bi bilo brez people. The SEB LU’s gallery and art activities are ljudi. Galerijsko in nasploh umetniško dejavnost governed by the 10-member SEB LU Arts Council. fakultete usmerja Svet za umetnost EF, ki šteje de-The latter decides on artwork purchases, organ- set članov. Svet odloča o nakupu umetniških del, ises roundtables on the subject of links between prireja okrogle mize na temo umetnosti, poveza- arts and science, and participates in the Summer ne z znanostjo, in sodeluje v Poletni šoli kultur-School on Cultural Management. As a member of nega menedžmenta. Ekonomska fakulteta svoje the Arts Council of the University of Ljubljana, the umetniško delovanje širi tudi v nabor ljubljanske SEB LU is also expanding its artistic endeavours 31 30 let g a l e r i j s k e d e j a v n o s t i n a E F 32 Univerze, saj je tudi članica Sveta za umetnost within the University domain. Moreover, years ago Univerze v Ljubljani. Pred leti je bila tudi pobudni-it initiated presentations of art academies to other ca predstavitev umetniških akademij drugim čla-University members. nicam Univerze v Ljubljani. None of this would be possible without the sup- Vse to ne bi bilo mogoče brez podpore vodstva fa- port of the SEB LU’s management, especially for- kultete, v prvi vrsti prejšnjega dekana prof. dr. Du-mer Dean Prof. Dr. Dušan Mramor and the current šana Mramorja in sedanje dekanje prof. dr. Met- Dean Prof. Dr. Metka Tekavčič, a great art lover ke Tekavčič, ki je velika ljubiteljica in podpornica and enthusiast. Due to her refined attitude to umetniške dejavnosti. Zaradi njenega subtilnega arts, we have been able to purchase many works odnosa do umetnosti smo lahko v zadnjih letih over the last few years by young and prospective odkupili veliko del mladih in perspektivnih sloven-Slovenian artists. skih slikarjev. The success of the SEB LU’s gallery activity cer- Uspešnost galerijske dejavnosti na Ekonomski fa- tainly depends on the dedication of the team of kulteti je zagotovo odvisna od velike zagnanosti employees who are in charge of it. The central fig-skupine sodelavcev, ki zanjo skrbijo. Ključna je ure is, of course, Slavica Zrakič, the Head of Gallery seveda vodja galerijske dejavnosti Slavica Zrakič. Activity. By her side are Tomaž Ulčakar who takes Ob njej Tomaž Ulčakar skrbi za zgibanke obeh care of fliers for both art galleries and advertising galerij in plakate Male galerije EF, Mojca Ogrin posters of the Small Art Gallery, and Mojca Ogrin pomaga pri oblikovanju besedil, tehnična služba, who helps with the texts. The Maintenance Ser- predvsem Robert Bregar in Aleš Grum, pa vsak vice, particularly Robert Bregar and Aleš Grum, mesec hitro in strokovno postavlja slike v galerij-lends a helping hand every month, by quickly ski prostor. In na koncu stoji za vsem Tanja Gvoz-and professionally hanging paintings on the walls denovič s svojo ekipo, ki vsakič izvede otvoritve of both art galleries. Last but not least is Tanja profesionalno ter v veliko zadovoljstvo umetni-Gvozdenovič and her team, always professionally kov in obiskovalcev. Slavica Zrakič, Tanja Gvozde-conducting exhibition openings to the great satis-novič, Mojca Ogrin in Tomaž Ulčakar so tudi člani faction of artists and visitors. Slavica Zrakič, Tanja Sveta za umetnost Ekonomske fakultete. Gvozdenovič, Mojca Ogrin and Tomaž Ulčakar are also members of the SEB LU Arts Council. Galeriji sta med deležniki družbene odgovor- nosti na Ekonomski fakulteti, ki je v današnjem Both art galleries are stakeholders in the SEB LU’s času za izobraževalne ustanove zelo pomemb-social responsibility, noting that this concept has na. Z izdajo umetniške monografije dodajamo become a very important facet of educational še en manjkajoči del mozaika vpetosti Ekonom- institutions. The publication of this arts mono- ske fakultete v družbeno odgovorno fakulteto graph is yet another contribution within the SEB na področju umetniške dejavnosti. LU’s many endeavours to be a socially responsible school in the area of arts. 30 let U m e t n o s t n a E k o n o m s k i . . . A r t a t t h e S c h o o l . . . vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZO A ONOMSKK 33 E Galerijska dejavnost EF vstopa v četrto 30 desetletje Gallery activity at the SEB LU in its fourth decade Petja Grafenauer 30 let 30 let let 30 vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZ let O A ONOMSKKE 30 let g a l e r i j s k e d e j a v n o s t i n a E F 36 Galerijska dejavnost Gallery activity at the EF vstopa v četrto SEB LU in its fourth desetletje decade Ob tem, ko Ekonomska fakulteta praznuje svojo The School of Economics and Business is celebrat- 30. obletnico umetniške dejavnosti in 10. obletni-ing the facts that it is 30 years since it started its co Galerije EF, lani pa se je odprla tudi prva uni-art activity, 10 years have elapsed in the SEB LU Art verzitetna galerija, se izkaže, da Univerza v Ljubl-Gallery’s life, and that the first university art gal-jani premore precej obsežen nabor razstavljanju lery was opened last year, all indicating that the namenjenih prostorov, ki pa jih morda le premalo University of Ljubljana is home to a decent num- dobro poznamo. Dejstvo, da imajo študentje, pro- ber of exhibition premises that might have es- fesorji in drugi zaposleni na Ekonomski fakulteti caped our attention. The idea that students, pro- že desetletja možnost, da se mesečno srečajo z fessors and other SEB LU staff have every month novim izborom umetniških del, predstavlja veli- for three decades been able to enjoy a new selec- ko vrednost v krepitvi zavesti o pomenu odnosa tion of artworks is vital for raising awareness of do vizualne umetnosti, širjenju vednosti o vizual-the importance of our attitude to the visual arts, ni ustvarjalnosti v slovenskem in mednarodnem broadening knowledge about visual creativity in prostoru ter seveda odpiranju za etično, poved- both the Slovenian and international arenas and, no in estetsko komponento, ki jih umetniška dela of course, to becoming receptive to the ethical, posredujejo posamezniku. Umetniška galerijska expressive and aesthetic components that such dejavnost Ekonomske fakultete pomeni veliko works resonate within an individual. The activity vrednost v akademskem svetu in je zato EF ena of the SEB LU art gallery adds great value to the redkih, ne pa tudi edina akademija ali fakulteta s academic world and is in fact one of the few, albe-to dejavnostjo. it not the sole academy or school, to be engaged in this activity. Galerijo vizualnih umetnosti, kjer se izbrana dela navezujejo na družboslovne vsebine, imajo že A visual arts gallery featuring artworks that reflect dvanajsto leto na Fakulteti za družbene vede. social science contents has been developing for 12 Dobro že dolga leta deluje tudi skoraj trideset let years at the Faculty of Social Sciences. Located in stara galerija v avli Pedagoške fakultete, kjer raz-the lobby of the Faculty of Education, a gallery that stavljajo študentje fakultete, prav tako že vrsto is nearly 30 years old displays artworks by its own let študentje svoja dela razstavljajo na Fakulteti students and has also been running successfully. za arhitekturo in seveda na Akademiji za likov- Likewise, students at the Faculty of Architecture no umetnost. Z novo stavbo je galerija likovne and, naturally, the Academy of Fine Arts and De- umetnosti v nastajanju na Fakulteti za računalni- sign have also exhibited artworks for several years. štvo, prostore pa so kvalitetno opremili z donacijo The Faculty of Computer and Information Science slikarja Mirana Eriča. Razstave, ki niso vedno le s has been establishing an art gallery in its new 30 let G a l e r i j s k a d e j a v n o s t . . . G a l l e r y a c t i v i t y . . . področja vizualne umetnosti, pripravljajo tudi na premises, embellishing the walls with artworks Medicinski, Filozofski in Pravni fakulteti. Izpostavi-donated by the painter Miran Erič. Exhibitions are ti velja tudi kvalitetno likovno opremo na slednji also on display at the Faculty of Medicine, the Fac-in tudi dobro, pred kratkim izvršeno postavitev ulty of Arts and the Faculty of Law, and not simply kvalitetne zbirke Akademije za likovno umetnost in the visual arts domain. Also worth mentioning v prostorih Univerze. Toda že 30. leto je primer is the top artistic design produced over at the Fac-dobre prakse, ki ga velja izpostaviti, galerijska ulty of Law or the excellent collection of artworks dejavnost Ekonomske fakultete. Galerija delu-of the Academy of Fine Arts and Design that was je v prostorih Ekonomske fakultete, vodi pa jo recently exhibited on the University’s premises. In umetnostna zgodovinarka Slavica Zrakič, ki je the 30 years of the SEB LU gallery’s life, one partic-odgovorna za njeno ustanovitev in bogato zgo- ular example of good practice stands out. The SEB dovino, pa tudi za nastanek likovne zbirke in LU Art Gallery is located on campus and managed njeno upravljanje. by the art historian Slavica Zrakič, who is also credited for having established the gallery and its rich Galerija – pravzaprav sta razstavna prostora danes history, together with creating and managing the dva: Mala galerija Ekonomske fakultete in Galerija fine art collection . Ekonomske fakultete – je v treh desetletjih gostila 227 razstav, ki jih je pripravilo 198 ustvarjalcev, pred-Over three decades, the art gallery – namely, the vsem akademskih umetnikov. Med njimi je največ two exhibition spaces of the SEB LU Art Gallery slikarjev, ki jim sledijo fotografi, kiparji, oblikovalci and the SEB LU Small Art Gallery – has hosted keramike, arhitekti, ilustratorji, lutkarji, animatorji in 227 exhibitions by 198 exhibitors, mainly formal- številni drugi. Galerijska politika se osredinja na širok ly trained, academic artists. Most of these were nabor umetnostnih zvrsti, s katerimi se dnevno sre-painters, followed by photographers, sculptors, čujejo zaposleni na fakulteti, njihovi gostje in velika ceramists, architects, illustrators, puppet makers, množica študentov ekonomije, ki tudi prek dejav-animators and many others. The policy of the art nosti galerije vstopajo v svet vizualne umetnosti kot gallery encompasses a wide range of art genres gledalci, ljubitelji, morda nekoč zbiralci ali celo inves-that the SEB LU staff, guests and students of eco-titorji v vizualno umetnost. nomics encounter on a daily basis. It is through the gallery’s efforts that they all have the chance Med umetniki, ki so s svojimi deli polnili prosto-to enjoy the visual arts world as viewers, lovers re galerije, so vrhunska imena, vpisana v kanon and, perhaps one day, also as collectors or even slovenske umetnostne zgodovine, kakršna so investors in the visual arts. na primer kipar Jože Barši, Saša Bezjak, Silvan Omerzu, Alenka Sottler ali Sašo Vrabič, pa moč- The list of artists already exhibiting in the art gal-na hrvaška slikarska linija, ki jo predstavlja gale-leries includes eminent artists found in Slovenia’s rija, in tudi manj znani avtorji, pri čemer je tre-art history canon, like Jože Barši (sculptor), Saša ba reči, da kustosinja galerije s svojim izborom Bezjak, Silvan Omerzu, Alenka Sottler and Sašo avtorjev kaže na veselje predvsem do vizualno Vrabič, along with a strong Croatian painting lin-37 30 let g a l e r i j s k e d e j a v n o s t i n a E F 38 barvite abstrakcije in s tem določa osebni ton eage and some less well-known authors. It should galerijskega izraza. be noted that in her selection of authors the gallery curator reveals her own fondness for visually Tokratna jubilejna razstava je sestavljena iz del colourful abstraction and this in itself adds a per-umetnikov, ki so umetnine donirali v zbirko Eko- sonal tone to the art gallery. nomske fakultete ali pa jih je ta odkupila. To so slikarji Aleksander Brezlan, Danijel Demšar, Gašper This jubilee exhibition is made up of artworks Jemec, Tilen Žbona, Mira Resnik, Milena Kafol, Sead either donated to the SEB LU collection by the Emrić, Taja Zven Ivančič in Gregor Žitko. Razstavlje-creators or purchased by the SEB LU. The names na pa so tudi dela izbora umetnikov, ki so v galeriji of painters include Aleksander Brezlan, Danijel le razstavljali in so znova povabljeni k sodelovanju Demšar, Gašper Jemec, Tilen Žbona, Mira Resnik, pod taktirko kustosinje. Ti umetniki so Saša Bezjak, Milena Kafol, Sead Emrić, Taja Zven Ivančič and Silvan Omerzu, Mojca Sekulič Fo, Leon Vidmar, Ni- Gregor Žitko. A selection of works by artists who kolaj Vogel in Sašo Vrabič. had already exhibited in the SEB LU Art Gallery and were again invited to participate in the cura-Izbrani avtorji pripadajo zreli, srednji in najmlajši tor’s discretion is also on display, including Saša umetniški generaciji. Slikar Danijel Demšar je na Bezjak, Silvan Omerzu, Mojca Sekulič Fo, Leon Vid-ALUO diplomiral leta 1979, Mira Resnik intenziv- mar, Nikolaj Vogel and Sašo Vrabič. neje slika od leta 1989, pa tudi Milena Kafol se je za slikarstvo odločila v zrelih letih. Bosanski slikar The selected artists come from the mature, mid-abstrakcij Sead Emrić je med izbrano petnajste- dle and youngest generations of art. The painter rico edini tujec. Mojca Sekulič Fo, po izobrazbi Danijel Demšar graduated from the Academy arhitektka in delujoča kot vizualna umetnica, of Fine Arts and Design in 1979, Mira Resnik has predvsem ilustratorka, se je v Galeriji EF leta 2016 been painting more intensively since 1989 and predstavila s ciklusom podob, poimenovanih Milena Kafol also decided to engage in painting Zvezdne poti, s slikarskimi abstrakcijami pa se je in her mature years. The Bosnian abstract painter predstavil tudi grafični oblikovalec Aleksander Sead Emrić is the only foreigner in the selection of Brezlan, član skupine CYP2C9, ki je v galeriji pri-15. Mojca Sekulič Fo, an architect by education as pravila tudi lastno razstavo. well as a visual artist and illustrator by profession, appeared in the SEB LU Art Gallery in 2016 with Na številnih področjih deluje diplomirani scenarist, a cycle of images called Star Trails, whereas the režiser, scenograf in animator Leon Vidmar. Ta je v graphic designer Aleksander Brezlan, a member of Galeriji Ekonomske fakultete leta 2018 predstavil the CYP2C9 group, presented his abstract paint-razstavo scenografij in fragmentov, ki so ostali po ings in the SEB LU Art Gallery, as did his group in a snemanju kvalitetnega animiranega filma Slovo. A separate exhibition. že leta 2013 je tu razstavljal še en vrhunski lutkar in ilustrator, Silvan Omerzu. Predstavil je ilustracije in The graduate screenwriter, director, scenog-značilne lutke ter opozoril na pomen povezovanja rapher and animator Leon Vidmar is active in med ekonomijo in umetnostjo ter njunimi akterji. many areas. In 2018, he put on an exhibition 30 let G a l e r i j s k a d e j a v n o s t . . . G a l l e r y a c t i v i t y . . . Ostali izbrani razstavljavci so akademski slikarji, a of film scenes and fragments in the SEB LU Art tudi Sašo Vrabič je »multitasker«. Je uspešen zbo-Gallery as remnants after the filming of Fare-rovski pevec, »beatboxer«, slikar, ustvarjalec videa, well, a high-quality animated film . Already in glasbe, risar in še in še bi lahko naštevali. Je tudi 2013, the elite puppeteer and illustrator Silvan eden izmed najpomembnejših slikarjev poznih de- Omerzu was invited to the SEB LU Art Gallery. vetdesetih let in prehoda tisočletja v slovenskem He presented illustrations and his characteristic prostoru. Kot Omerzu na lutkarskem področju puppets while also stressing the importance of je tudi Vrabič v polju slikarstva že vpisan v kanon establishing links between economics, art and slovenske umetnostne zgodovine. Leta 2017 je all stakeholders. v galeriji pripravil izbor del zadnjega desetletja. While the selected exhibitors are mostly formally V njegovo slikarsko generacijo, ki je konec 90. let trained painters, Sašo Vrabič may be described as prejšnjega stoletja končevala študij na Akademiji za a multitasker. He is a successful choral singer, a likovno umetnost in oblikovanje Univerze v Ljubl-beatboxer, painter, video-maker, musician, sketch jani, se umeščajo tudi Gašper Jemec, Tilen Žbona, artist and much more. He is also one of the most Taja Zven Ivančič in Saša Bezjak. Jemec je posebej visible Slovenian painters of the late 1990s and za prostore Galerije Ekonomske fakultete in z mis-start of the millennium and, like Omerzu in the lijo na njene vsakdanje obiskovalce leta 2010, v field of puppetry, figures in the art history canon obdobju krize, pripravil vizualni projekt Zamenjam of Slovenia. In the SEB LU Art Gallery in 2017, he zlato za denar. Leta 2014 se je s serijo polabstrakt-exhibited a selection of works from the last de- nih krajin, v katerih je tu in tam zaznati piš mento-cade. His generation of painters, who completed rice Metke Krašovec, predstavil Nikolaj Vogel. Tudi their studies at the Academy of Fine Arts and De-polabstraktne, s telesnostjo nabite slike Taje Zven sign of the University of Ljubljana at the end of the Ivančič nastajajo s konceptom, odlična pa je tudi 1990s, also includes Gašper Jemec, Tilen Žbona, Saša Bezjak, ki se je med vidnejše ustvarjalke so-Taja Zven Ivančič and Saša Bezjak. Especially for dobne umetnosti prebila šele v zadnjih letih s serijo the SEB LU Art Gallery and with a view to its day-erotičnih, brutalno iskrenih risb in vezenin – te je to-day visitors, Jemec prepared a visual arts proj-razstavila tudi v Galeriji EF na razstavi, ki si jo je deli-ect during the economic crisis in 2010 entitled I la s fotografinjo Arven Šakti Kralj Szomi. Med vsemi exchange gold for money. In 2014, Nikolaj Vogel izbranimi slikarji je najmlajši Gregor Žitko, ki je leta presented a series of semi-abstract landscapes 2018, ko je pripravil razstavo Neskončnost, ob ka-where every once in a while a trace of his mentor teri se je slikanja platen skušal lotiti tako, da je (vsaj Metka Krašovec can be perceived. Experimenting zavestno) pozabil vsa teoretična znanja o gradnji with corporality, Taja Zven Ivančič also creates her slike, še študiral na ALUO. semi-abstract paintings based on a concept. There Ob vsej razstavni dejavnosti Galerije Ekonomske is also the excellent Saša Bezjak who has managed fakultete velja omeniti tudi zbirko likovnih del, ki to establish herself as a visible creator of modern obsega 62 umetnin. Nekatere med njimi je fakul-art only in the past few years with a series of erot-teta odkupila – posebej velja izpostaviti sliki An-ic, yet brutally sincere sketches and embroideries. 39 30 let g a l e r i j s k e d e j a v n o s t i n a E F 40 draža Šalamuna v dekanatu Ekonomske fakultete She presented them at the SEB LU Art Gallery in an in serijo kiparskih del priznanega slovenskega ki-exhibition shared with the photographer Arven parja Jiřija Bezlaja, ki krasijo atrij fakultete – skupaj Šakti Kralj Szomi. The youngest of all the selected z drugimi deli, predvsem slikarske in risarske na-painters is Gregor Žitko who in 2018 held an ex- rave, pa ocenjena vrednost zbirke dosega okrog hibition called Infinity where he tried to paint on 92.000 €. Z odkupi del Ekonomska fakulteta sode-canvases by (consciously) forgetting all his theo-luje v slovenskem svetu umetnosti in je vpeta v trg retical knowledge about constructing a painting umetnin, ki je v Sloveniji podhranjen, hkrati pa bo acquired while still an Academy of Fine Arts and z leti zbirka pomenila veliko bogastvo, ki ga ne gre Design student. Besides the activity of the SEB LU meriti le v finančnih, temveč predvsem v estetski, Art Gallery, a fine art collection encompassing 62 etični in izobraževalni noti, ki jo uporabniku ponu-works is also worth noting. The SEB LU has pur- ja umetnost. Vse te vrednote so ključne za ustvarchased some of them – the two paintings by An- janje zdrave družbe. Smer, v katero galerija in zbir-draž Šalamun in the Dean’s Office and a series of ka potujeta v naslednjem obdobju, je nekoliko več sculptures by the renowned Slovenian sculptor drznosti pri razstavah ter še več razstav vrhunskih Jiři Bezlaj in the atrium deserve particular atten-avtorjev in odkupov njihovih del za zbirko. tion – and together with other artworks, mostly paintings and drawings, its collection is now val-Na Akademiji za likovno umetnost, kjer poučujem, ued at some €92,000. With its art purchases, the stojimo ob strani generacijam, ki se pred našimi SEB LU is active in the Slovenian art world and očmi spreminjajo v vrhunske ustvarjalce. Posta- participates in the undernourished art market. ti in biti umetnik ni zaposlitev, temveč poklic v As time passes by, the collection will grow to be-osnovnem smislu besede, dejavnost, ki kliče, za- come an asset not to be measured simply in fi- hteva celega človeka in popolno predanost. Veli- nancial terms but mainly as concerns the aesthet- kega pomena je, da je ljudem, ki so se odločili za ic, ethical and educational dimensions in which to negotovo pot, na voljo okolje, ki njihov trud in art involves the user. All of these dimensions have predanost sprejme z odprtimi rokami. Razstavna a key role to play in creating a healthy society. The dejavnost in nastajajoča zbirka pričata o odnosu direction of the SEB LU Art Gallery and its collec-Ekonomske fakultete do umetnosti in kulture na- tion in the upcoming period is leading towards sploh, s tem pa do življenja kot vrednote, ki naj ga even bolder exhibitions, further presentations by uspešno prenaša na mlajše generacije. top artists, and more purchases for the collection. At the Academy of Fine Arts and Design where I teach, we work to support generations of stu- dents who, before our very eyes, are evolving into top artists. To become and to be an artist is not a profession but a calling in the purest meaning of the word, an activity that calls for the whole person and for absolute dedication. It is vital that 30 let G a l e r i j s k a d e j a v n o s t . . . G a l l e r y a c t i v i t y . . . those people who decide to walk along this un- certain path find themselves in an environment that openly embraces their efforts and commit- ment. The exhibition activity and growing col- lection are witness to the SEB LU’s attitude to the arts and culture in general and to life as a value which the School should successfully impart to the younger generations. vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZO A ONOMSKKE 41 Likovne podobe skozi prizmo 30 ekonomskih obzorij Artistic images through the prism of economic horizons 30 let 30 let let 30 vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZ let O A ONOMSKKE 30 let g a l e r i j s k e d e j a v n o s t i n a E F ALEKSANDER BREZLAN 30 let Aleksander Brezlan se je rodil leta 1981. Po sred-Kako bi vi sami ubesedili nji šoli za oblikovanje in fotografijo in diplomi iz svoje likovno ustvarjanje? vizualnih komunikacij na Akademiji za likovno “Še vedno sem navdušen nad slikarstvom, ker z besedo misli ne znam umetnost in oblikovanje v Ljubljani je znanje iz izreči, filozofsko dejanja ne izraziti. Živim v letu s plinom, polnim oblikovanja komunikacij izpopolnjeval na Univer-neba, morda vsakič kot v zadnji predstavi.“(A. Brezlan) zi v Duissburg-Essnu v Nemčiji. Svoje znanje kot V svoje slikarstvo vpletam nekakšne prapodobe sveta, ki jih os-profesor grafičnega oblikovanja posreduje dija- mislim z intuitivno nastalimi oblikami. Tako nastale oblike so kom Srednje šole za oblikovanje in fotografijo v posledica divjanja po odkrivanju sveta in poglabljanja vase, so Ljubljani, v prostem času pa se umetniško posveča neke vrste ekspresionistični vzgibi, ki se nalagajo v sliko, kjer je slikarstvu, ilustraciji in grafičnemu oblikovanju. vse dopuščeno in kjer ima vsaka resnica svoj smisel. Živi v Ljubljani, svojo ustvarjalno rezidenco z atel-Izhajam iz teze, da se sanj ne da uokviriti. K ustvarjanju pristopam jejem in galerijo pa ima v Halozah na Štajerskem. razbremenjen omejitev, v svobodnem gibanju, prost, brez okov, Sodeloval je na številnih razstavah doma in v tujini v tradiciji akcijskega slikarstva in avtomatskega zapisa. Slike so ter je prejemnik številnih nagrad in priznanj, med večinoma brez okvirjev in se tako širijo v prostor ter zapolnjujejo drugim priznanja Hinka Smrekarja za ilustracijo za galerijsko praznino večdimenzionalno. Svojih slik ne naslavljam, leti 2006 in 2008. tako da nič ne zmoti njihove abstraktne celovitosti, ki je posveče-na le oblikovni govorici. Zunanje spodbude mojega izražanja se ne zrcalijo le likovno, Aleksander Brezlan was born in 1981. After temveč tudi z močjo besede, ki spontano vznikne kot odziv na completing the secondary school of design and videno in doživeto. photography and graduating in visual communi- cations from the Academy of Fine Arts and De- Umetnost in ekonomija, sign in Ljubljana, he up-graded his knowledge in kako ju povezujete? communication design at the University of Duis- Družbeno prepletenost umetnosti in tržne ekonomije vidim burg-Essen in Germany. As a teacher of graphic predvsem v tem, kjer ima slednja korist od umetnosti. Ekonoms-design, he has been imparting his knowledge to ka vrednost se kaže zlasti v praksah oblikovanja kot neke vrste vnosti na EF students of the Secondary School for Design and kategorije umetnosti. Največjo kapitalistično tržno nišo, ki je za ejad Photography in Ljubljana, whereas he devotes his ekonomijo verjetno najzanimivejša, predstavlja vizualna podoba e spare time to painting, illustration and graphic de-blagovne znamke. Je nosilec ekonomske moči, ki obljublja rešitev ijsk sign. He lives in Ljubljana and has his own creative za izgubljeni način življenja. Ekonomija oz. njena značilnost mar-aler residence, featuring a studio and an art gallery, in ketinga ustvarja sintetična okolja, kjer se življenje spreminja v g Haloze in the Štajerska region. He has participat-blago (izdelki oz. materialni objekti, kulturna potrošnja, soudelež- let ed in many exhibitions at home and abroad and 30 ba v določenem življenjskem slogu). Postajamo potrošniki last-received many awards and recognitions, among nih življenj. Ekonomija potrebuje vizualizacijo oz. umetnost kot others the Hinko Smrekar Recognition for illustra-sub-stanco, ta pa za svoje preživetje ekonomijo. ODOBP tion in 2006 and 2008. Kako vidite prihodnost lastnega VNIH ustvarjanja in prihodnost likovne umetnosti? O IK Umetnost si predstavljam kot nekakšno bazo, kjer se akumuliraL jo različni vidiki bivanja (kulturološki, sociološki, geografski, de-mografski, etnološki, intelektualni, duhovni). Je center meditaci-ORJA je, kontemplacije, hkrati pa poligon akcije in reakcije. Potep po BZO neznanih poteh sveta mi pomeni nove zaznave, videnja, razmišl-A janja. Slike so le odraz sveta, na katerega sem bil v nekem trenutku pozoren. Zdi se, da je v umetnosti nekaj, kar ostaja z nami do zadnjega diha … ONOMSKKE 45 46 How would you translate your artistic creation into words? “I am still excited about painting because I can’t express my thoughts with words or my acts with philos-ophy. I live, flying, with a tank full BREZLAN of sky, maybe each time like in my last performance.” (A. Brezlan) In my paintings I interlace some kind of primal images of the world to which I give meaning with intuitively created forms. Such forms are a consequence of the rush to discover the world and explore my depths, they are a kind of expressionist impulses that build up to form a picture in which everything is allowed and ALEKSANDER every truth has its meaning. I start from the notion that dreams cannot be framed. I embark on the creative process free of limitations, in an uninhibited movement, liberated, unfettered, in the tradition of action painting and automated drawing. Most of my canvases are unframed and thus expand into the space, thereby multidimensionally filling the void of the art gallery. I do not give my paintings titles so that nothing disturbs their abstract integrity, which is dedicated solely to formal expression. The external impulses of my expression are not only reflected in fine art, but also through the power of the words that spontaneously burst out in reaction to what has been seen and experienced. Art and economics, how do you bring them together? I principally see the social intertwining of art and the market economy in the fact that the latter benefits from the former. Economic value is mainly revealed in design practices like some kind of art category. The biggest niche in the capitalist market, which is probably the most interesting for economics, is the visual image of a brand. It signifies economic power that promises a solution to the lost way of living. Economics or its marketing facet creates synthetic environments where life transforms into commodities (products or material objects, cultural consumption, leading a specific lifestyle). We have become consumers of our own lives. Economics needs visualisation or art as a substance, whereas the latter needs the former to survive. How do you see the future of your own creative efforts and the future of the fine arts? I imagine art as a foundation on which different aspects of living accumulate (cultural, sociological, geo-graphical, demographic, ethnologic, intellectual and spiritual). It is the centre of medita-tion and con-templation, while also serving as an arena for action and reaction. For me, a ramble down the unknown tracks of the world means a new perception, a new vision and new thinking. My paintings are simply reflections of the world that grabbed my attention at a certain moment in time. It seems that there is something in art that lingers within us until our very last breath... 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F DANIJEL DEMŠAR 30 let Danijel Demšar se je rodil leta 1954 v Mariboru. Po Kako bi vi sami ubesedili končani Šoli za oblikovanje v Ljubljani se je sprva svoje likovno ustvarjanje? vpisal na Pedagoško akademijo v Mariboru, a se je Nekoč sem nekje prebral, da obstaja za pojem umetnost več kmalu prepisal na študij slikarstva na Akademiji za definicij, a nobena ne zaobjame celote te kompleksne družbene likovno umetnost v Ljubljani, kjer je leta 1979 diplo-pojavnosti. Po krajšem razmišljanju se mi je utrnila misel oziroma miral pri profesorju Štefanu Planincu. Po končanem moja lastna definicija: »Umetnost je igrivost duha.« Ohranjanje študiju je bil zaposlen kot likovni pedagog na Os-prvinske otroške radovednosti ter čudenje nad svetom in našim novni šoli Danile Kumar v Ljubljani, kasneje pa je bivanjem v njem sta temeljna vzvoda za ustvarjalno energijo. pedagoški poklic opustil in se posvetil slikarstvu, Toda šele s krili intuicije, pripetimi na telo pridobljenega znanja, grafiki, knjižni ilustraciji in oblikovanju lutk. lahko poletimo po duhovnih poljih ustvarjalnosti. Večino likovnih Kot samostojni likovni ustvarjalec živi in ustvarja del sem uresničil na papirju, ki je postal hvaležen nosilec mojih v Grižah pri Sežani in je član Zveze društev slov-likovnih izpovedi. Papirji so po svoji zgradbi krhki, a hkrati raz-enskih likovnih umetnikov. Razstavljal je na števil-novrstni po svojih lastnostih, ki ponujajo mnogotere interpreta-nih samostojnih in skupinskih razstavah doma in tivne možnosti. v tujini, ilustriral preko 50 knjig ter je avtor 12 lut-kovnih predstav in treh gledaliških scen. Za svoje Umetnost in ekonomija, delo je prejel osem nagrad, med pomembnejšimi kako ju povezujete? so Levstikova nagrada za ilustracijo (1985), plaketa Vrednotenje umetnine s tržnimi mehanizmi je težavno, običa-Hinka Smrekarja (1997), priznanje Hinka Smrekar- jno prevladujejo neumetnostni kriteriji, še posebej v našem ja (1997), nagrada Hinka Smrekarja (2010), vpis na majhnem nacionalnem prostoru, kjer so umetniki obsojeni na častno listo IBBY (2012) in Levstikova nagrada za preživetvene strategije. Edina možnost je prisotnost na širšem življenjsko delo (2013). evropskem ali celo globalnem trgu, kjer pa v nekaterih umetnostnih panogah, ki so vezane na besedilno zasnovo (npr. lutkovno gledališče, knjiga …), obstajajo omejitve pri prodoru na trg. Danijel Demšar was born in 1954 in Maribor. After completing the Secondary School of Design in Lju-Kako vidite prihodnost lastnega vnosti na EF bljana, he first enrolled at the Academy of Education ustvarjanja in prihodnost likovne umetnosti? ejad in Maribor but soon decided to study painting at the V hitro spreminjajočem se in s podobami nasičenem svetu je e Academy of Fine Arts in Ljubljana from where he pogled v prihodnost zamegljen. Sam bom nadaljeval že preho-ijsk graduated in 1979 under Professor Štefan Planinc. jeno ustvarjalno pot in sledil svojemu občutenju sveta. A pot ima aler He was then employed as a fine art teacher at the veliko ovinkov, križišč in preprek. Nikoli ne veš, kaj se razkrije za g Danila Kumar Primary School in Ljubljana, but later naslednjim ovinkom. let abandoned this career choice and dedicated him- 30 self to painting, graphic design, book illustration and puppet-making. As an independent fine artist, ODOB he lives and creates in the Griže village near Sežana P and is a member of the Slovenian Association of Fine Arts Societies. He has presented his artwork at many VNIH O individual and group exhibitions across Slovenia and IKL abroad, illustrated over 50 books as well as created 12 puppet shows and 3 theatre sets. He has been given ORJA 8 awards for his work, the most important being the BZO Levstik Award for Illustration (1985), the Hinko Sm-A rekar Plaque (1997), the Hinko Smrekar Recognition (1997), the Hinko Smrekar Award (2010), being entered in the IBBY Honour List (2012) and the Levstik ONOMSKK Award for Life Work (2013). E 49 50 How would you translate your artistic creation into words? I read somewhere that several definitions of the concept of ‘art’ may be found, yet none of them encompasses the entirety of DEMŠAR this complex social phenomenon. After giving it some thought, an idea came to mind, which is now my own definition: “Art is playfulness of the spirit”. Maintaining our original childhood ANIJEL curiosity and our amazement at the world and our existence D within it are the fundamental levers of creative energy. Yet it is only with wings of intuition, fastened to the body of acquired knowledge, that we can fly across the spiritual fields of creativity. Most of my works of art are on paper, which has become a grateful bearer of my fine art expression. Paper is fragile in structure yet also diverse in terms of its characteristics, offering a myriad of interpretative possibilities. Art and economics, how do you bring them together? It is problematic to evaluate works of art using market mecha-nisms. The non-artistic criteria typically prevail, especially in our small national setting where artists are doomed to mere ‘surviv-al strategies’. The only possibility is to gain a bigger share of the broader European or even global market; however, in some art genres associated with a textual concept (e.g. puppet theatre, book etc.) there are limitations on market penetration. How do you see the future of your own creative efforts and the future of the fine arts? In this rapidly changing and image-overloaded world, the view of the future is blurred. I myself will continue to follow my creative path and my own sense of the world. But this path has a multitude of bends, intersections and obstacles. You never know what will reveal itself at the next bend. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F GAŠPER JEMEC 30 let Slikar Gašper Jemec se je rodil leta 1975 v Kranju. Na Akademij za Kako bi vi sami ubesedili likovno umetnost v Ljubljani je študiral slikarstvo in nove medije svoje likovno ustvarjanje? pri profesorjih Janezu Berniku in Gustavu Gnamušu ter leta 1998 Delujem na področju vizualne umetnosti oziroma diplomiral. Po diplomi je odšel v tujino in se izobraževal pri pro-podobe tvornega sveta, ki ima lastne zakonitosti fesorju Voughnu Clayu na podiplomskem oddelku za slikarstvo in svojstven jezik. Pisanje ni moj priljubljen medij na Univerzi Pensilvanije v Indiani ter kot dobitnik Herderjeve šti-izražanja, zato so moji odgovori kratki. pendije pri profesorici Gerdi Fassel na podiplomskem oddelku za kiparstvo na dunajski Univerzi uporabnih umetnosti. Na Aka-Umetnost in ekonomija, demiji za likovno umetnost v Ljubljani je kasneje tudi magistriral kako ju povezujete? iz videa pri profesorju Sreču Draganu in iz slikarstva pri profesorju Teme, ki jih obravnavajo vse zvrsti umetnosti, so Bojanu Gorencu. življenjske. In ekonomija je sestavni del našega bi-Jemec ustvarja v več umetnostnih disciplinah hkrati: slikarstvu, vanja. Zato je ekonomija prisotna v poljih umetno-kiparstvu, instalacijah, videu, multimediji in fotografiji. Svoja dela sti na različne načine in nanje tudi vpliva. je predstavil na mnogih samostojnih in skupinskih razstavah, med drugim v ZDA, Nemčiji, Rusiji, Avstriji, Italiji, Španiji, Belgiji, Kako vidite prihodnost lastnega Franciji, Avstraliji, Veliki Britaniji, na Japonskem, Češkem, Poljskem ustvarjanja in prihodnost likovne umetnosti? in Švedskem. Prejel je več mednarodnih nagrad in priznanj, med Prihodnost likovne umetnosti bo verjetno, tako drugimi tudi Sakaide Art Grand Prix (Sakaide Civic Museum, Kaga-kot vedno do sedaj, v skladu z duhovnim in ma- wa, Japonska) za leti 1998 in 1999. terialnim stanjem družbe. Umetnost bo torej tudi v prihodnje imela vlogo ogledala družbe in njenega razvoja. The painter Gašper Jemec was born in 1975 in Kranj. He studied painting and new media at the Academy of Fine Arts in Ljubljana under professors Janez Bernik and Gustav Gnamuš, graduating in 1998. With a degree in his pocket, he enrolled in graduate studies at the Painting Department of the Indiana University of Pennsyl-vnosti na EF vania, USA, where he was educated by Professor Voughn Clay. As ejad a recipient of the Herder Scholarship, he pursued his graduate e studies at the Sculpture Department of the Vienna University of ijsk Applied Arts under Professor Gerda Fassel. Later on, he obtained aler his master’s degree on video at the Academy of Fine Arts in Lju-g bljana under Professor Srečo Dragan, and on painting under Pro-let fessor Bojan Gorenc. 30 Jemec is a prolific artist operating in several art disciplines: painting, sculpting, installation, video, multimedia and photography. ODOBP He has presented his artworks at many individual and group exhibitions around the world, including the USA, Germany, Russia, VNIH Austria, Italy, Spain, Belgium, France, Australia, Great Britain, Ja-O IK pan, the Czech Republic, Poland and Sweden. He has received a L number of international awards and recognitions, including the Sakaide Art Grand Prix (Sakaide Civic Museum, Kagawa, Japan) ORJA for both 1998 and 1999. BZO A ONOMSKKE 53 54 How would you translate your artistic creation into words? I work in the field of visual art or images of the material world JEMEC that has its own laws and a unique language. Writing is not my favourite form of expression, which explains why my answers here are brief. GAŠPER Art and economics, how do you bring them together? The themes explored by all art genres are associated with life. And economics is one of the many facets of our lives. That is why economics is found in various forms in the arts and also influences them. How do you see the future of your own creative efforts and the future of the fine arts? The future of the fine arts will probably be, like always, in line with the spiritual and material condition of society. Art will therefore continue to play the role of a mirror of society and its development in the future. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F GREGOR ŽITKO 30 let Slikar Gregor Žitko se je rodil leta 1992 v Kopru. Kako bi vi sami ubesedili Že v otroštvu je kazal nadarjenost za risanje in svoje likovno ustvarjanje? glasbo, in čeprav je sprva več pozornosti namen- Navdušuje me spontanost, saj menim, da na ta način ustvarja-jal glasbi, je ta sčasoma postala navdih za likovno lec najbolje izlije svojo podzavest na platno. Od diplome dalje umetnost, ki se ji je odločil posvetiti z vpisom na poskušam svoja dela ustvarjati po principu improviziranja. Dela študij slikarstva na Akademiji za likovno umetnost nastajajo dokaj hitro in se ob zaznavi, da gre za rutinski proces, in oblikovanje v Ljubljani, kjer je leta 2019 pod vizualno spremenijo. mentorstvom profesorja Bojana Gorenca z odliko diplomiral z delom Med barvami improvizacije. Umetnost in ekonomija, Doslej se je predstavil na treh skupinskih in šestih kako ju povezujete? samostojnih razstavah. Danes so vsi uspešni umetniki istočasno uspešni podjetniki. Čas, v katerem živimo, zahteva neprestano bitko za prepoznavnost, potrebo po ovrednotenju in uveljaviti na tržišču. In ker je umet-The painter Gregor Žitko was born in 1992 in Ko-nost edina, ki je zares ne razumemo, zlasti ne njene vrednosti, ji per. Already as a child, he revealed great talent for gre še kako dobro. drawing and music. Although he first focused on music, it later became an inspiration for the fine Kako vidite prihodnost lastnega arts. He decided to throw himself into art and took ustvarjanja in prihodnost likovne umetnosti? up the study of painting at the Academy of Fine Vse, kar sem do sedaj poskusil predvideti, se je na koncu obrnilo Arts and Design in Ljubljana. In 2019, under the še veliko bolje, kot sem pričakoval, zato se ne obremenjujem pre-mentorship of Professor Bojan Gorenc he gradu- več z mislijo, kaj bom delal, temveč se trudim čim več narediti in ated with honours with his work entitled Among ob ustvarjanju kar se da uživati. V prihodnosti se bo umetnost kot the colours of improvisation. globalno atraktivna smer spopadla in prepletla s tehnologijo do He has so far presented himself at 3 group and 6 te mere, da bosta postali eno. individual exhibitions. vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZO A ONOMSKKE 57 58 How would you translate O your artistic creation into words? I am inspired by spontaneity because I believe that it best allows ŽITK the artist to pour their subconscious out onto the canvas. Since graduating, I have been creating works of art following the prin-ciple of improvisation. The works emerge quite quickly and, with the perception that it is a routine process, their visual appearance GREGOR is then altered. Art and economics, how do you bring them together? Today, all successful artists are simultaneously successful entre-preneurs. The times we are living in require that we incessantly struggle for recognisability as well as nourish the need for evaluation and establish ourselves in the marketplace. Given that art is the only thing that we do not truly understand, particularly its value, it is doing quite well. How do you see the future of your own creative efforts and the future of the fine arts? Everything I have tried to foresee has so far eventually turned out to be even better than expected, so I do not bother myself too much with thinking about what I will do, but try to produce as much as possible, while enjoying the process. In the future, art – as a globally attractive trend – will be confronted and intertwined with technology to such an extent that the two will become one. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F LEON VIDMAR 30 let Filmski animator Leon Vidmar, rojen leta 1980, Kako bi vi sami ubesedili je študiral na Akademiji za likovno umetnost in svoje likovno ustvarjanje? oblikovanje v Ljubljani in diplomiral s kratkim Čeprav me zanima več likovnih področij, se največ ukvarjam z animiranim filmom (Ne)strpnost, v katerem je animiranim filmom, kjer delujem kot režiser, animator, umetniški bil hkrati scenarist, režiser, scenograf in anima-direktor, risar zgodborisov, scenograf, rekviziter in snemalec. Po-tor. Svoje znanje je izpopolnjeval na Akademiji leg tega občasno oblikujem plakate, ilustriram, slikam, sem video lepih umetnosti v Krakovu na Poljskem, na šoli jockey, ustvarjam scenografijo v gledališču … performativnih umetnosti Performers House v Silkeborgu na Danskem in v Šoli uličnega gle- Umetnost in ekonomija, dališča v Ljubljani. kako ju povezujete? Njegov profesionalni prvenec – kratki lutkovni Povezujem ju predvsem takrat, ko plačujem račune. Odhodki so animirani film Slovo – je na premiernem predva-pogosto nevarno blizu prihodkom. janju na Festivalu slovenskega filma v Portorožu prejel nagrado Vesna ter bil prikazan in nagrajen Kako vidite prihodnost lastnega tudi na številnih domačih in mednarodnih festi- ustvarjanja in prihodnost likovne umetnosti? valih animiranega filma, kot so Annecy v Franciji, Iz dneva v dan pridobivam nova znanja in izkušnje, idej pa tako Animafest na Hrvaškem, Chilemonos v Čilu, Leb-ali tako nikoli ne zmanjka. Prihodnost pa bo pokazala, ali bodo te anin ISFF v Libanonu in drugi. ideje realizirane ali ne. Born in 1980, the film animator Leon Vidmar studied at the Academy of Fine Arts and Design in Ljubljana and graduated with a short animated film called (In)tolerance for which he was the screen- writer, director, scenographer and animator. He upgraded his knowledge at the Academy of Fine vnosti na EF Arts in Krakow, Poland, at the Performers’ House ejad folk high school in Silkeborg, Denmark, and at the e School of Contemporary Performative and Street ijsk Theatre Arts in Ljubljana. aler His professional debut – the short animated pup- g pet film Farewell – was given the Vesna Award let when it premiered during the Slovenian Film Fes- 30 tival in Portorož, and was then also screened and given awards at many Slovenian and international ODOB animated film festivals such as Annecy in France, P Animafest in Croatia, Chilemonos in Chile, Lebanin ISFF in Lebanon and others. VNIH O IKL ORJA BZO A ONOMSKKE 61 62 How would you translate your artistic creation into words? AR Although I am fascinated by several fine art genres, I mostly focus on animated film where I work as a director, animator, art VIDM director, storyboard artist, scenographer, props master and cam-eraman. Moreover, I occasionally design posters, illustrate, paint, LEON work as a video jockey and create theatre sets… Art and economics, how do you bring them together? I mostly connect them when I pay my bills. My expenses are often dangerously close to my income. How do you see the future of your own creative efforts and the future of the fine arts? I acquire new knowledge and experience from day to day, and I never run out of ideas. The future will show whether my ideas have come to fruition or not. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F MILENA KAFOL 30 let Slikarka Milena Kafol je študirala jezike na Filo-Kako bi vi sami ubesedili zofski fakulteti v Ljubljani in se kasneje zaposlila svoje likovno ustvarjanje? v komerciali. Potrebo po umetniškem ustvarjan- Največji izrazni razpon mi predstavlja abstrakcija. V mojem duhov-ju je najprej uresničila z oblikovanjem oblačil za nem svetu imajo pomembno vlogo elementarne geometrične lasten butik, kasneje pa vpisala študij slikarstva oblike. To so praoblike, ki v sebi nosijo božansko geometrijo, ki na Akademiji za likovno umetnost in oblikovanje premorejo moč ter posedujejo večne modrosti in sporočila. Z v Ljubljani, kjer je po uspešno opravljeni diplomi njimi slikarsko potujem med analogijami življenja, med zemljo študij nadaljevala in leta 2017 zaključila magistr-in nebom, med materialnim in duhovnim, med konkretno stvar-ski študij slikarstva. nostjo in abstraktno interpretacijo. V mojem slikarstvu je nakl-Je članica Zveze društev likovnih umetnikov in jučnost samo navidezna in je kot taka vedno osmišljena. Ostanki Društva likovnih umetnikov Ljubljana. Svoja predmetnega slikarstva, ki se izražajo v obliki simbolov, so znaki dela je predstavila na 28 samostojnih in 19 sk-notranje krajine, ki predstavlja duhovnost, slika pa predstavlja upinskih razstavah. osvobojeno imaginacijo in doživeto ustvarjalno vizijo. Rdeča nit mojega slikarstva so uganke življenja: eksistenca, minevanje, ki se prevesi v brezčasnost, kozmičnost, absolutnost. The painter Milena Kafol studied languages at the Faculty of Arts in Ljubljana and later found a job Kako vidite prihodnost lastnega in sales. She initially satisfied her artistic creation ustvarjanja in prihodnost likovne umetnosti? needs by designing clothes for her own boutique Umetnosti ne izbereš ti, umetnost izbere tebe. Ali kot pravi and then graduated from painting at the Acade-katalonski slikar Joan Miró: »A painting never ends, never be-my of Fine Arts and Design in Ljubljana. She con- gins, a painting is like the wind. Something that always walks, tinued studying at the Academy and in 2017 was without rest.« awarded a master’s degree in painting. She is a member of the Slovenian Association of Fine Arts Societies and the Ljubljana Fine Artists Society. She has presented her artworks at 28 in-vnosti na EF dividual and 19 group exhibitions. ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZO A ONOMSKKE 65 66 How would you translate your artistic creation into words? I find the broadest range of expression in abstraction. In my KAFOL spiritual world, an important role is played by elementary geometrical shapes. They are primal shapes carrying within them the divine geometry, holding power, and imparting eternal MILENA wisdoms and messages to us. As a painter, I travel with them among the analogies of life, between the Earth and the sky, the material and the spiritual, the concrete reality and the abstract interpretation. In my painting, coincidence is only seemingly so and, as such, is always given a meaning. The remains of object painting, expressed in the form of symbols, are the signs of our internal landscape that represents spirituality, whereas a painting represents a liberated imagination and an experienced creative vision. The thread running through all of my painting is the enigmas of life: existence, passing that turns into timelessness, cosmicality, and absoluteness. How do you see the future of your own creative efforts and the future of the fine arts? You do not choose art, it is art that chooses you. Or as the Cat-alan painter Joan Miró once said: “A painting never ends, never begins, a painting is like the wind. Something that always walks, without rest”. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F MIRA RESNIK 30 let Slikarka Mira Resnik se je leta 2010 vpisala na Kako bi vi sami ubesedili redni študij slikarstva na Akademiji za likovno svoje likovno ustvarjanje? umetnost in oblikovanje v Ljubljani, kjer je leta V smislu likovnega umetniškega ustvarjanja me zanima pred-2013 diplomirala in nato leta 2018, pod men- vsem vizualni prostor. Osebno verjamem, da ima vsak človek dva torstvom profesorjev Bojana Gorenca in Uršule para oči. Prvi par so naše zunanje oči, s katerimi opazujemo svet Berlot Pompe, tudi magistrirala. okoli sebe. Drugi par so naše notranje oči, s katerimi opazujemo Slikarstvo Mire Resnik lahko uvrstimo v sklop svet znotraj sebe. Moja vizualna dela tako slikajo podobe, ki jih modernističnih likovnih tendenc, ki jih avtorica vidijo moje notranje oči, ki pa so seveda neločljivo povezane s uresničuje tako s klasičnimi kot povsem netradi-podobami, ki jih slikajo zunanje oči. cionalnimi likovnimi izrazili. Njena občutljivost in odzivnost na aktualna dogajanja sta jo pripeljali Umetnost in ekonomija, do izrazito tematsko oz. konceptualno zasno- kako ju povezujete? vanih del, ki vse bolj postajajo apel, ona sama V globalnem smislu povezujem umetnost s pojmom »kulturna pa ne prevzema le vloge družbeno angažirane industrija«, ki je neločljivo povezana z globalnim kapitalističnim slikarke, ampak po Norbertu Lyntonu tudi sistemom. Umetniška produkcija mora v vsakem primeru ostati učiteljsko držo. unikatna, vedno znova pa se mi poraja vprašanje, kako zagotovi-Razstavljala je na številnih samostojnih in sk- ti kroženje umetniških del kot »blagovnih dobrin« na trgu. Kako upinskih razstavah po Sloveniji. tržiti umetnost? Po mojem mnenju v neločljivi povezavi umetnika z umetniškimi managerji, kustosi in galeristi, pri čemer mora trg umetniku nuditi sredstva za dostojno preživetje, v nobenem The painter Mira Resnik commenced full-time primeru pa ga ne sme potisniti v položaj »mezdnega delavca«. painting studies at the Academy of Fine Arts and Design in Ljubljana in 2010. She graduated in Kako vidite prihodnost lastnega 2013, obtaining a master’s degree in 2018 under ustvarjanja in prihodnost likovne umetnosti? the mentorship of professors Bojan Gorenc and Prihodnost lastnega ustvarjanja vidim v neodvisnem razvoju Uršula Berlot Pompe. sebi lastne umetniške poti v analogno-digitalnem prostoru. Po vnosti na EF Mira’s painting may be classified as lying in the vsej verjetnosti bodo moja umetniška dela še vedno ostala ob-ejad domain of modernist fine art tendencies which jektna, vidna in otipljiva, torej snovno-fizična. Sodobna likovna e the artist realises with both traditional and umetnost pa se bo verjetno vedno bolj selila v nematerialistične, ijsk completely non-traditional artistic forms of ex- digitalne svetove, ki so blizu današnjim in bodočim generacijam. aler pression. Her sensitivity and responsiveness to Razvoj tehnologije bo prinesel nove izzive tako vsakdanjemu g topical issues have inspired her in the direction življenju kot umetnosti, vendar umetnost v nobenem primeru let of distinct thematic or conceptually designed 30 in v nobeni izrazni obliki ne bo izgubila svojega družbeno an-works that have increasingly come to resemble gažiranega naboja. appeals. She not only plays the role of a socially ODOB engaged painter but, according to Norbert Lyn- P ton, she adopts a teaching attitude. She has presented her artworks at many individ- VNIH O ual and group exhibitions across Slovenia. IKL ORJA BZO A ONOMSKKE 69 70 How would you translate your artistic creation into words? In the sense of creating fine art, I am mostly interested in the vi- RESNIK sual space. I truly believe that every person has two pairs of eyes. A With the first pair of eyes, we observe the world around us. The second pair is our inner eyes that observe the world within us. MIR My visual works are images that my inner eyes can see and these are of course inseparably connected with the images captured by my external eyes. Art and economics, how do you bring them together? In a global sense, I connect art with the notion of ‘cultural indus-try’ which is inseparably linked to the global capitalist system. Artistic production must by all means remain unique, yet the question that keeps coming to my mind is how to ensure the circulation of artworks as market ‘commodities’. How to market the arts? In my opinion, through a close connection between the artist and art managers, curators and art gallery owners. How do you see the future of your own creative efforts and the future of the fine arts? I see the future of my creative output in the independent development of my own artistic path in an analogue-digital space. My artworks will most likely remain objectified, visible and tangible and, therefore, materially physical. Modern fine arts will probably turn ever more towards the immaterial, digital worlds that are more familiar to the present/future generations. The development of technology will bring new challenges to both our daily lives and art; however, in any circumstance and using any form of expression art will not lose its socially engaged impulse. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F MOJCA FO 30 let Mojca Fo se je rodila leta 1969 v Ljubljani. Kako bi vi sami ubesedili Čeprav je diplomirana arhitektka, jo je ljubezen svoje likovno ustvarjanje? do ilustracij in pripovedovanja zgodb pripelja- Zgodbe in podzgodbe, veliki svetovi podzavesti, stisnjeni na ma-la na področje slikarstva. Razvila je sebi lasten jhno površino ali razpršeni čez površine velikih platen. Kakor da bi slikarski izraz z izjemnim posluhom za detajle in val morja želel zajeti vse, kar želim in kot umetnica moram strniti pripovedovanje zgodb, ki so neločljiv del njenih v podobe, ki se mistično neustavljivo izrisujejo pod mojimi prs-ilustracij. Mojca Fo je iskalka in raziskovalka, ki se ti. Rada opazujem drobne detajle, čudovite prehode barv, oblik, nenehno izobražuje. Ob rednem udeleževanju ostra izrisovanja senc, piš vetra, naježeno kožo čustev, notranje likovnih seminarjev in izmenjav doma in v tujini glasove, ki govorijo in zaznavajo pojave, ki jih ne razumem. Odkar je trenutno vpisana tudi na spletni študij MBA. pomnim, sem iskala točke, jih povezovala v konstelacije zvezd Svoje slike in ilustracije je predstavila na preko na platnih, v konstelacije povezav med srci. Tu, sem ugotovila, 40 selekcioniranih samostojnih in skupinskih se vse začenja in končuje, daleč nekje, v podzgodbah. Pravljice razstavah doma in v tujini, sodeluje na različnih in izpovedi na platnih so globoke, arhetipsko zasidrane v meso likovnih seminarjih in izmenjavah ter se z vesel-in kri človekove podzavesti. Vsaka beseda najde svoje mesto v jem odzove vabilom kot pripovedovalka slikar-razmerju do celotne povedi. Oblika v razmerju do barv, esenca v skih zgodb. razmerju do duše in posamezne konstelacije v razmerju do velikih konstelacij, v vesolju in daleč čez. Tu sem. Umetnost in ekonomija, Mojca Fo was born in 1969 in Ljubljana. While kako ju povezujete? graduating from architecture, her love of illus- Ekonomija je izrazito pomemben element v času, ko se čedalje tration and storytelling guided her towards več povezav seli na svetovni splet. Zato se mi zdi vsaj splošna izo-the world of painting. She has developed her brazba v tej smeri nujna. Mene osebno pa zanima še bolj, pred-own painting expression with exceptional at- vsem izkustveno, preko razumevanja komunikacije in odzivanja tention to detail and a passion for storytelling na ekonomske tokove. Tudi kadar govorim o ekonomiji, sem v that are intrinsic to her illustrations. Mojca Fo is prvi vrsti in predvsem umetnica – in tako za umetnika kakor za vnosti na EF a searcher and a researcher who is constantly kogarkoli drugega je prav, da sledi klicu, ki je njegov genij. Tako ejad educating herself. Besides regularly attending sama razumem vse skupaj. e fine arts seminars and exchanges in Slovenia ijsk and abroad, she is currently enrolled in an on- Kako vidite prihodnost lastnega aler line MBA study course. ustvarjanja in prihodnost likovne umetnosti? g She has presented her paintings and illustrations at Rojeni smo z eno ali nekaj močnimi točkami, vendar je navadno let over 40 selected individual and group exhibitions 30 le ena tista, ki zares prevlada in smo v njej zares močni. Ta dar, to in Slovenia and abroad, attends various fine art točko genija sem se odločila negovati in jo spoštovati. Omogoča seminars and exchanges, and happily accepts mi široko polje svobode in najboljši način komunikacije s sol-ODOBP invitations to narrate her painting stories. judmi, ki jim to umetnost prinašam. Umetnost, in to ne samo likovna, je bistvena sestavina naših življenj, arhaično zakodirana v VNIH naše bivanje. Vsaka umetnost, ki pride iz srčike, bistva človeka, je O IK dobra umetnost. Deluje kakor močna, utripajoča celica, plamen, L ki povzroči vzgib v ogledalu, kupcu, gledalcu, na predstavi, v glasbi, ob ogledu slike, ob kipu. Potrebujemo jo, ker nas vrača nazaj k ORJA nam samim. Umetnost se nikoli ne konča, le razvija se z duhom BZO časa v različne smeri. A ONOMSKKE 73 74 How would you translate your artistic creation into words? FOA Stories and sub-stories, immense subconscious worlds com-pressed into a small surface or scattered across large canvases. As if an ocean wave wished to capture all that I want and, as an art-MOJC ist, must concentrate in images that mystically and unstoppably come to life with my fingers. I love observing tiny details, won-derful transitions of colours, forms, sharp outlines of shade, gusts of wind, goose bumps of emotions, inner voices which speak and perceive phenomena I do not understand. For as long as I can remember, I have been searching for points and connecting them as constellations of stars on canvases, to form constellations of connections among hearts. It is right here – as I have come to realise – that everything starts and ends, somewhere far away, in sub-stories. The fairy tales and narratives on the canvases are profound, archetypically anchored in the flesh and blood of the human subconscious. Every word finds its own place in relation to the whole sentence. The form in relation to colours, the essence in relation to the soul and individual constellations in relation to large ones, in the universe and well beyond. I am here. Art and economics, how do you bring them together? Economics is an extremely important element in times marked by growing moves to transfer connections online. This is why I believe it is necessary to have at least some general knowledge of this field. Personally, I am keenly interested in this, especially experientially, via an understanding of communication and reaction to economic currents. Even when I talk about economics, I am first and foremost an artist so it is only right that an artist or any other person follows their calling, namely, their genius. That is how I understand all of this. How do you see the future of your own creative efforts and the future of the fine arts? We are born with one strength or several of them, although usually one prevails at which you are really good. I decided at one point to nourish and respect my gift, my touch of genius. It offers me broad freedom and the best way to communicate with my fellow-people to whom I offer my art. Art in general, not only fine art, is the key ingredient of our lives, archaically encoded in our existence. All art that comes from the substance of a human being, their quintessence, is good art. It functions as a strong, pulsating cell, a flame that evokes a reaction in the mirror, buyer, viewer, during a performance, in music, while looking at a painting or a statue. We need it because it brings us back to ourselves. Art never ends, it only evolves in different directions along with the spirit of the time. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F NIKOLAJ VOGEL 30 let Slikar Nikolaj Vogel se je rodil leta 1972 v Lju-Kako bi vi sami ubesedili bljani. Čeprav je od rojstva gluh, je šolanje svoje likovno ustvarjanje? na Centru za usposabljanje slušno in govor- Kakorkoli pristopim k sliki, me vedno vznemirja »čas v prosto-no motenih v Mariboru in na Srednji šoli teh- ru«. Tako sem že v diplomskem ciklu raziskoval, kako zaznati in ničnih strok v Ljubljani z odliko zaključil ter izo-ustvariti gibanje na sliki, kako odgovoriti na vprašanje neločl-braževanje nadaljeval na Akademiji za likovno jivosti časa in prostora. Začutil sem potrebo po spremembi umetnost v Ljubljani, smer slikarstvo. Pod men-svojega likovnega izraza in predvsem po novem odnosu do torstvom profesorjev Metke Krašovec in Bojana slike. Ta odnos že od začetka nastajanja tega cikla ne poteka Gorenca je najprej diplomiral, leta 2013 pa pod več posredno, prek zavestnega slikarskega razmišljanja, am-mentorstvom profesorja Jožefa Muhoviča študij pak se oblikuje med ustvarjanjem. Povezava med mano in uspešno zaključil z magisterijem. sliko, ki jo ustvarjam, je neposredna, kar mi omogoča, da z Umetnik živi in ustvarja v Ljubljani. Svoja dela barvo, obliko, strukturo in prostorsko zasnovo jasneje in na-je razstavil na več samostojnih razstavah doma tančneje izražam svoje razpoloženje, občutke in čustva. Slike in v tujini, uspešno pa se je preizkusil tudi pri torej nastajajo spontano, iz podzavestnega vzgiba. So izraz izdelavi gledališke scenografije in restavriranju ustvarjalnega naključja, popolnega predajanja in prepuščan-fresk oziroma poslikave v stolnici v Ljubljani. ja ustvarjanju. Kako vidite prihodnost lastnega The painter Nikolaj Vogel was born in 1972 in ustvarjanja in prihodnost likovne umetnosti? Ljubljana. Being born deaf did not stop him Verjamem v slikarstvo kot orodje umetnikovega izražanja in from completing his schooling at the Centre for ustvarjanja novih neskončnih idej, zato z zaupanjem gledam Hearing and Speech in Maribor and the Techni-v prihodnost lastnega ustvarjanja. Tudi prihodnost likovne cal and Vocational Secondary School in Ljublja-umetnosti me ne skrbi, menim celo, da je obetavna, saj v na with flying colours. He continued his educa-slikarstvu z enim samim pogledom na sliko lahko začutimo tion in the field of painting at the Academy of nekaj prvinskega, najglobljega, skrivnostnega in pri tem Fine Arts in Ljubljana, and graduated under the doživimo več kot pri ogledu filma, poslušanju glasbe ali bran-vnosti na EF mentorship of professors Metka Krašovec and ju literature. Prepričan sem, da je prav ta prvinskost največja ejad Bojan Gorenc. In 2013, he earned his master’s prednost likovne umetnosti. e degree, mentored by Professor Jožef Muhovič. ijsk The artist lives and creates in Ljubljana. He has aler presented his works of art at several indepen- g dent exhibitions in Slovenia and elsewhere, let while he also made successful attempts at the- 30 atre scenography and the restoration of fres- coes and paintings in the Ljubljana Cathedral. ODOBP VNIH O IKL ORJA BZO A ONOMSKKE 77 78 How would you translate your artistic creation into words? Whichever way I approach a painting, I am always fascinated by ‘time in space’. So, already in my graduation cycle, I was exploring J VOGELA how to perceive and create motion in a painting, how to answer OL the question of the inseparability of time/space. I felt the urge to change my artistic expression, particularly to adopt a new atti-NIK tude to painting. Since I started creating this cycle, this attitude is no longer indirect, manifesting itself through conscious delib-eration, but evolves during a creative process. The connection between myself and my painting is direct, allowing me to more clearly and accurately express with colour, form, structure and spatial concept my mood, feelings and emotions. The paintings are thus created spontaneously, from a subconscious impulse. They are an expression of a creative coincidence, the complete surrender to and indulgence in the process of creation. How do you see the future of your own creative efforts and the future of the fine arts? I believe painting is an artist’s tool for expressing themselves and creating new infinite ideas, which is why I am confident about the future of my own creative output. Likewise, I am not worried about the future of the fine arts. I even believe that it is quite promising because in painting with just one glance at a creation we can feel something primal, deeply profound, mysterious … And we can experience more than by watching some film, lis-tening to music or reading literature. I am certain that this primal nature is the biggest advantage possessed by the fine arts. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F SILVAN OMERZU 30 let Režiser, slikar in lutkovni umetnik Silvan Omerzu se je rodil Kako bi vi sami ubesedili leta 1955 v Brestanici. Po končanem študiju na Pedagoški svoje likovno ustvarjanje? akademiji v Ljubljani se je zaposlil v Lutkovnem gledališču Predvsem kot raznoliko. Ukvarjam se z gledališčem, Ljubljana, po prejeti štipendiji pa leta 1983 nadaljeval izo-oblikovanjem lutk, scenografijo, kostumografijo, braževanje ter končal specializacijo iz lutkovne scenografi-oblikovanjem plakatov, ilustriranjem, slikarstvom je in tehnologije v Pragi. Kot ustanovitelj gledališča Konj je in grafiko. že s prvo predstavo » Napravite mi zanj krsto« osupnil slovensko javnost in gledališču pridobil zvesto občinstvo. S predstavami Umetnost in ekonomija, je gostoval na mnogih mednarodnih festivalih na Hrvaškem, kako ju povezujete? Češkem, v Franciji, Italiji, Avstriji, Belgiji, Bosni in Združenih drža-Verjamem, da obstaja v ekonomsko uspešni drža- vah. Ustvarjalno nemiren in nenehno v iskanju novih izzivov, je vi več možnosti, da se več sredstev nameni tudi svoj umetniški izraz začel iskati tudi v slikarstvu, grafiki, risbi, ilus-umetnosti. traciji, keramiki in oblikovanju plakatov ter začel eksperimentirati z materiali – od lesa in prediva do kovine. Kako vidite prihodnost lastnega ustvarjanja in Uspešno je sodeloval z osrednjim lutkovnim gledališčem Mi-prihodnost likovne umetnosti? nor v Pragi, poučeval na Gledališki in lutkovni šoli v Ljubljani Še naprej se bom ukvarjal z različnimi vrstami ter likovno urejal revijo Lutka. Za svoje delo v gledališču je umetnosti, pa tudi z različnimi zvrstmi znotraj prejel več mednarodnih in slovenskih nagrad, med njimi leta likovne umetnosti, ki je pri nas že nekaj časa moč- 2006 nagrado Prešernovega sklada. no zapostavljena. Vedenje o njej se namreč začne in konča pri slovenskih impresionistih. The director, painter and puppeteer Silvan Omerzu was born in 1955 in Brestanica. After completing his studies at the Academy of Education in Ljubljana, he found employment in the Ljubljana Puppet Theatre. He was awarded a scholarship, continued his education in 1983 and completed a speciali-vnosti na EF sation in puppet scenography and technology in Prague. As ejad the founder of the Konj Theatre, he astonished the Slovenian e public already with his first performance “Make me a coffin ijsk for him”. He was invited to perform at many international aler festivals in Croatia, the Czech Republic, France, Italy, Austria, g Belgium, Bosnia and the USA. Creatively restless and always let searching for novel challenges, he started to artistically ex-30 press himself in painting, graphics, drawing, illustration, ceramics and poster design, while also experimenting with var-ODOBP ious materials, from wood and yarn to metal. He successfully cooperated with the Minor Central Puppet VNIH Theatre in Prague, lectured at the Theatre and Puppetry O IK School in Ljubljana and was the graphic designer for the Lut-L ka (Puppet) magazine. He received several international and Slovenian awards for his theatre achievements, including the ORJA Prešeren Fund Award in 2006. BZO A ONOMSKKE 81 82 How would you translate your artistic creation into words? Mostly as ‘varied’; I work in theatre, puppet-making, scenography, costume design, poster design, illustration, painting OMERZU and graphics. ANV Art and economics, how SIL do you bring them together? I believe that the chances of greater funding being invested in art are higher in a more economically successful country. How do you see the future of your own creative efforts and the future of the fine arts? I will continue to engage in different forms of art and also various genres within fine art, which have been seriously neglected in Slovenia for quite a while. What is known about fine art in Slovenia starts and ends with our impressionists. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F SAŠA BEZJAK 30 let Likovna pedagoginja, slikarka in kiparka Saša Kako bi vi sami ubesedili Bezjak se je rodila leta 1971 v Mariboru. Na svoje likovno ustvarjanje? Pedagoški akademiji v Mariboru je pod men- Kot pedagoginja čutim veliko ljubezen do umetnosti nešolanih torstvom profesorja Darka Golje diplomirala iz umetnikov, do gibanja art brut in do otroškega likovnega izražan-likovne pedagogike, kasneje pa na Akademiji za ja. To je v svoji preprostosti in naivnosti zelo sporočilno, in prav likovno umetnost v Ljubljani pod mentorstvom ta prvinskost je to, kar me zanima. Zadnjih dvajset let se želim profesoric Metke Krašovec in Nadje Zgonik še iz približati temu izrazu – bolj ali manj mi to uspeva. slikarstva. Študij je nadaljevala in leta 2009 pod mentorstvom profesorja Luja Vodopivca mag-Umetnost in ekonomija, istrirala iz kiparstva na temo Različne dimenzije kako ju povezujete? realnosti. Kot likovna pedagoginja je poučevala V študijski predmetnik na Akademiji za likovno umetnost bi ob-na več osnovnih šolah: v Šentilju, Radencih in v vezno morali vključiti predavanja iz ekonomije. Redki so umetni-Gradu na Goričkem, od leta 2013 pa je strokov- ki, ki so ob vrhunskosti v ustvarjanju sposobni svoja umetniška na sodelavka na področju specialne didaktike dela tudi uspešno tržiti. na Pedagoški fakulteti v Mariboru. V prostem času se ukvarja s slikarstvom, ris- Kako vidite prihodnost lastnega bo, grafiko, kiparstvom, fotografijo, videom in ustvarjanja in prihodnost likovne umetnosti? performansom, vodi likovne tečaje za odrasle Umetnost naj bi se v prihodnosti bolj približala življenju samemu in otroke, se udeležuje kiparskih simpozijev in in postala bolj angažirana ter s tem spodbujala kritičnost v kolonij ter redno razstavlja doma in v tujini. smislu napredka družbe, ki trenutno preživlja globalno krizo na vseh področjih. The art teacher, painter and sculptor Saša Bezjak was born in 1971 in Maribor. She graduated with a fine arts education from the Faculty of Education in Maribor, under the mentorship vnosti na EF of Professor Darko Golja, and then graduated ejad from painting at the Academy of Fine Arts and e Design in Ljubljana, under the mentorship of ijsk professors Metka Krašovec and Nadja Zgonik. aler She continued her studies and in 2009 earned g a master’s degree in sculpture, mentored by let Professor Luj Vodopivec, on the theme of Dif- 30 ferent dimensions of reality. She worked in sev- eral primary schools as an art teacher: in Šentilj, ODOB Radenci and Grad na Goričkem. Since 2013, she P has been an expert staff member for special di- dactics at the Faculty of Education in Maribor. VNIH O In her free time, she devotes herself to painting, IKL drawing, graphic design, sculpture, photogra- phy, video and performance, she runs art cours- ORJA es for adults and children, attends sculpture BZO symposiums and colonies as well as regularly A exhibits her artworks in Slovenia and abroad. ONOMSKKE 85 86 How would you translate your artistic output into words? As a teacher, I truly love art by artists who have no formal train-ing, the art brut movement and children’s artistic expression. In BEZJAK its simplicity and naïveté, the latter is very communicative and this primal nature is what I am interested in. I have tried to bring SAŠA myself closer to this type of artistic expression in the last 20 years and I have been largely successful at it. Art and economics, how do you bring them together? Lectures on economics should be included in the curriculum of the Academy of Fine Arts. There are only a few artists who, be-sides producing top artworks, can successfully market them. How do you see the future of your own creative efforts and the future of the fine arts? In the future, art should come closer to life itself and become more engaged, thereby encouraging critical thought concern-ing the meaning of progress in our society which is currently un-dergoing a global crisis in all areas. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F SAŠO VRABIČ 30 let Slikar in grafik Sašo Vrabič se je rodil leta 1974 Kako bi vi sami ubesedili v Slovenj Gradcu. Po končani Srednji šoli za ob- svoje likovno ustvarjanje? likovanje in fotografijo v Ljubljani se je vpisal na Svoja dela bi najbolje opisal kot nekakšne kronike, ilustracije Akademijo za likovno umetnost in oblikovanje dobe, v kateri nas obkrožajo naprave z ekrani in nas, kot neka-v Ljubljani in leta 1998 diplomiral pri profesorju kšni motilci časa, vznemirjajo. Pri portretih trenutkov obravna-Andreju Jemcu. Študij je nadaljeval in leta 2001 vam filozofske teme, kot sta odtujenost in minljivost. Pri delih, ki pod mentorstvom profesorja Lojzeta Logarja kot skupinsko delo nastajajo bolj spontano, predvsem z družino magistriral na področju grafike. in drugimi kolegi, pa se sprašujem o drugih konceptih, eksperi-Na umetniški oder je stopil na prelomu tisočlet- mentu, demokraciji skupnega ustvarjanja in življenja nasploh, ne ja. Sodeloval je na številnih mednarodnih selek-glede na tehniko in medij, ki ju uporabljam za svoje delo. cioniranih razstavah po Evropi, Aziji in obeh Amerikah. Njegova dela so na ogled v zbirkah Umetnost in ekonomija, Moderne galerije, Državnega zbora Republike kako ju povezujete? Slovenije in Evropske komisije v Bruslju. Moje ustvarjanje je zelo ekonomično v smislu ustvarjalne prag-matičnosti. V svojem manjšem ateljeju ne delam večjih slik, kot jih premore prostor; svoj prosti čas pogosto uporabim tudi kot The painter and graphic designer Sašo Vrabič svoj delovni čas, produkcija pa je vseeno dokaj majhna. Skratka, was born in 1974 in Slovenj Gradec. After com-vse to se mi zdi dokaj ekonomično. Morda sem po drugi strani pleting the Secondary School of Design and včasih »ekološki«, ker ustvarjam dela minljive, efemerne narave ali Photography in Ljubljana, he studied at the takšna, ki ne zahtevajo prezahtevnega nosilca. A to je ustvarjanje, Academy of Fine Arts and Design in Ljubljana ki se mora izraziti in materializirati, ker izhaja iz mene, čeprav je to and graduated in 1998 under Professor Andrej včasih zelo neekonomično dejanje, predvsem če delam v glasbi, Jemec. He continued his studies and earned a videu ali rišem minljive risbe, mandale z ogljem na stene galerij. master’s degree in graphic art in 2001 under Ustvarjanje doživljam kot igro. Sicer pa je umetnost to, da delaš, the mentorship of Professor Lojze Logar. kar želiš in kot to najbolje zmoreš. Rad imam, da gredo moja dela He stepped onto the art stage at the turn of the med ljudi, kar je včasih, vsaj zame, tudi umetnost. vnosti na EF century. He has participated in many interna- eja tional selected exhibitions across Europe, Asia d Kako vidite prihodnost lastnega e and both Americas. His artworks are found in ustvarjanja in prihodnost likovne umetnosti? ijsk the collections of the Museum of Modern Art, Pri sebi vidim še veliko prostora za napredek. S pomočjo galeri-the National Assembly of the Republic of Slove- aler je, ki me zastopa že vrsto let, si še v prihodnje želim živeti od g nia, and the European Commission in Brussels. lastnega ustvarjanja. Seveda pa so za to potrebni tudi buden in let 30 odprt gledalec, ljubitelj umetnosti, kupec likovnih del ter kajpak zanimive ideje in dobra dela. Moja največja želja tako za prihodnost lastne ustvarjalnosti kot za prihodnost likovne umetnosti na ODOBP splošno pa je, da bi preko umetniškega dela inspiriral(a) in moti-viral(a) čim več ljudi. VNIH O IKL ORJA BZO A ONOMSKKE 89 90 How would you translate your artistic creation into words? I would best describe my artworks as a kind of chronicle, illustra- VRABIČ tions of an era in which we are surrounded by devices contain-ing screens, grabbing our attention like some sort of ‘time dis-SAŠO tractions’. In my portrayals of moments, I deal with philosophical themes such as estrangement and transience, whereas through my other art works created more spontaneously within group work, mainly with my family and other colleagues, I question myself about other concepts, experiments, the democracy of shared creation and life in general, regardless of the technique and the medium I am using in the creative process. Art and economics, how do you bring them together? My creation is very economical in the sense of artistic pragma-tism. I do not create large paintings that cannot fit into my small studio, I often create in my leisure time since my working time and production are still relatively small. In short, all of this seems quite economical to me. Perhaps I am sometimes even ‘ecologi-cal’ because I create transient, ephemeral works or works that do not require an excessively complex carrier. Yet this is a creation that has to express and materialise itself because it emanates from me, even if it sometimes turns out to be quite uneconomical, especially when I create with music, video or make temporary drawings like mandalas with charcoal on the walls of art galleries. I believe that creation is like play. Art is doing what you want and to the best of your ability. I love it when my artistic creations ‘reach’ people, which sometimes, at least for me, is also art. How do you see the future of your own creative efforts and the future of the fine arts? I see a lot of room for advancement within me. With the help of the art gallery that has been representing me for several years now, I would love to continue earning my living from my own creativity in the future. Of course, this also calls for ‘woke’ and open-minded viewers, art lovers, buyers of fine art works as well as interesting ideas and quality creations. My greatest wish for the future of my own creative output and of the fine arts in general is that I/it can inspire and motivate as many people as possible via artistic creation. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F SEAD EMRIĆ 30 let Sead Emrić se je rodil leta 1965 v Bihaću. Po Kako bi vi sami ubesedili končani osnovni in srednji šoli je izobraževanje svoje likovno ustvarjanje? nadaljeval na Pedagoški akademiji v Banja Luki Moja umetniška dela vsebujejo alegorične pomene in skrita in diplomiral leta 1990. Že v času šolanja je bil sporočila, ki temeljijo na simbolih iz kulturne preteklosti moje aktiven organizator kulturnih dejavnosti, v času domovine Bosne in Hercegovine. Že tri desetletja se intenziv-agresije na Bosno direktor informacijskega cen- no ukvarjam z risanjem, tiskanjem in slikanjem. Moje umetniško tra v Bužimu, danes pa je zaposlen kot kulturni sporočilo ustreza sodobnim umetniškim gibanjem 21. stoletja. Z sodelavec na občini, kjer skrbi za promocijo kul- ustvarjanjem poskušam izraziti ustvarjalne energije ter ohraniti ture Bosne in Hercegovine. Emrić je umetnosti duh časa in prostora njihovega nastanka. Grafična umetnost je predan umetnik, ki skozi likovni medij pripov-idealna tehnika za oblikovanje umetniške vizije, zato moja dela eduje zgodbo o svoji rodni deželi. V Bužimu, običajno izhajajo iz preoblikovanja risb na papirju, ki jih že vna-kjer živi, ima svoj atelje, v katerem se posveča prej vidim kot osnovo kompozicij velikih slik. Moje stvaritve so slikarstvu, grafiki in knjižnim ilustracijam. navdihnjene s kulturo in naravo ter obstajajo na ravni alegorične Emrić je član Društva likovnih umetnikov Bosne kulturne narave in naravne kulture. in Hercegovine. Redno se udeležuje likovnih kolonij in se lahko pohvali s preko 90 samosto- Umetnost in ekonomija, jnimi razstavami doma in v tujini. Za svoja dela kako ju povezujete? je prejel številne nagrade in priznanja. Umetnost in ekonomija sta bili že od antičnih časov in prvih civilizacij tesno povezani. Umetnost je najlepše darilo. Trud, da se skozi prizmo estetike ustvari nov predmet, je bil temelj gospodarskega Sead Emrić was born in 1965 in Bihać. After uspeha. Na individualni ravni so si umetniki sami priskrbeli pred-completing secondary school, he continued his mete za osebno rabo, po drugi strani pa je ekonomija stremela za schooling at the Academy of Education in Banja dodano umetniško vrednostjo izdelkov široke potrošnje. Danes Luka, from where he graduated in 1990. Already si ni mogoče predstavljati izdelka na trgu, ki ne bi bil umetniško during his studies he was active in organising oblikovan. Prav umetniška dela, umetniške ustanove in umetniš- different cultural activities. During the period of ki dogodki so dejavniki, ki pomagajo premikati meje estetike in vnosti na EF the military aggression against Bosnia, he was bogatijo človeštvo s pozitivno energijo in komunikacijo, ki sta ejad the Director of the Information Centre in Bužim, predpogoj za gospodarski in družbeni napredek. e whereas he is currently the staff associate for ijsk culture at the Municipality of Bužim, where he is Kako vidite prihodnost lastnega aler in charge of the promotion of Bosnian and Her- ustvarjanja in prihodnost likovne umetnosti? g zegovinian culture. Emrić is passionately devoted Umetniško energijo in potrebo po ustvarjanju smo dobili v dar let to art, recounting his homeland’s story through 30 že ob rojstvu. To je božji dar, ki ga je treba izkoristiti. Moje umet-the medium of fine art. He lives and owns a stu- niške sanje še niso uresničene, v svojem ateljeju nenehno razi-dio in Bužim where he dedicates himself to paint- skujem in si prizadevam izraziti umetniške vizije iz svoje pod-ODOB ing, graphics and book illustration. P zavesti ter jih uresničiti v risanju, grafiki in slikarstvu, da bodo Emrić is a member of the Fine Arts Society of Bos-lahko stoletja kot luč svetile prihodnjim generacijam na pot. nia and Herzegovina. He regularly attends fine- VNIH Likovna umetnost je bila od pradavnine in bo tudi v prihodnos-O arts colonies and boasts over 90 individual exhi- IK ti tesno povezana z duhovnimi potrebami človeštva in kot taka L bitions at home and abroad. He has been given najpomembnejša disciplina za negovanje estetike. Človeštvu je many awards and recognitions for his art works. dana od Boga, da mu lepša in bogati življenje, saj z njo to dobi ORJA svoj pravi namen in pomen. BZO A ONOMSKKE 93 94 How would you translate your artistic creation into words? My works of art convey allegorical meanings and hidden messag- EMRIĆ es, stemming from the symbols found in the cultural past of my homeland Bosnia and Herzegovina. For three decades already, I SEAD have been intensely engaged in drawing, printing and painting. My artistic message resonates with the modern art movement of the 21st century. In my creations, I try to express the creative energies and preserve the spirit of the time and the space of their emergence. Graphic art is an ideal technique for forming an artistic vision, which is why my pieces usually arise from the transformation of paper drawings that I visualise beforehand as a basis for compositions of large paintings. My creations are inspired by culture and nature, existing on the allegoric cultural/nature and natural/culture levels. Art and economics, how do you bring them together? Art and economics have been closely connected ever since ancient times and the very first civilisations. Art is the most beautiful gift. The endeavours to create new objects through an aesthetic prism created the basis of economic success. At the individual level, artists procured items for their own personal use, whereas economics has always striven for artistic added value to consumer goods. Today, one cannot imagine a product on the market that is not graphically designed. Works of art, art institutions and art events help us push the boundaries of aesthetics and enrich humanity with positive energy and communication, the latter two being preconditions for economic and social development. How do you see the future of your own creative efforts and the future of the fine arts? Artistic energy and the need to create are given to us at birth. It is a gift from God and must be used. My artistic dreams have yet to be fulfilled. I am incessantly exploring new things in my studio, trying to express my artistic visions from the subconscious only to realise them in drawing, graphics and painting so that they may illuminate the path of future generations for centuries ahead. Since prehistoric times, fine art has been closely interwoven with the spiritual needs of humanity and will also continue to do so in the future, constituting the most important discipline for nourishing aesthetics. God gave it to humans to enrich and embellish their lives, thereby giving them a genuine purpose and meaning. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F TAJA IVANČIČ ZVEN 30 let Akademska slikarka Taja Ivančič Zven se je Kako bi vi sami ubesedili rodila leta 1977 v Celju. Slikarstvo je študirala svoje likovno ustvarjanje? na Akademiji za likovno umetnost in obliko- Zadnje čase me zanima pogled na naravo. Nedavno sem se pre-vanje v Ljubljani, leta 2002 diplomirala, leta selila na Primorsko, kjer sem ob Rižani videla precej požarov, malo 2006 pa končala magistrski študij pri profe-zaradi suše, še več pa zaradi nemarnega odnosa do sveta, ki nas sorjih Nadji Zgonik, Bojanu Gorencu in Borutu obdaja. To dogajanje bi želela z abstraktnimi elementi vnesti v svo-Vogelniku. Svoje znanje je izpopolnjevala na je delo, sončno svetlobo na morju, lesketajoče se barve rek in blesk akademiji likovnih umetnosti Ecole nationale vročega ognja z elementi, ki v gledalcu spodbujajo čutno ugodje. superieure des Beaux-Arts v Parizu in na odd- Kot tehniko pa še vedno uporabljam akril na platno. elku za slikarstvo na Univerzi Pensilvanije v Združenih državah. Umetnost in ekonomija, Umetnica živi in dela v Rižani ter svoja dela red-kako ju povezujete? no razstavlja na samostojnih in skupinskih raz- Nekoč sem menila, da se mora umetnik sam potruditi, da se čim stavah doma in v tujini. Za svoja dela je prejela bolje predstavi javnosti. Odkar je nastopila gospodarska recesija, številne nagrade, med njimi Sakaide Art Grand menim, da je naš poklic zapostavljen, saj se z njim težko preživi. Prix ( Sakaide Civic Museum, Kagawa, Japonska) Recesija se je zdaj umirila, gospodarstvo je zadihalo, a situacija za leto 2004, njene umetnine pa krasijo tudi na področju umetnosti se ni izboljšala. Razstava na Ekonomski slovensko ambasado v Madridu. fakulteti in predanost kustosinje Slavice Zrakič sta mi vrnili veselje do dela in mi vlili upanje, da se je s slikarstvom še smiselno ukvarjati, pri tem uporabiti na akademiji pridobljeno znanje, iz-The academically trained painter Taja Ivančič kušnje starih mojstrov in zgrabiti nove priložnosti. Mislim, da bi Zven was born in 1977 in Celje. She studied se v Sloveniji morali slikarji, kustosi in ekonomisti bolj povezati pri painting at the Academy of Fine Arts and De-promociji umetnikov in razvoju slikarskih smeri. sign in Ljubljana, graduated in 2002 and com- pleted her master’s studies in 2006 under pro- Kako vidite prihodnost lastnega fessors Nadja Zgonik, Bojan Gorenc and Borut ustvarjanja in prihodnost likovne umetnosti? vnosti na EF Vogelnik. She added to her knowledge by at- Ko sem zaključevala svoj diplomski študij, je bil na vrhuncu ejad tending Ecole Nationale Superieure des Beaux- postmodernizem in se je porajalo vprašanje, katera smer bo e Arts in Paris and the Painting Department of sledila. Mogoče vrnitev v renesanso, vrnitev v romantiko? ijsk the Indiana University of Pennsylvania, USA. Ali lahko, če drži rek, da se civilizacija, ko doseže višek, zopet aler The artist lives and works in Rižana, regularly vrne na začetek , trdimo, da je bilo v umetnosti že vse videno? g exhibiting her works at individual and group Mogoče nas spet čakajo realizem, proučevanje perspektive, let exhibitions in Slovenia and abroad. She has re- 30 proporcev, figuralika? Brez ekonomske spodbude bo umetnost ceived a number of awards, including the 2004 težko preživela in morda v prihodnosti ljudem domov ne bodo Sakaide Art Grand Prix (Sakaide Civic Museum, več krasile vrhunske umetnine, ampak le nujno potrebni in poce-ODOB Kagawa, Japan). Her works hang on the walls of P ni okrasni dodatki. Ali torej lahko upamo na svetlejšo prihodnost? the Slovenian Embassy in Madrid. To je, po mojem, že politično vprašanje. VNIH O IKL ORJA BZO A ONOMSKKE 97 98 How would you translate your artistic creation into words? In recent times, I have become more interested in our attitude ZVEN to nature. I moved to the Littoral region where I have witnessed many fires caused by drought but even more by people’s careless ANČIČ attitude to the world that surrounds us. I would like to integrate IV these events, using abstract elements, into my work. The sun-JA light on the sea, the glittering colours of rivers and the glare of TA hot fire … these are all elements that stimulate sensual pleasures in the viewer. I still rely on the technique of acrylic on canvas. Art and economics, how do you bring them together? I used to think that the artist alone must make efforts to present themselves as well as possible to the public. But from the onset of the economic recession I believe our profession has been overlooked because it is difficult for artists to make a living from it. The recession has now eased off, the economy is again breathing, yet the situation in the arts has not improved at all. The exhibition at the School of Economics and Business and the dedication shown by the curator Slavica Zrakič have helped me regain my joy for work and instilled me with the hope that it is still worthwhile to paint, use the knowledge from the Academy and the old masters’ experience as well as to take fresh opportunities. I think that painters, curators and economists in Slovenia should act together to help promote artists and develop painting movements. How do you see the future of your own creative efforts and the future of the fine arts? While I was completing my undergraduate studies, postmodern-ism was at its highpoint and the question then arose of which art movement would follow. Perhaps a return to the Renaissance, to Romanticism? Are we able to declare – if there is any truth in the saying that when a civilisation reaches its peak it returns to its beginning – that everything has already been seen in art? Perhaps we are heading back to realism, a study of perspective, proportions, figural art? Without an economic incentive, art will find it difficult to survive and maybe in the future people’s homes will no longer be embellished with top artworks but only with essential and cheap decorative items. Can we therefore hope for a brighter future? This, in my view, is already a political question. 30 let 30 let g a l e r i j s k e d e j a v n o s t i n a E F TILEN ŽBONA 30 let Tilen Žbona se je rodil leta 1976 v Kopru. Oblikovalskih veščin se je Kako bi vi sami ubesedili učil na umetniškem liceju Nordio v Trstu in po zaključku izobraževan-svoje likovno ustvarjanje? je nadaljeval na Akademiji lepih umetnosti v Benetkah, kjer je leta Lastno umetniško in s tem tudi likovno ustvar-2001 pri profesorju A. Giuffrediju diplomiral iz psihologije umetnosti. janje bi težko ubesedil, kajti zgodi se proces Kasneje je vpisal podiplomski študij na Akademiji za likovno umet-kreacije znotraj osebnih in zunanjih vzgibov, nost in oblikovanje v Ljubljani in pri profesorju Sreču Draganu leta ki mi narekujejo poglobitev in prizadevanje po 2007 magistriral iz videa in novih medijev. Na Pedagoški fakulteti je stvaritvi ali miselnem procesu, ki bi ga težko v sodelovanju s Fakulteto za računalništvo in informatiko Univerze opredelili s konvencionalnimi parametri. Vzgib v Ljubljani z disertacijo Uporaba novih medijev pri poučevanju pros-in motiv ob ustvarjanju se na nek način pojavita torskega oblikovanja v osnovni šoli doktoriral. Danes je izredni profesor skozi večplastno odkrivanje ter študije na ravni na Pedagoški fakulteti Univerze na Primorskem, kjer skrbi za razvoj predstavljanja, predstavitve in nenazadnje last-likovnega izobraževanja. nih notranjih zavednih ali nezavednih vzgibov. Žbona živi in ustvarja med Koprom, Londonom in Sevillo. Ukvarja se Včasih nastopi misel ali materializacija/uprizo-s slikarstvom, fotografijo, video umetnostjo in novimi mediji. Kot ak-ritev kot nekakšna potreba po obstoju/kreaciji. tiven član Društva za povezovanje umetnosti in znanosti ArtNetLab Na ta način obravnavam formo, kontekst, kon-razvija znanstveno raziskovalne projekte in jih predstavlja na domačih ceptualizacijo, se poglabljam v obravnavo last-in svetovno znanih razstaviščih. Med najodmevnejše mednarodne nih študijskih procesov, kjer se soočam z vizual-razstave, na katerih je sodeloval, štejemo njegovo predstavitev vid-nim mišljenjem, formalno analizo, stvaritvijo in eoinštalacije na ArtNetLab 2007 v Parizu, predstavitev Real Presence/ raznimi paradigmami. Floating Sites na Istanbulskem bienalu (2007) in videoinštalacijo Sinking v Centru za umetnost in medijsko tehnologijo ZKM v nemškem Umetnost in ekonomija, mestu Karlsruhe (2009). kako ju povezujete? Umetnost se v ekonomiji odziva kot osmišljan- Tilen Žbona was born in 1976 in Koper. He learned design skills at the je identitete, zagotavljanje prenosa vrednot in Nordio Art School in Trieste and continued his education at the Acad-s tem dodeljevanja statusa zgodovinskim, kul- turnim in družbenim pojavom. Je vzgib h kon- vnosti na EF emy of Fine Arts in Venice, from where he graduated in psychology stantnemu osmišljanju, spoznavanju, komunici-eja of art under Professor A. Giuffredi. He later enrolled in graduate stud-d ranju, rasti, ohranjanju ... e ies at the Academy of Fine Arts and Design in Ljubljana and earned his master’s degree in video and new media in 2007 under Profes-ijsk Kako vidite prihodnost lastnega sor Srečo Dragan. At the Faculty of Education, in cooperation with aler ustvarjanja in prihodnost likovne umetnosti? g the Faculty of Computer and Information Science of the University Prihodnost likovne umetnosti in umetniških let of Ljubljana, he was awarded a doctoral degree for his thesis Use of 30 New Media in the Teaching of Spatial Design in a Primary School. He vzgibov vidim kot nujo za ohranjanje medse-currently works as an associate professor at the Faculty of Education bojnih odnosov lastnega osmišljanja-biti in kakovostnejšega življenja. V sodobni družbi se ODOB of the University of Primorska where he is in charge of art education. P Žbona lives and creates in Koper, London and Sevilla. He operates umetnost pojavlja in prepleta v znanstvenih, in the areas of painting, photography, video art and new media. As raziskovalnih in družbenih panogah. Vloga ust-VNIH varjalca ali izumitelja se prepleta z interdisci- O an active member of ArtNetLab, the society for connecting art and IK plinarnim delom in orodji, ki deloma narekujejo L science, he has been developing scientific and research projects and presenting them in Slovenian and globally renowned exhibitions. način izvedbe in s tem vplivajo na prizadevanja, dejanja oz. pojave. Prihodnost umetnosti vidim ORJA Some of the most talked about international exhibitions he has par-v odnosih med ljudmi in delom za ljudi, kjer se BZ ticipated in are his presentation of a video-installation at ArtNetLab O ciklično pojavlja kot spremljevalec družbenih A 2007 in Paris, a presentation of Real Presence/Floating Sites at the Istanbul Biennial (2007), and the video-installation Sinking at the ZKM vrednot in poraja vprašanje družbenega in Centre for Art and Media in Karlsruhe, Germany (2009). posameznikovega obstoja. ONOMSKKE 101 102 How would you translate your artistic creation into words? It is difficult for me to describe my artistic and fine art creation in words because the creative process happens with- ŽBONA in the domain of personal and external impulses, requiring that I go into depths and strive for a creation or a cognitive TILEN process that I find hard to define using conventional parame-ters. The impulse and motive for creation somehow emerges through multifaceted exploration and study at the level of the imagination, presentation as well as via my inner conscious or subconscious impulses. Sometimes a thought or materialisation/performance appears as if it were calling for some kind of existence/creation. In this way, I deal with the form, context and conceptualisation as well as absorb myself in my own study processes in which I confront visual thinking, formal analysis, creation and different paradigms. Art and economics, how do you bring them together? In economics, art responds by giving meaning to identity, ensuring the transfer of values and thereby granting a status to historical, cultural and social phenomena. It is an impulse for the incessant making of meaning, becoming acquainted with, communicating, growing, preserving… How do you see the future of your own creative efforts and the future of the fine arts? The future of the fine arts and artistic impulses is, in my opinion, vital for preserving mutual relationships as part of our giving meaning to existence and a quality life. In modern society, art appears and intertwines with the scientific, research and social domains. The role of a creator or inventor is mixed with interdisciplinary work and tools that, to some extent, determine the method of implementation and thus impact the efforts, acts and phenomena. I see the future of art in the relations among people and in work for people. Art emerges cyclically as a companion of social values, posing questions about the existence of both society and the individual. 30 let GALERIJSKA DEJAVNOST EF SKOZI ČAS 30 EF GALLERY ACTIVITY OVER TIME 30 let let 30 let 30 vnosti na EF ejade ijsk aler g let 30 ODOBP VNIH O IKL ORJA BZ let O A ONOMSKKE 30 let30 let P l a k a t i P o s t e r s l j u b l j a n a 2 0 2 0 l j u b l j a n a 2 0 2 0 l j u b l j a n a 2 0 2 0 l j u b l j a n a 2 0 2 0 Skupinsk a razstava , 30×40 cm Ognjen Sead članov seća posla , tuš na papiru , P vić tinoar Nataša Kovačević Emrić HDLU elena M cija: J oduk Kupljenik P o e z i j a Q U A L I TA S Z a f r k n i l a s e m v s a Fe d e r i c a O C C U LTA Zagreb eprR . . . . . slik . slik . slik . slik G a r c í e Lo r c e ad ad ad ad v a š a p r i č a k o v a n j a A n i m a l i z e m v v s l i k a h ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . f o t o g r a fi j i , r i s b i vanje: dr vanje: dr vanje: dr vanje: dr o o o o Oblik Oblik Oblik i n s l i k a r s t v u Oblik 6 . OK TOBER 2 0 2 0 1 . SEPTEMBER 2 0 2 0 7 . JULIJ 2 0 2 0 4 . JUNIJ 2 0 2 0 l j u b l j a n a 2 0 2 0 l j u b l j a n a 2 0 2 0 l j u b l j a n a 2 0 2 0 l j u b l j a n a 2 0 1 9 Dušank a Halida Herman Emrić . dm.slik ilen Žbona akT Sead . Alenk a Ana OKNA II , . vanje: mago . slik Oblik Stante . . slik ad slike in objekti iz . dm.slik Emrić ad svile in tekstila Nova umetnost ilen Žbona ak ilen Žbona ak T T . . ilen Žbona akT. starih čustev vanje: dr vanje: dr o I T I N E R A R I U M o Oblik vanje: dro Oblik T i l e n Ž B O N A Oblik M O R E S M E C H A N I C A / V I S K O Z N O S T V I D N E G A 3 . MAREC 2 0 2 0 1 1 . FEBRUAR 2 0 2 0 7 . JANUAR 2 0 2 0 3 . DECEMBER 2 0 1 9 l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 9 Ar ven vnosti na EF Šakti Metk a eja Cvetk a Kralj d Tatjana Pepelnak Hojnik Szomi . e . slik ad Mijatović . . S o l v e . Izseki iz . slik . slik ilen Žbona ak H a r m o n i j a dm.slik T ad e t C o a g u l a ad . vanje: dr Čudežne o ilen Žbona ak ilen Žbona ak s t r a s t i T T . Oblik Z r e k o ijsk ilen Žbona akT. . dežele vanje: dr vanje: dr o o vanje: mago Oblik Oblik Oblik aler g 1 2 . NOVEMBER 2 0 1 9 8 . OK TOBER 2 0 1 9 3 . SEPTEMBER 2 0 1 9 2 . JULIJ 2 0 1 9 let 30 l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 9 ODOBP VNIH O Marina IKL Eduardo Trusova Taja Darja Oliveira Zven Ženske - to Štefančič Bentub je pomlad Ivančič ORJA . . . . V prizmi dm.slik dm.slik dm.slik dm.slik Momentos Rastišče BZ pogleda ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . O vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik A 4 . JUNIJ 2 0 1 9 7 . MA J 2 0 1 9 2 . APRIL 2 0 1 9 5 . MAREC 2 0 1 9 ONOMSKKE 107 30 let30 let P l a k a t i P o s t e r s l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 9 l j u b l j a n a 2 0 1 8 l j u b l j a n a 2 0 1 8 David SLAVICA LAURA Holzinger M ilena ŠTRUKELJ LIČER Cutting KOKORAVEC Kafol BUBE Through II . . . . .slik dm.slik dad BARVE .slik ETUDE .slik dad dad ilen Žbona ak ilen Žbona ak T T . . FLAMENKA ilen Žbona ak ilen Žbona ak T T . . vanje: dr vanje: dr vanje: dr o vanje: mag o o o Oblik Oblik Oblik Oblik 5 . FEBRUAR 2 0 1 9 8 . JANUAR 2 0 1 9 4 . DECEMBER 2 0 1 8 6 . NOVEMBER 2 0 1 8 l j u b l j a n a 2 0 1 8 l j u b l j a n a 2 0 1 8 l j u b l j a n a 2 0 1 8 l j u b l j a n a 2 0 1 8 Gregor Tajda Dani Leon Lekše Žitko Vidmar . . “ Č e z č r t o” .slik Žbontar . . .slik .slik dad ad dad “Neskončnost ” .slik dad ilen Žbona ak “Slovo - making of” ilen Žbona, ak T T . . K lop ilen Žbona ak ilen Žbona ak T T . . vanje: dr vanje: dr vanje: dr vanje: dr o o o o Oblik Oblik Oblik Oblik 9 . OK TOBER 2 0 1 8 4 . SEPTEMBER 2 0 1 8 1 9 . JUNIJ 2 0 1 8 1 0 . MA J 2 0 1 8 l j u b l j a n a 2 0 1 8 l j u b l j a n a 2 0 1 8 l j u b l j a n a 2 0 1 8 l j u b l j a n a 2 0 1 8 Univerza za tretje vnosti na EF Taja N ivea življenjsko R adovan Zven eja obdobje Kofol d Gregorčič Ivančič “ Vez matere z e “ S k o d e l i c a . “ K o z m i č n a . . . .slik dm.slik b r e z k a v e . . .” dad “ V P O G L E D ” otrokom” dm.slik dm.slik m i n u t a ” ijsk ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . vanje: dr vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik aler g 1 0 . APRIL 2 0 1 8 6 . MAREC 2 0 1 8 6 . FEBRUAR 2 0 1 8 9 . JANUAR 2 0 1 8 let 30 l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 ODOBP VNIH O IKL Lučk a Nataša Halida Sead Emrić Emrić . Šićarov Menar t ORJA . . . “Ženska s poslednjim dm.slik dm.slik Ž i v l j e n j e dm.slik T I Š I N A " S U M M A BZ ilen Žbona, akdm.slikT. pisalnim strojem” B E S K O N Č N O S T I ilen Žbona akT. B O S N I A C A " ilen Žbona ak ilen Žbona ak T T . . anje: dr O v Obliko vanje: dro vanje: mag vanje: mag o o Oblik Oblik Oblik A 5 . D E C E M B E R 2 0 1 7 7 . NOVEMBER 2 0 1 7 3 . OK TOBER 2 0 1 7 5 . SEPTEMBER 2 0 1 7 ONOMSKKE 109 30 let30 let P l a k a t i P o s t e r s l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 Sašo Sead Emrić Vrabič Lech Kolasiński Eko-nom-ska Blaž . . dm.slik de Gleria . . “ Independence dm.slik dm.slik dm.slik of Nature” ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . vanje: dr vanje: dr o o vanje: mag vanje: mag o o Oblik Oblik Oblik Oblik 4 . JULIJ 2 0 1 7 3 0 . JUNIJ 2 0 1 7 6 . JUNIJ 2 0 1 7 9 . MA J 2 0 1 7 B a l k o n s k a d v o r a n a , G a l e r i j a U L l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 l j u b l j a n a 2 0 1 7 Društvo Ognjen Tanja likovnikov Lidija Kovačević Prezelj “ Z g o d b a o Logatec Plestenjak č l o v e k u , k i j e “ O d t i s i č a r o b n i h z a č r t a l p o t i n “ B a r v n a s v e t o v ” “ P o p o t n i k ” l i n i j o / P r i č a o . . . . p r e p l e t a n j a dm.slik dm.slik dm.slik č o v e k u k o j i j e dm.slik v a k v a r e l u ” z a m i s l i o p u t i ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . l i n i j u ” vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik 4 . APRIL 2 0 1 7 7 . MAREC 2 0 1 7 7 . FEBRUAR 2 0 1 7 3 . JANUAR 2 0 1 7 l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 6 Jiři Kočica Bogdana Zoran Krušič Srdić Janežič Tadej vnosti na EF K rešimira “SCURRA” “Pointe à l'oeil.” Žugman ejad Gojanović “ P O R T R E T I i n K O N J I ” e . “Saturnovi . . . dm.slik dm.slik dm.slik dm.slik otroci” ijsk ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik aler g 6 . DECEMBER 2 0 1 6 4 . OK TOBER 2 0 1 6 6 . SEPTEMBER 2 0 1 6 4 . JULIJ 2 0 1 6 let 30 l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 6 ODOBP VNIH O M o j c a Dani Žbontar IKL To m a ž Ani Erjavec Sekulič Fo Hanibal Gorjup “S R E Č N E M AČ K E ” “ Z V E Z D N E P OT I ” Salvaro Hani “ Z a s t a l e s l e d i ORJA . . . . ( s l i k e 2 0 1 4 - 2 0 1 6 ) ” dm.slik dm.slik dm.slik dm.slik BZ ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . O vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik A 7 . JUNIJ 2 0 1 6 3 . MA J 2 0 1 6 5 . APRIL 2 0 1 6 1 . MAREC 2 0 1 6 ONOMSKKE 111 30 let30 let P l a k a t i P o s t e r s l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 6 l j u b l j a n a 2 0 1 5 l j u b l j a n a 2 0 1 5 Saša Bezjak Ar ven Šakti Ciril Velkovrh Milena Kafol Mira 3 0 0 r a z g l e d n i c s f o t o g r a fi j a m i Kralj Szomi n a r a v n e i n k u l t u r n e d e d i š č i n e Resnik “Mundus, mundi” “Koraki in poljubi” “OB SLOVENSKI “Prostori “A Skip and a Hop” PLANINSKI POTI” življenja” . . . . dm.slik dm.slik dm.slik dm.slik ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik 9 . FEBRUAR 2 0 1 6 1 2 . JANUAR 2 0 1 6 3 . NOVEMBER 2 0 1 5 6 . OK TOBER 2 0 1 5 l j u b l j a n a 2 0 1 5 l j u b l j a n a 2 0 1 5 l j u b l j a n a 2 0 1 5 Zdravko Dolinšek Helena Taja Groznikar Ivančič “BARVNA “ M E R A K I ” “ Tisto vmes” POTEPANJA” . . . dm.slik dm.slik dm.slik ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T . . . vanje: mag vanje: mag vanje: mag o o o Oblik Oblik Oblik 8 . SEPTEMBER 2 0 1 5 4 . AVGUSTA 2 0 1 5 2 . JUNIJ 2 0 1 5 l j u b l j a n a 2 0 1 5 l j u b l j a n a 2 0 1 5 l j u b l j a n a 2 0 1 5 l j u b l j a n a 2 0 1 5 Tatjana Jurak Mijatović Robert Milan PETRA Tomažin vnosti na EF Slavica BODLOVIČ “ Through Štrukelj “Praznina.” eja the Lens.” d “ENA + Kokoravec e EDEN” . “UJETA ENERGIJA” . . . dm.slik dm.slik dm.slik dm.slik ijsk ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik aler g 5 . MA J 2 0 1 5 7 . APRIL 2 0 1 5 3 . MAREC 2 0 1 5 3 . FEBRUAR 2 0 1 5 let 30 l j u b l j a n a 2 0 1 5 l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 ODOBP VNIH O Nivea Kofol Nikolaj Vogel Marko Butina IKL “Kamen, obsijan “ Č a s v p r o s t o r u ” “ B i l a j e č u d n a z lučjo, zablesti.” j e s e n …” Annmarie Saša Prah ORJA . . . “ L I F E ” . dm.slik dm.slik dm.slik dm.slik BZ ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . O vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik A 6 . JANUAR 2 0 1 5 9 . DECEMBER 2 0 1 4 4 . NOVEMBER 2 0 1 4 7 . OK TOBER 2 0 1 4 ONOMSKKE 113 30 let30 let P l a k a t i P o s t e r s l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 Jerneja Jambrek Sead Emrić “ S v e t l o b a v t e m i ” Damjan Rončević “ A i r B r u s h ” Lech Kolasiński “ S p r e m e m b a k r a j i n e ” . . 2014 “ ” . . dm.slik dm.slik dm.slik dm.slik ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik 9 . SEPTEMBER 2 0 1 4 8 . JULIJ 2 0 1 4 3. JUNIJ 2 0 1 4 6 . MA J 2 0 1 4 l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 l j u b l j a n a 2 0 1 4 Janez Ovsec Bogdana Krušič Žiga Korent “Bar vna prepletanja” “ A l e g o r i j a k o t Rebeka Rodošek “ Lu č t e m e” d e fi n i c i j a č a s a ” “ V e č k o t l e s a n j e ” . . . . dm.slik dm.slik dm.slik dm.slik ilen Žbona ak ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T T . . . . vanje: mag vanje: mag vanje: mag vanje: mag o o o o Oblik Oblik Oblik Oblik 1. APRIL 2 0 1 4 4 . MAREC 2 0 1 4 4 . FEBRUAR 2 0 1 4 7 . JANUAR 2 0 1 4 l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 3 . dm.slik SILVAN OMERZU ilen Žbona akT. S k u p i n a L i l i “ I LU S T R A C I J E I N vanje: mago Oblik J i ř i Hribovšek vnosti na EF LU T K E ” G12 “ O d s e v i z a v e s t i ” Kočica eja “ R a z l i k e i n “ I z r o č i l o ” d p o n a v l j a n j e ” e . . dm.slik dm.slik ijsk ilen Žbona ak ilen Žbona ak T T . . vanje: mag vanje: mag o o Oblik Oblik aler g 5 . 3 . DECEMBER 2 0 1 3 NOVEMBER 2 0 1 3 8 . OK TOBER 2 0 1 3 1 0 . SEPTEMBER 2 0 1 3 let 30 l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 3 ODOBP VNIH Krešimira Gojanović Mojca Sekulič Fo O Tomaž Gorjup Marko Zelenko “ M m e i n M s g IK “ N o t r a n j e L p o p o t o v a n j e ” “ M a l a p l a s t i k a ” “ D n e v n i š k i z a p i s i M o u s t a c h e t e r (slike 2012 – 2013)” ž i v l j e n j a s l i k ” ORJA . dm.slik . . . BZ dm.slik dm.slik dm.slik ilen Žbona akT. O ilen Žbona ak ilen Žbona ak ilen Žbona ak T T T . . . vanje: mago Oblik vanje: mag vanje: mag vanje: mag o o o A Oblik Oblik Oblik 4 . JUNIJ 2 0 1 3 2 . JULIJ 2 0 1 3 7 . MA J 2 0 1 3 9 . APRIL 2 0 1 3 ONOMSKKE 115 30 let30 let P l a k a t i P o s t e r s l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 3 l j u b l j a n a 2 0 1 2 l j u b l j a n a 2 0 1 3 Nataša Berčan Tatjana Mijatović Art Femips Milena Kafol I N T E R I E R I “ S č o p i č e m p o E v r o p i ” “ K r a j i n e ” “M i n e v a n j e ” Obl Oblik iko o . va vanje: mag nje: ma dm.slik g. . T T ilen Žbon ilen Žbona ak ilen Žbona akT a . akdm.sli dm.slik k vanje: mag . . o Oblik 5 . MAREC 2 0 1 3 5 . FEBRUAR 2 0 1 3 8 . 1 1 . J A N U A R 2 0 1 3 DECEMBER 2 0 1 2 Plakat_S COPICEM_KONCNI_5.indd 1 25.2.13 18:36 l j u b l j a n a 2 0 1 2 l j u b l j a n a 2 0 1 2 l j u b l j a n a 2 0 1 2 l j u b l j a n a 2 0 1 2 Annmarie Saša Prah T I L E N B A L O N “A d v e n t u r e ” M E T K A P E P E L N A K O P U S T I M E “ G n o j j e z l a t o i n “ m o j a p r v a ” z l a t o j e g n o j ” L E S S s e l e c t e d A R T w o r k T I L E N Ž B O N A Oblik ovanje: mag . . . dm.slik Tilen Žbona ak dm.slik ilen Žbona akT dm.slik . ilen Žbona akT. . vanje: mago vanje: mago Oblik Oblik 2 . OKTOBER 2 0 1 2 4 . SEPTEMBER 2 0 1 2 5 . JUNIJ 2 0 1 2 6 . NOVEMBER 2 0 1 2 l j u b l j a n a 2 0 1 2 l j u b l j a n a 2 0 1 2 l j u b l j a n a 2 0 1 2 l j u b l j a n a 2 0 1 2 MIRA RESNIK “TISTI BREZ IN ONI Z ZLATO ŽLICO” ALENKA SLAVINEC . R O K Z E L E N K O dm.slik J O Ž E L A Š I Č “Slovenia in us” ilen Žbona akT " S p o m i n i i z s n a " . . vanje: mag dm.slik o vnosti na EF “ K i p i , Oblik ilen Žbona akT. r e l i e fi ” val: mag eja o Oblik d . dm.slik e ilen Žbona akT. . vanje: mago dm.slik ijsk Oblik ilen Žbona akT. vanje: mago aler Oblik g 8 . MAJ 2 0 1 2 3 . A P R I L 2 0 1 2 7 . FEBRUAR 2 0 1 2 1 0 . JANUAR 2 0 1 2 let 30 l j u b l j a n a 2 0 1 1 l j u b l j a n a 2 0 1 1 l j u b l j a n a 2 0 1 1 ODOBP Kolikor veljaš, toliko imaš. VNIH DANIJEL DEMŠAR LEON VIDMAR SONJA MAKUC Izhoda ni. Vedno je sto glav. O Lahko so na levi strani ali desni. Pozitivne ali negativne. Lahko “ R o ž a v s r c u ” “ F r a g m e n t i ” “ M a e s t r a l ” pokažemo kakršen koli rezultat. Okvir ostane sklenjen. Izhoda ni. IKL [ vizualni manifest ][ visual manifesto ] ORJA Oblik ovanje: mag BZ Oblik . Tilen Žbona ak ovanje: mag O dm.slik . Tilen Žbona ak . A dm.slik . Oblik 6 . DECEMBER 2 0 1 1 1 1 . OKTOBER 2 0 1 1 ovanje: mag . Tilen Žbona ak 1 3 . SEPTEMBER 2 0 1 1 Aleksander Brezlan univ. dipl. oblikovalec / designer Blaž Vehovar akademski slikar / painter Matevž Granda arhitekt / architect Letnik 1981 / Diplomiral 2005 / Akademija za likovno umetnost v Ljubljani Letnik 1981 / Diplomiral februarja 2008 na beneški Akademiji lepih umetnosti Letnik 1978 / Diplomiral 2005 / Fakulteta za arhitekturo v Ljubljani Ustvarjalna področja: slikarstvo, ilustracija, grafično oblikovanje Ustvarjalna področja: slikarstvo, kiparstvo, unikatno grafično oblikovanje Ustvarjalna področja: arhitektura, urbanizem, unikatno oblikovanje Born 1981 / Graduated 2005, Academy of Fine Arts and Design, Ljubljana Born 1981 / Graduated 2008 / Accademia di Belle Arti, Venice Born 1978 / Graduated 2005 / Faculty of Architecture, Ljubljana Creative areas: painting, illustration, graphic design Creative areas: painting, sculpture, unique graphic design Creative areas: architecture, urbanism, unique design dm.slik . ONOMSKKE 117 30 let30 let P l a k a t i P o s t e r s l j u b l j a n a 2 0 1 1 l j u b l j a n a 2 0 1 1 l j u b l j a n a 2 0 1 1 PAVLE ŠČURK META BAHL NAZA J K NARAVI BRANKO BRADAŠKJA " I n n e r L a n d s c a p e s " "MED GORAMI IN VODAMI" ar i slik Oblik ademsk Oblik ovanje: mag ovanje: mag 1 . M A R E C 2 0 1 1 . T . ilen Žbona ak Tilen Žbona ak 6 . A P R I L 2 0 1 1 ilen Žbona akT. 7 . J U N I J 2 0 1 1 vanje: mago dm.slik Oblik dm.slik . . l j u b l j a n a 2 0 1 1 l j u b l j a n a 2 0 1 1 JANA VIZJAK ANNMARIE SAŠA PRAH O d a c i p r s k i k r a j i n i J U L O V , J U L A J K Ocean Pogled med palmami v belino: v sinjini prapor iz oblaka oznanja božjo zgodovino, zbujeno v nov razžarjen dan. V njej hrepenenje davno čaka, da duša z ladjo vrne se v pristan, v nevidno sinje zlato domovino onstran vsega, tonečo v ocean. Milček Komelj ΩΚΕΑΝΟΣ Ανάμεσα από φοίνικες το βλέμμα στο λευκό: Στο γαλανό λάβαρο από σύννεφο Αναγγέλλει την ιστορία του θεού που ξύπνησε στην καινούρια φλογερή μέρα. Μέσα της πάθος αναμένει από παλιά Να επιστρέψει η ψυχή με πλοίο στο λιμάνι Στην αόρατη χρυσογάλανη πατρίδα Πέρα από το σύμπαν, που βουλιάζει στον ωκεανό. Μίλτσεκ Κομέλ Oblik o Oblik vanje: mag . Tilen Žbona ak 1 1 . J A N U A R 2 0 1 1 ovanje: mag . 1 . F E B R U A R 2 0 1 1 Tilen Žbona ak dm.slik . dm.slik . vnosti na EF ejade ijsk aler g let 30 ODOBP 30 VNIH O IKL ORJA BZO let A ONOMSKKE 119 30 MALletA GALERIJA EF30 let P l a k a t i P o s t e r s KUD UKC in MF dr. Lojz Kraigher Maja Babič Košir Such a Star Ustvarjalci Irena Orel upodabljajočih Marija Mojca Vilar umetnosti Hvala za rože Labirinti narave MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF november-december september-oktober julij-avgust maj-junij 2019 2019 2019 2019 Ajda Potokar NINA Svet v skodelici čaja vs mreže LALOŠ Maša Godec Nataša Matijaševič MALA GALERIJA EF MALA GALERIJA EF M(adame) ali G(ospa) MALA GALERIJA EF UNIVERZUM ČIPKE MALA GALERIJA EF april marec februar 2019 2019 2019 november 2018 D Z o d l r i a n v š k e o k vnosti na EF MOJE POKRAJINE ejad Hrvaško društvo likovnih umetnikov Zagreb Mitska dimenzija mesta in urbane legende e ijsk MALA GALERIJA EF MALA GALERIJA EF aler g marec–april julij–avgust 2018 let 2018 30 ODOB ANAMARIJA ERČULJ P OD PONEDELJKA DO NEDELJE VNIH Kulturno združenje O ALPEN ADRIA, Trst RAZLIČNOST JE NAŠE BOGASTVO IKL ORJA BZ EDUARDO OLIVEIRA BENTUB CVETKA HOJNIK MALA GALERIJA EF O Vsakdan Kriol MALA GALERIJA EF MALA GALERIJA EF PREOBRAZBA II MALA GALERIJA EF A januar november–december september–oktober julij–avgust 2018 2017 2017 2017 ONOMSKKE 121 30 MALletA GALERIJA EF30 let P l a k a t i P o s t e r s Nino Burnadze Gruzija Andra Jurjavčič Manja Balek Jurjavčič MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF KARMEN RUS maj–junij april–maj marec–april januar–februar 2017 2017 2017 2017 Halida Emrić Živa Agrež Klara Debeljak Anamarija Erčulj JESENSKA SONATA Dolina reke Krke OMBRATNO Barva je vse okrog nas MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF december november september – oktober julij – avgust 2016 2016 2016 2016 Nivea Mislei Taja Ivančič Sašo Vrabič Aleš Porenta ČUDOVITI BAKER RAZPRTJE ESKAPIZEM CAPRICCI ZA BARVE vnosti na EF ejade MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF ALA GALERIJA EF ijsk M aler g maj – junij marec – april januar – februar november – december let 2016 2016 2016 2015 30 MALA GALERIJA EF MALA GALERIJA EF ODOB MALA GALERIJA EF MALA GALERIJA EF P SHIMA AHMADI SKY IS NOT ALWAYS CLOUDY VNIH Kot alpinistka in popotnica sem v sedmih letih popotništva raziskala obsežen del moje domovine. Verjamem v občudovanje lepote in raznolikosti narave skozi fotografijo, zato sem se odločila postati fotografinja. Po nekaj obiskih Evrope sem ugotovila, da so moji O zahodni prijatelji, navdušeni nad lepoto in raznolikostjo moje dežele, spremenili svoje predstave o Iranu kot PUŠČAVI. Shima Ahmadi je iranska študentka programa European Master in Tourism Manage-IK ment E.M.T.M L GREGOR ŽITKO NATAŠA MENART ZAPOLNJENE PRAZNINE LJUBEZEN PRISTEN STIK S PRISTNIM Ta preplet resničnosti z zasanjanostjo, prisoten v razstavljenih delih, je svojevrsten Nekaterim Gregorjevim vedutam, pejsažem, aktom, portretom in drugim motivom sicer avtoričin umik iz vsakdanjega življenja v svet umetnosti, ali kot pravi sama: Lidija Plestenjak črpa iz svojega okolja, v naravi kjer živi, zato je vsebina njenih grafič- lahko najdemo primerjave in asocijacije na konkretne in zelo znane slike iz preteklosti, “Umetnost je stanje pobega in rešitve, je pot ljubezni in zamaknjenosti, je brezčasnost, ki nih listov predvsem narava ter živali v njej. Njen odnos do narave je s tem edinstven pojav zlasti iz prejšnjega stoletja, pa kljub temu je opazen diskreten odmik v iskanju lastne jo imaš rad, in je način, da to poveš” likovne identitete. v slovenskem likovnem prostoru. Povezanost z naravo ji omogoča zelo širok manipulativni (Nives Marvin, kustodinja) prostor, kar se kaže v odličnih kompozicijah, barvnih odnosih ter predvsem inteligentno in intuitivno uvrščanje prave količine risbe v odnosu do barvnih ploskev in forme. Njeno ORJA temeljito poznavanje slikarskih in grafičnih dosežkov dvajsetega stoletja ter dejstvo, da črpa iz narave, pomeni, da je vsak njen grafični list izrazito njena izkušnja. BZ O As a mountaineer and traveler I discovered an extensive part of my country through seven years of travelling. I believe in celebrating the beauty and diversity of nature through photography and that’s why I decided to become a photographer. After having spent some time A in Europe I figured out that all my friends especially my Western friends are awed by the beauty and diversity of my country and changed their perception of Iran as a DESERT! Shima Ahmadi is Iranian student of the European Master in Tourism Management E.M.T.M september – oktober julij – avgust 2015 2015 junij maj — junij 2015 2015 ONOMSKKE 123 30 MALletA GALERIJA EF30 let P l a k a t i P o s t e r s MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF Slikarska razstava Žive Agrež: Dolina reke Krke MESTO IN MOST ŽIVA AGREŽ STAŠA KOŠAK BLUMER Nova razstava v Mali galeriji Ekonomske fakultete je skupek del Slikarske skupine Svetloba in barva Toskane 12. poteza, mladega slovenskega fotografa Alexa Delaya in kaligrafinje Ko barve klepetajo Manje Balek Jurjavčič ter klekljarice Andre Jurjavčič iz Kluba tukaj&zdaj. Vsi našteti umetniki so tudi člani Društva za prostočasne dejavnosti Ustvarjalni svet, ki je organizator tokratne razstave na Ekonomski fakulteti. Skupni motiv razstave združen v mozaično celoto umetniških zvrsti fotografije, kaligrafije in klekljanja ponazarja pogled zgoraj naštetih ustvarjalcev na temo mesta in mostu. Živa Agrež je po diplomi iz primerjalne književnosti in umetnostne zgodovine delala kot novinarka na radiu Ljubljana, pri časopisu Delo in pri reviji Jana. Danes slika. Na platnih cikla doline reke Krke in je tokrat pred vami, se prepletajo različni načini slikanja. Skupen jim je izreden občutek za barvo in svetlobo slikanja s katerim avtorica naslika mlin, odsev neba v vodi, zidanico, zaselek, travnik, spomin na črno kuhinjo ali vaškega posebneža. Skupna pa jim je tudi avtoričina ljubezen do teh krajev in ljudi. Staša Košak Blumer je rojena Ljubljančanka. Že kot otrok je rada risala, najprej z Miran Erič, akademski slikar in likovni pedagog o slikarstvu Žive Agrež: neukimi potezami, kasneje pa je, skozi leta ustvarjanja, svojo tehniko oziroma pre- »Slike so prežete z občutljivostjo za svetlobo in barve izbranega trenutka. Motive iz narave pogosto stilizira. Z poznaven likovni izraz vse bolj izmojstrila. lopaticami, ki ji omogočajo njej prirojeno energično potezo, skuša na platno prenesti bistvo motiva in se hkrati izogne Živa Agrež je po diplomi iz primerjalne književnosti in umetnostne zgodovine delala podrobnostim, ki ne sodijo v njen slikarski izraz. Želene učinke največkrat dosega z večplastnimi nanosi barve na barvo, Dela, predstavljena na razstavi, sestavljata dva cikla. V prvem, ki ga je avtorica kot novinarka na radiu Ljubljana, pri časopisu Delo in pri reviji Jana. Danes slika. ki se na slikah stopnjujejo in učinkujejo kot relief. poimenovala »Misel – glasba davnine« skozi podobe predstavlja svoje znanje in vide-Njen slikarski opus šteje več kot sto platen med katerimi izstopata cikel slik Toska-Vendar ji ni tuje slikanje s prosojnim plastenjem barve, najpogosteje takrat, ko ustvarja paleto odtenkov znotraj ene nje dogodkov vse od grške mitologije pa do kvantne fizike. V drugem, poimenovanem ne, ki je nastajal med leti 2010 in 2013 ter cikel slik Iz doline reke Krke, ki je same barve. »Mistični realizem« pa se osredotoča na anatomijo in fiziologijo človeka kot miselno začel nastajati leta 2009 in se še vedno bogati. Kljub temu, da ostajajo motivi vedno prepoznavni in jih avtorica z naslovom slike opiše, jih od realnega vsakič odpeljejo celoto in kot tako vrhunsko stvaritev narave. energično položene barve in dramatična svetloba samo njej lastnega doživetja, ki dajo motivom nadrealistični pridih.« marec — april februar januar Kontakt: ziva.galerija@gmail.com Tel: 051 340 935 2015 2015 2015 MALA GALERIJA EF MALA GALERIJA EF MALA GALERIJA EF GORI, DOLI, NAOKOLI DRUŠTVO SVOBODA KISOVEC BOGDANA KRUŠIČ SKUPINA LIKI Alegorija kot definicija časa Marjan Zaletel - Janč Poezije V mesecu novembru se v prehodu pred knjižnico z razstavo “NARAVA” Skupina Liki je ljubiteljska slikarska skupina, ki deluje pod okriljem Društva Svoboda Kisovec. Skupina se sestaja že šesto leto in trenutno šteje dvanajst aktivnih Ženske figure kot personifikacije letnih časov lahko povežemo z žensko energijo in članov. Vsako leto se člani udeležujejo slikarskih Ex-temporev in strokovnih predstavlja slikar rimskima boginjama Persefono ali Demetro, materjo in hčerko, ki združeni dajeta ekskurzij, angažiranost izkazujejo tudi s prijavami na razpise Javnega sklada za moč naravi, da se znova prebudi. Poletje je kot Afrodita, boginja ljubezni, ki povezu-Ko vstopamo v pokrajino njegovih slik, poskušamo razpoznavati in slutiti v njem je lastnosti obeh, dviguje se k svojemu cilju, ob enem pa ne zanemarja svojih čustev. kulturo in umetnost (JSKD). Trenutna mentorica skupine je diplomirana slikarka človeka, planinca, alpinista… Jesen je posvečena Heri, kot tradicionalni boginji družine, z obilnimi plodovi. In zima Lili Hribovšek. Polona Škodič, umetnostna zgodovinarka je kot Hestia odmaknjena v svojo samoto, mir in spokoj. FB: Marjan Zaletel - Janč Nahod Sijarić - Nale november - december oktober 2014 2014 september 2014 Nale se je rodil leta 1952 v naselju Ušanoviće na Bjelom Polju v Črni Gori in prav prelepa narava, v objemu katere je - ob šumenju reke Bistrice in prepevanju ptic odraščal – je navdihnila tudi razstavljeni ciklus slik MALA GALERIJA EF MALA GALERIJA EF v tehniki olje MALA GA na platno, s prepr LERIJ ostim a po A EF menljivim na slovom „Narava“. vnosti na EF Maks Tušak POLJSKI HERBARIJ BARVITOST NADREALNEGA eja Špela Peskar februar - marec d PORTRETI in KONJI e Tadej Žugman ijsk V seriji razstavljenih fotografij z naslovom Poljski herbarij - Field Herbarium, je Razstavljeni portreti in slike so dela iz slikarjevega zadnjega obdobja. Kot aler osnova jim služi fotografija, nadgrajena s subjektivnim odnosom do portre- »Zatorej vidimo v slikah spopad svetlobe in teme, ujet v brezčasnost, avtorica upodobila lepoto cvetlic poljskih travnikov, katerih lepoto pogosto prezremo, tiranega. Njegova temeljno umetniško vodilo je, da naj bo portret podoba lahkotnost in igrivost oblik, predvsem p a izpoved mladega poeta« češ da gre za običajen plevel. lepote človeka in odsev njegove duše, risba ali slika konja pa naj odraža (mentorica Metka Gosar) vso eleganco in moč te plemenite živali. g junij — avgust peskar.spela@gmail.com FB: T-Art, Horses in Art, Portraits, Drawings and Paintings 2014 let april — maj www.t-art.si ta.portreti@gmail.com 2014 30 ODOBP 30 VNIH O IKL ORJA BZO let A ONOMSKKE 125 30 let g a l e r i j s k e d e j a v n o s t i n a E F GALERIJA CEK 1989-2009 • 60 let EF (1946-1996) – RAZSTAVA STARIH UČBENIKOV IN FOTOGRAFIJ • JOŽE BARŠI, akademski kipar • KORALKA BEKER, akademska slikarka • MATJAŽ BERNIK, keramika • JIŘI BEZLAJ, akademski kipar • ZVONKO BIZJAK, slike-keramika • IGOR BRAVNIČAR, slike • MARKO BUTINA, akademski slikar • ANA CAJNKO, akademska slikarka • BARBARA DEMŠAR, akademska slikarka • DANIJEL DEMŠAR, akademski slikar, ilustracije • HINKO ENGELSBERGER, fotografije • BRANKO FARAC, akademski slikar • BOJAN GAJŠEK, slike • ALENKA GLOBOČNIK, modna oblikovalka • MARJETA GODLER, akademska slikarka • KREŠIMIRA GOJANOVIĆ, akademska slikarka • MAJDA GREGORIČ, keramika • VIOLA GRGASOVIĆ, keramika • CIRIL HOČEVAR, kipi • ZDENKO HODOVIĆ, akademski slikar • ANKA HRIBAR - KOŠMERL, slike • BOJAN JAKŠIČ, keramika • VESNA MARY JAZBEC, keramika • KLARA O. JENKO, akademska slikarka • MONDO JUD HART, fotomontaža • MATEJA KAVČIČ, akademska slikarka • MOJCA KAVČIČ, unikatne pletenine • ALEKSANDRA KEŠELJEVIĆ, akademska slikarka • FRANCI KOROŠEC KARAS, akademski slikar • KLEMEN KOŠIR, fotografija • GANI N. LLALLOSHI, akademski slikar • TATJENA LUZNIK ŠKUFCA, tihožitja • ZVEZDANA MARGUŠ PROHASKA, akademska slikarka • JOŽE MARINČ, akademski slikar • BOJAN MAVSAR, akademski kipar, kipi (atrij) • JASENKA MIJALIĆ, akademska slikarka • IGNAC MEDEN, akademski slikar • DRAGO MOM, akademski slikar • MIRA NAROBE, akademska slikarka, oblikovalka 30 let G a l e r i j a C E K • MIRAN NEKREP, slike • BOŠTJAN NOVAK, kipi • VLASTA NOVAKOVIĆ KOVAČEVIĆ, unikatni nakit • SILVAN OMERZU, keramika, slike in lutke • NIVES PALMIĆ, akademska slikarka • ANDREJ PAVLIČ, akademski slikar • FRANC PAVLIČ, slike in keramika • TOMAŽ PAVČIČ, keramika • VESNA PAVLAKOVIĆ, akademska slikarka • ALMA PENGAL, slike • LOJZE PENGAL, fotografija • MARIJA PERIČ – STRAŽIŠAR, akvareli • JASMINA PODGORSKI ANTOLOVIĆ, akademska kiparka • MARJA PRELOVŠEK, keramika • TOMAŽ PROŠEK, fotografija • SANJA PRIBIĆ, ilustratorka • RAZSTAVA DEL ZAPOSLENIH EF • NIVES RATKAJEC, keramika • NATAŠA RIBIČ, akademska slikarka, grafike • MILJALJANKA SIMČIČ, keramika • KARINA SLADOVIĆ, akademska slikarka • SNEŽANA SOTLER, keramika vnosti na EF • ALENKA SOTTLER, akademska slikarka, i1ustracije eja • TANJA STEVOVlĆ, akademska slikarka de • VLADO STJEPIĆ, akademski slikar ijsk • LUIZA SUHADOLNIK, keramika • JASNA ŠIKANJA, akademska slikarka aler g • BEATRIZ TOMŠIČ-ČERKEZ, diplomirana arhitektka, akademska slikarka let • SEVERINA TROŠT-ŠPROGAR, akademska slikarka 30 • LADISLAV ULČAKAR, slikar • DUBRAVKA URBAN-ĐUKES, keramika ODOB • MIRA URŠIČ-ŠPAROVEC, akademska slikarka P • KEES VAN EYCK, akademski slikar • Varstveno delovni center Tončke Hočevar, razstava gojencev VNIH O • RADOSLAV VILIĆIĆ, akademski slikar IKL • RADOSLAV VILIĆIĆ, akademski slikar • DANICA ŽBONTAR, diplomirana arhitektka, keramika ORJA • EDA ŽIBERT, skulpture BZ • UROŠ ŽITNIK, gvaš O A • ZBIRKA ALME P.S. ONOMSKKE EKONOMSKA OBZORJA LIKOVNIH PODOB ECONOMIC HORISIONS OF FINE ART IMAGES 30 onomics and Businessc chool of E onomics and Businessc y at the S let y activit chool of Et gallery at the Sears of ar vnosti na EF 30 yy activit e dejavnosti na EFijsk t galler e dejaijsk let galer ears of ar let galer30 30 y 30 let 30 Document Outline platnica sprednja Ekonomska obzorja likovnik podob platnica zadnja