oru / ost vnem pr ctivityAip vencije v ja ventions in Public Spaceer er e int al Int Aktiv / KipK iparskK Sculptur KipAktiv / KipActivity Kiparske intervencije v javnem prostoru / Sculptural Interventions in Public Space Uredil / Edited by Alen Ožbolt Akademija za likovno umetnost in oblikovanje, Univerza v Ljubljani / Academy of Fine Arts and Design, University of Ljubljana Ljubljana 2023 Zloženka v vaših rokah je povabilo k branju kratkih besedil The leaflet you are holding invites you to read some short in ogledu fotodokumentacije treh – študijskih/študentskih texts and look at photo-documentation of three study – projektov študentk in študentov kiparstva ALUO v javnem projects by ALUO sculpture students in the public space prostoru z naslovom KipAktiv, ki so v različnih časovnih entitled KipAktiv , which were created at various points intervalih nastajali med letoma 2018 in 2023. In seveda between 2018 and 2023. And, of course, it invites you to vabilo k razmisleku o kipu v preteklosti in danes ter o reflect on sculpture in the past and present, as well as the statusu sodobnega kiparstva pri nas. status of contemporary sculpture in Slovenia. 3 Zelo kratek uvod v A Very Brief Introduction vprašanja umetnosti v to Art in the Public Space javnem prostoru 4 V minulih stoletjih, v preteklih obdobjih je imel kip določeno In past centuries, in previous art periods, sculptures had obliko in funkcijo, kiparstvo pa različne oblike, prisotnosti a certain form and function, with the art form itself having in vloge, rabe, npr. votivno, spominsko ali komemorativno, different forms, presences, roles and applications, e.g. slavilno, didaktično, dekorativno … Te funkcije, u-po- votive, commemorative, celebratory, didactic, decorative, rabe, so že pri moderni, še bolj pa pri sodobni skulpturi z etc. These functions or applications have mostly nefiguralnostjo, avtonomnostjo, osvoboditvijo od mimezis disappeared in modern, and even more so in contemporary večinoma minile. sculpture, with its lack of the figurative, its autonomy and its liberation from mimesis. Henri Lefebvre je v znameniti knjigi The Production of Space iz leta 1974 zavrnil tradicionalni spomenik, saj je In his famous 1974 book The Production of Space , v svojem bistvu – ideološko, politično, prostorsko … – Henri Lefebvre rejected the traditional monument because represiven. Zavračal je fetišizacijo osebe ali dogodka, it is essentially repressive—ideologically, politically and spomenik kot zasedeno mesto, kot kraj moči, kot spatially. He rejected the fetishisation of the person or event, prostorsko strukturo moči ter tudi kot zaporo in oviro the monument as an occupied site, as a place or spatial življenju, gibanju in fluidnosti mesta. Vsak spomenik kot structure of power, and also as a barrier and obstacle to the spomin, opomnik, ki je vezan na preteklost – na pretekli life, movement and fluidity of the city. Every monument as dogodek, preminulo osebo, politiko ... – v bistvu zanika a memorial or reminder, linked to the past—a past event, svojo živost, aktualnost, saj je oz. naj bi bil prisoten in živel deceased person or political era—denies its vivacity, v sedanjosti. its actuality, because it is, or is supposed to be, alive in the present. Public sculpture je danes že popolnoma etabliran in široko – tudi v naših mestnih politikah – sprejet in uporabljen – ‘Public sculpture’ is now a fully established and widely uporaben – termin za heterogene umetniške prakse, ki accepted and used term (including in our urban policies) for se umeščajo zunaj galerijskih in muzejskih prostorov, v heterogeneous artistic practices that are situated outside t. i. javne prostore v mestih in lokalnih skupnostih, torej gallery and museum spaces, in so-called ‘public spaces’ t. i. public art je postala uporabna umetnost ( applied in cities and local communities—i.e. so-called ‘public art’ 1 Nekoč so bili ljudje navdušeni npr. nad piramidami – in še danes so, seveda 1 People were once fascinated by the pyramids—and still are, of course—and –, kasneje nad katedralami, h katerim so množično romali, še kasneje npr. later by the cathedrals, to which they made pilgrimages in large numbers, nad Kipom svobode (francoskega kiparja Bartholdija), potem nad Eifflovim then later still, for example, by the Statue of Liberty (by the French sculptor stolpom … Včasih so hodili gledat katedrale, danes pa občudujejo atraktivne Bartholdi) and the Eiffel Tower. They used to go to see the cathedrals, muzeje, ki so sila privlačnih oblik, spektakularni, seksi objekti fascinacije, but today they admire museums, which have awe-inspiring shapes and v prvi vrsti pa so zgradbe moči in kapitala, zasnovani in grajeni, da kažejo are spectacular, sexy objects of fascination but are first and foremost moč kapitala in moč, čudovite sposobnosti, možnosti in potentnost sodobne buildings of power and capital, designed and built to show the power of this tehnologije. Forma tu nikakor več ne sledi funkciji, ampak sledi denarju capital and the power and the the wonderful capabilities, possibilities and in spektaklu, kar je navsezadnje njihova spektakelska funkcija, vse to pa potency of modern technology. Here, form no longer follows function but omogočajo kapital in seveda tehnologija, sodobne tehnologije in sodobni money and spectacle, which is their function after all. And all this is made materiali. In enako so v funkciji spektakla v zadnjih letih nastajali tehnološko possible by capital and, of course, modern technologies and materials. prelomni spektakularni bleščeči kipi – finančno prevratniški – po velikosti Equally in the function of spectacles, some technologically ground-breaking testosteronsko nabildani kipi, npr. Kapoorjeva visoko odsevna skulptura iz and spectacular glittering sculptures have come to life in recent years— nerjavečega jekla Cloud Gate (bolj znana kot Fižol) v Chicagu ali pa pisane financially subversive and testeronically charged sculptures, e.g. Kapoor’s Koonsove skulpture. highly reflective stainless steel sculpture Cloud Gate (better known as The Bean) in Chicago, or Koons’ colourful sculptures 5 art). Na tem mestu se moramo seveda vprašati, kaj je has become ‘applied art’. At this point, of course, we have javno, še konkretneje, kaj je javna skulptura in ali je javna to ask ourselves what ‘public’ is—more specifically, what skulptura sploh še mogoča, ko je pa umetnost v javnem ‘public sculpture’ is and whether it is even possible anymore prostoru danes večinoma ugrabljena, pogosto režirana in when art in the public space today is mostly hijacked and manipulirana s strani žirij, komisij ali donatorjev, sponzorjev, often orchestrated and manipulated by juries, commissions, kapitala. donors, sponsors or capital. Pa vendar, vrnimo se na kratko v šestdeseta in But let’s go back, briefly, to the ‘60s and ‘70s. Historically, sedemdeseta leta prejšnjega stoletja. Zgodovinsko se the term ‘public art’ emerged at a moment when it was termin public art pojavi v trenutku, ko je bilo treba jasno necessary to clearly distinguish works of art that include a razločiti umetniška dela, ki kot bistven element dela specific site/location as an essential element (‘site-specific’) vključujejo specifični prostor/lokacijo (so site-specific) in from, for example, studio works of modernist sculpture that javnost, od npr. ateljejskih del modernistične skulpture, are transposed and installed in cities and parks. The idea of postavljenih v mestih in parkih. Misel »consider context as considering context as 50% of the work became extremely 50 % of the work« / »upoštevajte kontekst kot 50 % dela« je important in 20th-century modernist sculpture and it is v 20. stoletju v modernističnem kiparstvu postala izredno important to keep this in mind constantly. pomembna. Pomembno jo je premišljevati nenehno. The history of art in public spaces is a long and winding Zgodovina umetnosti v javnem prostoru je dolga in path of sculpture and its various entries, encounters with vijugasta pot kipa ter njegovih različnih vstopov, stikov z public spaces and artistic interventions and practices javnim prostorom in umetniških intervencij vanj ter praks v within it. It is a series of old misunderstandings, ever-njem. Gre za vrsto starih nesporazumov, vedno aktualnih topical discussions and questions, including conflicts in the diskusij in vprašanj, tudi konfliktov v odnosu med umetnino relationship between art and the public, and in this context, in javnostjo ter ob tem za ponovno redefinicijo umetnosti in a redefinition of art and the public and art and public space, javnosti ter umetnosti in javnega prostora, torej umetnosti i.e. art in a common space. The key concepts, forces and v skupnem prostoru. Ključni pojmi, ključne sile in ključni actors are: art/public, space/city, art institution/artist, artist/ akterji so: umetnost/javnost, prostor/mesto, umetnostna audience, public/private. institucija/umetnik, umetnik/publika, javno/zasebno. According to Lucy R. Lippard, whose famous theses date Po Lucy R. Lippard – njene znane teze so iz daljnih back to the ‘70s (!) (no longer up to date, but still referential), sedemdesetih let 20. stoletja (!), ne več aktualne, pa še we have at least ten established modes, approaches and vedno referenčne – imamo najmanj deset uveljavljenih existing forms (genres) in the art of sculpture. Despite the načinov, pristopov in obstoječih oblik – žanrov – v umetnosti fact that these art forms mostly derive from America and kiparstva. Kljub temu da so navedene umetniške oblike Europe, i.e. politically speaking the ‘developed Western večinoma iz ameriškega in evropskega, torej politično cultural milieu’ (and are outdated for that reason alone), rečeno »razvitega zahodnega kulturnega okolja« (in že they can still serve as a starting point for thinking about the zato zastarele), nam vseeno lahko služijo za izhodišče relationship of the artist and art to the public spaces—and, razmisleka o odnosih umetnika in umetnosti do javnega of course, of the public to art in different environments. prostora in seveda javnosti do umetnosti v različnih okoljih. 6 Lippard navaja (citiram prosto): Lippard lists, and I quote freely: • dela, ki so ustvarjena za konvencionalne razstave, torej • works created for conventional exhibition spaces, i.e. notranje prostore; indoor spaces. • samostojna in avtonomna umetniška dela, ki jih ne zanima • independent and autonomous works of art, unconcerned kontekst, se jih lahko enostavno prestavlja, seli; with context, which can easily be moved and relocated. • tradicionalna umetniška dela, ki so vezana na specifične • traditional artworks that are linked to specific karakteristike ali funkcije prostora, v katerem nastopajo characteristics or functions of the space in which they are oz. v katerega intervenirajo na pričakovanih, običajnih presented or in which they intervene in expected, usual krajih, kot so parki, trgi, vrtovi mest, muzejski vrtovi, places such as parks, squares, city gardens, museum spominski parki; gardens or memorial parks. • site-specific dela, ki so običajno zunaj, v zunanjem • ‘site-specific’ works, which are usually works of art prostoru postavljena umetniška dela; lahko so kolektivna located outdoors; they can be collective, as a result of a kot rezultat sodelovanja različnih subjektov, avtorjev (ne collaboration between different subjects and authors (not le kiparja oz. umetnika in arhitekta) in tudi kot rezultat only the sculptor or artist and the architect), and also the kombinacij različnih metod in pristopov. Ta dela lahko result of combinations of methods and approaches. These neposredno nagovarjajo in tudi vključujejo lokalno javnost, works can directly address and engage the local audience skupnost z neposrednimi sporočili in nameni; and the community with direct messages and intentions. • permanentne zunanje – lahko tudi notranje – postavitve z • permanent outdoor (or indoor) installations with various različnimi spominskimi in drugimi utilitarnimi funkcijami commemorative and other utilitarian functions and various in različnimi relacijami do kraja, lokalne skupnosti, do relationships to the surroundings, the local community, zgodovine, do kulturnega spomina, ki so postavljene pred history or cultural memory, placed in front of or in various različnimi javnimi zgradbami, mestnimi hišami … ali v njih; public buildings, town halls, etc. • »socialno angažirana umetnost« kot aktivna skrb za • ‘socially engaged art’ as active care for the environment, okolje, čiščenje in izboljšanje ali spremembe cleaning and improving or transforming degraded degradiranih in neizkoriščenih prostorov v javno and unused spaces into publicly usable, healthy and uporabne, zdrave, funkcionalne; functional ones. • poučne, didaktične postavitve, ki neposredno komentirajo • educational, didactic installations that directly comment pomembne javne ali lokalne vsebine skozi tradicionalne on important public or local content through traditional nagovore in nove forme, znake, signale; addresses and new forms, signs and signals. • časovno omejene – festivalske, bienalne … – postavitve, • time-limited (festival, biennial, etc.) installations or actions akcije in gibljive, mobilne intervencije; and moving/mobile interventions. • pogojno rečeno performansi kot različne individualne ali • performances in the form of individual or collective kolektivne intervencije, sporočila, komentarji na ulici, v interventions, messages or comments on the street, in javnem prostoru – npr. grafiti, plakati, nalepke, šablone, public spaces (e.g. graffiti, posters, stickers, stencils, t. i. street art … –, ki so največkrat anonimni in zunaj so-called street art) that are mostly anonymous and 7 tradicionalnih ali za to namenjenih funkcionalnih prostorov outside the traditional or designated functional spaces, ter izražajo partikularni, osebni pogled, zahtevajo expressing a particular personal view and demanding pozornost, ko komentirajo aktualne socialno-družbene attention when commenting on the current social context, razmere, okolje, prostor, čas. environment, space or time. Vse omenjeno smo sprejeli in pojmujemo – ja, tudi mestne All of the above have been accepted and understood—yes, politike so večinoma sprejele – kot relevanten in smiseln even by city politicians for the most part—as relevant and pristop ali pristope sodobnega umetniškega ustvarjanja meaningful approaches to contemporary art-making and – formiranja in delovanja v javnem prostoru. Današnjega action in the public space. Today’s sculpture is no longer kipa ne razumemo, ne moremo več razumeti le kot že and can no longer be understood as merely a familiar form znano obliko na primernem podstavku, najbolje v žlahtnem on a suitable pedestal, preferably made of a ‘noble’ material materialu – npr. kamnu ali bronu – ali zgolj kot »abstraktno (e.g. stone or bronze), or merely as the “abstract poetry of poezijo oblike volumna«, niti kot nedokazljivo in nemisljivo the form of a volume”, nor as an unprovable and unthinkable sublimno, ne več kot lekcijo o lepoti, niti zgolj kot elitistično sublime. It is also no longer a lesson in beauty or merely an trdno in trajno statusno formo za privilegirani ekonomski ali elitist, solid and permanent status form for the privileged družbeni vrh. economic or social elites. Umetnost kiparstva je danes široko ustvarjalno polje Today, the art of sculpture is a wide creative field for a za raznovrstne dogodke in prakse, ki niso le razstave variety of events and practices that are not only exhibitions in projekti v razstaviščih, ampak se umeščajo zunaj and projects featured in exhibition spaces but are also galerijskih in muzejskih prostorov, torej v javne prostore v situated outside gallery and museum spaces, in public mestih in drugih skupnostih. Lahko so tudi nematerialni, spaces in cities and other communities. They can also be lahko so časovno omejeni dogodki, enkratni performansi, immaterial, time-limited events, one-off performances or različna srečevanja, saj sodobna umetnost velikokrat various encounters, as contemporary art often denies the zanika obstoj posebnega umetniškega predmeta in tudi existence of a specific art object or a privileged artistic privilegiranega umetniškega prostora. Ustvarjanje prostora space. Creating space is also about creating or establishing je tudi ustvarjanje, oblikovanje novih načinov dialoga in new forms of dialogue and potentially new communities. potencialno novih skupnosti. AT Rog je bil npr. snovanje, For example, the Autonomous Factory Rog enabled the ustvarjanje, vzpostavljanje novih umetniških, socialnih in conception, creation and implementation of new artistic, družbenih prostorov, odnosov, srečavanj; bil je neke vrste social and societal spaces, relationships and encounters; it živa socialna skulptura v Beuysovem smislu. was a kind of living social sculpture in the Beuysian sense. 8 9 Kaj je kip danes, kje je What is a Sculpture Today, njegov prostor, kraj … What is its Place and ali za možnosti What Possibilities Does kiparstva zdaj Sculpture Offer Now? 10 Nenehni klici in vprašanja »Kaj je umetnost?« odzvanjajo, v The question “What is art?” resonates constantly. okviru naših projektov sem predlagal vprašanje: In the context of our projects, I have also proposed the »KAJ JE SKULPTURA?«, in, če parafraziram Petra Osborna, question: “WHAT IS SCULPTURE?”, and to paraphrase Peter premislek: »Kako skulptura nastaja in kje nastaja in kaj Osborne: “How is sculpture made, where is it made and what skulptura postaja in kaj skulptura postane?« does it become?” Izhodišče našega razmišljanja je bilo stališče, da je The starting point of our thinking was the view that sodobno kiparstvo pomanjkljivo, zelo borno ali celo skoraj contemporary sculpture is deficient, sparse or even nič prisotno v našem javnem prostoru (tu je mišljen seveda almost nonexistent in the Slovenian public space (here, we tudi družbeni prostor) v Sloveniji tako v idejnem smislu, also include social space, of course)—in the conceptual medijsko, na ravni recepcije kot tudi v realnem prostoru, sense, in the media and at the level of reception, as well as fizično, za kar obstajajo seveda tudi ekonomski razlogi – ni in the real space, physically, for which there are, of course, odkupov in naročil je zelo malo. economic reasons, as nobody buys the works and there are very few commissions. Strinjali smo se, da proces afirmacije kiparstva poleg ustvarjanja nujno vključuje tudi različne načine We agreed that the process of affirmation of sculpture, in komunikacije, aktivnosti in prezentacije, torej distribucije v addition to creation, necessarily involves various modes of prostoru, različnih okoljih, številnih kontekstih. communication, activity and presentation, i.e. distribution in Smo za emancipacijo kiparstva, ki je danes pri nas de facto space, different environments and numerous contexts. deficitarno, in vendar nismo za prilagajanje prevladujočemu We are in favour of the emancipation of sculpture, which is okusu; potemtakem izobraževanje (na akademiji) ne more de facto deficient in our country today, and yet we are not in biti poziv k tradiciji, redu, znanemu, priljudnosti. favour of adapting to the prevailing taste; education (at the academy) cannot be a call for tradition, order, the Ne strinjamo se z enotnim in homogenim značajem familiar or politeness. kulture in predvsem umetnosti! Kiparstvo – na akademiji ustvarjamo, delamo, se izobražujemo na tem področju, smo We do not agree with the uniform and homogeneous aktivni, v primeru KipAktiva celo aktivistični. characterisation of culture and, above all, of art! At the Academy we create, work and educate ourselves in Pri študiju kiparstva na akademiji – ta je sploh edini tovrstni the field of sculpture—we are active, even activist in the specializirani program v Sloveniji – vzpodbujamo različne case of KipAktiv. poglede, ideje, pristope, odprte načine razmišljanja in formiranja, ustvarjanja, modeliranja, oblikovanja: torej In the study of sculpture at the Academy, the only odprt, nedokončan položaj kiparstva ter razširjen in odprt specialised programme of its kind in Slovenia, we encourage status kipa. Ne omejujemo njegove idejne, materialne in different views, ideas, approaches and open ways of prostorske oblike niti njegovega prostora in vrednosti. thinking and forming, creating, modelling and designing: that is, the open, unfinished conception of sculpture and the Proces afirmacije kiparstva – kot že rečeno – poleg expanded and open status of the sculpture itself. We do not ustvarjanja nujno vključuje tudi različne AKCIJE, če limit its conceptual, material and spatial form, nor its space ponovim: tudi nove načine komunikacije, aktivnosti in and value. 11 prezentacije, distribucije v prostoru, v različnih okoljih, As stated earlier, in addition to creation, the affirmation v različnih družbenih prostorih. Smo za emancipacijo of sculpture necessarily involves various ACTIONS and kiparstva, ki je danes pri nas de facto deficitarno, vendar new ways of communication, activity, presentation nismo za prilagajanje prevladujočemu okusu in ne and distribution in space, in different environments izobraževanje na našem programu niti emancipacija nista and in different social spaces. If we are in favour of the poziv k tradiciji, redu, znanemu, priljudnosti. emancipation of sculpture, which is de facto deficient in our country today, we are not in favour of adapting to Danes gledamo in vidimo, kako hitro se uniformira, enoti, the prevailing taste, and neither our education nor our homogenizira … torej globalizira svet. Specifike in razlike emancipation can be a call for tradition, order, the familiar izginjajo zelo hitro, vedno hitreje. Vendar se ne strinjam/o or politeness. z enotnim in homogenim značajem kulture in predvsem umetnosti. Kiparstvo – če smo torej do njega afirmativni Today, we are witnessing how rapidly the world is being – moramo zastaviti živo, odprto, kritično do preteklosti uniformed, homogenised and standardised, i.e. globalised. in do sedanjosti, hkrati pa brez vsebinskih, vrednostnih, Specificities and differences are disappearing ever faster. estetskih, utilitarnih ali tradicionalnih norm, omejitev We do not agree with the uniform and homogeneous in klišejev ter seveda tudi brez tehničnih, materialnih character of culture and, above all, of art! At the Academy ali medijskih določil in omejitev, npr. kaj je to kiparski we create, work and educate ourselves in the field of material ali kiparsko orodje. Vendar je omenjeno – zaradi sculpture—we are active, even activist in the case of naših omejenih prostorskih, materialnih in tehničnih KipAktiv —and we conceive of the field as alive, open and možnosti – zahtevno in težko. Pa vendar, na študiju critical of the past and the present. At the same time, it kiparstva vzpodbujamo različne ideje, odprte načine is without contentual, monetary, aesthetic, utilitarian or formiranja, ustvarjanja, oblikovanja. Odprt, nedokončan traditional norms, limitations and clichés, and of course položaj kiparstva ter razširjen in odprt status kipa. Zato ne free from technical, material or media determinations omejujemo njegove idejne, materialne in prostorske oblike and limitations, e.g. what can be sculptural material or a niti njegovega prostora in vrednosti. sculptural tool. However, this is challenging due to our spatial, material and technical limitations. And yet, in the Pogovarjali smo se, kaj bomo storili. Bomo sploh kaj? study of sculpture, we encourage different ideas and Ali imamo glas? Ali imamo moč? Zavzemimo pozicije, open ways of forming, creating and designing. The open, zavzemimo mesto! Močnejši smo kot skupina, kot kolektiv, unfinished position of sculpture and the expanded and open saj ne le ena, različne taktike in prostorske strategije status of the sculpture itself. We do not limit its conceptual, pripadajo skupini. Npr. zasedba prostora, njegova krajša material and spatial form, nor its space and value. ali daljša okupacija. Kasneje naselitev tega prostora. Potem ustvarjanje in produkcija novega prostora na starem We talked about what we are going to do. Are we going to prostoru. In v umetnosti, kiparstvu ustvarjanje številnih do anything? Do we have a voice? Do we have the power? prostorov; v kolektivnem smislu bo to lažje oz. močneje. Should we take positions and occupy the city!? We are stronger as a group, as a collective, because a group has not only one but multiple tactics and spatial strategies. E.g.: occupying a place, occupying it for a shorter or longer period of time. Later settling in that place. Then creating and 12 producing a new space in the same location. And creating many spaces employing art and sculpture. In a collective sense, it will be easier and more powerful. 13 Kip, večni selfie / 14 Statue, forever selfie KipAktiv Intervencije študentov kiparstva v javni prostor / 3. letnik dodiplomskega študija / Oddelek za kiparstvo UL ALUO www.uni-lj.si/kultura Križanka Kiparstvo ni mrtvo / Crossword Sculpture is not dead 15 Intervencije so invencije, Interventions are konstrukcije so lahko Inventions and rekonstrukcije kiparskega Constructions in družbenega prostora Can be Reconstructions of Sculptural and Social Space 16 Ko sem leta 2009 na akademiji s študenti predbolonjskega In 2009, when I first devised a group project (educational 4. letnika kiparstva prvič snoval skupinski (izobraževalni and exhibition) for the international Transform exhibition in razstavni) projekt za mednarodno razstavo Transform (Istanbul, 2009) at the Academy with 4th-year students (Carigrad, 2009), sem, kot običajno, na začetku leta in the pre-Bologna sculpture study programme, at the zastavil vprašanja: »Kaj je umetnost?«, »Kaj je kip?«, beginning of the year I asked the usual questions “What is »Kaj je kiparstvo danes?« ter v diskusijo kot provokacijo art?”, “What is a sculpture?”, “What is sculpture nowadays?”, ponudil enega od številnih možnih odgovorov; citiral sem and during the discussion, as a provocation, I offered one of pesnika Vladimirja Vladimiroviča Majakovskega: »Umetnost the many possible answers and I quoted the poet Vladimir ni zrcalo, v katerem bi se svet odseval, temveč kladivo, s Vladimirovich Mayakovsky: “Art is not a mirror to hold up to katerim ga oblikujemo.« V odgovor sem dobil raznovrstne society, but a hammer with which to shape it.” In response, reakcije, tudi zelo neposredne odzive, npr.: »I don’t want I got all sorts of reactions, including very direct responses, to name this thing!« ali »Art is a flower that shapes the such as: “I don’t want to name this thing!” or “Art is a flower world.« ali enigmatične, meglene, abstraktne komentarje that shapes the world.” or enigmatic, vague and abstract in tudi komentar v molku, obrnjen vstran. comments, as well as silent averted gazes. Drugi sodelovalni – skupinski, imenovali smo ga In the second group project, a collective project entitled kolektivni projekt, naslovljen Čakajoči, je bil na odprtem, Waiting took place in an open, public space in front of javnem prostoru pred Hišo Evropske unije (natančneje, the House of the European Union (more precisely, the Informacijsko pisarno Evropskega parlamenta za Information Office of the European Parliament for Slovenia) Slovenijo) v Ljubljani v maju 2010. Tematiziral je migracije, in Ljubljana in May 2010. It dealt with the issue of migration, izgnanstvo, čakajoče na prehod, vstop, opozarjal na meje, exile and those waiting to cross and enter, drawing attention omejevanje prehoda. Meje so simbolne, kulturne, politične to borders and the restriction of passage. Borders are in so tudi konkretne, fizične in birokratske, meje so iz symbolic, cultural, political, and also concrete, physical and papirja, pečatov, dovolilnic, ne le betonske, železne. bureaucratic. Borders can also be made of paper, seals and permits, not just iron and concrete. 2 V tistem letniku so bili trije študenti/ke iz tujine, zato so bila vprašanja in 2 There were three international students in that year, so the questions and odgovori v angleščini. answers were in English. 3 Kratek citat iz zloženke ob razstavi, postavitvi na odprtem, z naslovom 3 A short quote from the leaflet accompanying the exhibition, an open-air Čakajoči: installation entitled Waiting: Pristop > KOLEKTIVEN. Sodelovanje in dialog skupine – povezovanje: Approach > COLLECTIVE. Group cooperation and dialogue—networking: SKUPINSKA / KOLEKTIVNA USTVARJALNOST / SKUPINSKA KREATIVNOST GROUP / COLLECTIVE CREATIVITY > Družba je skupina, družba je kolektiv, družba je mreža. Koliko ljudi > Society is a group, society is a collective, society is a network. How many sestavlja družbo? In koliko držav sestavlja skupnost? Npr. EU je zveza več people make up a society? And how many countries make up a community? držav, več pokrajin, več narodov, več manjšin, še več skupin, še mnogo E.g. the EU is a union of several countries, several provinces, several več posameznikov …, različnih vidnih in tudi nevidnih subjektov. EU je novi nations, several minorities, numerous groups and individuals, a whole range družbeni, ne le ekonomski in politični prostor. of visible and invisible entities. The EU is a new social space, not just an > Odnosi so različni in številni: državljan in politika, delavec in ekonomija, economic and political space. posameznik in množica, posameznik in posameznik. > Relationships are many and varied: citizen and politics, worker and the Kolektivno > Vsako dobro družbeno delo je skupinsko, združevalno, ZZ economy, individual and community, individual and individual. (Holmes). Kolektivno telo. Večglavo telo, večročno telo, večtelesno telo. Collective > All good social work is collective, unifying and collaborative (Holmes). A collective body. A multi-headed body, multi-handed body, multi-bodied body. 17 Transform (situacija/menjava/kreacija), 2009 Transform (situation / exchange / creation), 2009 Kolaž, digitalni tisk Collage, digital print Kolektivno delo, avtorji študentke in študentje 4. letnika kiparstva: Katja Collective work by students of the 4th year of the Sculpture study Bogataj, Polona Černe, Neža Jurman, Ana Kerin, Miha Makovec, Niklas programme: Katja Bogataj, Polona Černe, Neža Jurman, Ana Kerin, Miha Pedersen, Barbara Pintar, Helene Schoissengeyr, Lan Seušek, Signe Winkler in Makovec, Niklas Pedersen, Barbara Pintar, Helene Schoissengeyr, Lan Seušek, Alen Ožbolt Signe Winkler and Alen Ožbolt 18 KipAktiv I. je bil ponovno skupni, kolektivni, sodelujoči KipAktiv I was again a joint, collective and collaborative … projekt študentk in študentov 3. letnika kiparstva project of 3rd-year Sculpture students (the academic year (študijsko leto 2018/19) Akademije za likovno umetnost of 2018/19) at the Academy of Fine Arts and Design in in oblikovanje v Ljubljani, v okviru katerega smo postavili Ljubljana, in which we placed 24 sculptural interventions 24 kiparskih intervencij na plakatna mesta 17 lokacij on posters at 17 locations around Ljubljana (in collaboration v Ljubljani (v sodelovanju s TAM-TAM), druga edicija, with TAM-TAM). In the second edition, KipAktiv II (the KipAktiv II. (študijsko leto 2021/22), je bila tudi skupni, academic year of 2021/22) was also a joint, collective and kolektivni, sodelujoči projekt študentk podiplomskega collaborative project of female postgraduate Sculpture študija kiparstva na desetih lokacijah. Tretjič (študijsko students at 10 locations. In the third edition (the academic leto 2022/23) pa smo vstopili v umetnostno institucijo, v year of 2022/23), we entered an art institution and Moderno galerijo, in posegli v obstoječo muzejsko zbirko intervened in an existing collection of modern art at the moderne umetnosti. Kot so zapisale študentke in študent Museum of Modern Art. As the students of the last KipAktiv zadnjega KipAktiva: »Kot v prejšnjih letih delovanja wrote: “As in the previous years of KipAktiv , the aim of this KipAktiva je tudi letos cilj tega umetniškega projekta art project is to bring sculpture closer to people and to kiparstvo približati ljudem ter ga umestiti v javni prostor. place it in the public space. We also wanted to invite people Poleg tega smo ljudi želeli povabiti k razmisleku o tem, to think about what sculpture can be. We have intervened kaj vse je lahko kiparstvo. V prostor Moderne galerije smo in the space of the Museum of Modern Art with minimal, posegli z minimalnimi, občutljivimi potezami, gestami – delicate gestures (interventions) both outside and inside the intervencijami, ki so tako zunaj kot znotraj stavbe, med deli building, among the works of the permanent collection.” This stalne zbirke«. Šlo je za duhovit in izviren dialog bodočih was a witty and original dialogue of future or young artists oz. mladih umetnic in mladega umetnika z renomiranimi, with renowned classic and historical works by Slovenian klasičnimi, zgodovinskimi deli slovenskega modernizma, modernists, especially in the medium of sculpture. posebej v mediju skulpture. More: “We wanted to be visible and/or loud and to draw In še: »Želeli smo biti vidni in/ali glasni in opozoriti« – tudi attention.” With this leaflet as well, we draw attention to s to tiskovino – na pomanjkanje sodobnega kiparstva v the lack of contemporary sculpture in the public space, but javnem prostoru, in hkrati na to, kaj kip sploh je – da variira also remind people what a sculpture is, that it varies in its v mediju, obliki in temi ter da so vse legitimne, da kanon medium, form and subject matter, and that all sculptures ne obstaja. Intervencije so bile postavljene na plakatnih are legitimate, that there is no canon. The interventions površinah, kot reliefni podaljški v prostor, s katerimi smo were placed on poster surfaces, as relief extensions into dejstvo, da živimo v dobi onesnaževanja s podobo postavili the space, questioning the fact that we live in an age pod vprašaj, hkrati pa pokazali, da se reklame za oblačila of image pollution, while at the same time showing that in hrano lahko nadomesti z avtorskimi projekti umetnikov. clothing and food advertisements can be replaced by artistic Naša gesta je bila, da v »hitro, instant, plehko, ploščato« projects. Our gesture aimed to add some thickness to the itd. medijsko pokrajino umestimo nekaj debeline. fast, instant, shallow, flat etc. media landscape. Because a Namreč, kip ima vedno neko debelino, gre za vprašanje sculpture always has a thickness —it’s a question of space prostora in vprašanje debeline; debelina kot nastavek. and a question of thickness. Thickness as a foundation. Debelina spodaj – zgoraj – spredaj – zadaj – nad in pod. Thickness on the bottom/top, front/back, above/below. Zakaj je zanimivo in zakaj je treba poudariti, da ima oblika Why is it interesting and why is it important to point out 19 Čakajoči, 2010 Železo, juta, žagovina, pesek Avtorice, avtorji: študentje 4. letnika kiparstva (Katja Bogataj, Pavel Ekrias, Ana Kerin, Polona Černe, Lan Seušek, Barbara Pintar, Neža Jurman, Miha Makovec), Mentor Alen Ožbolt Postavitev pred pisarno Evropskega parlamenta v Ljubljani, 2010 Foto: arhiv A. O. Waiting, 2010 Iron, jute, sawdust, sand Authors: 4th-year Sculpture students (Katja Bogataj, Pavel Ekrias, Ana Kerin, Polona Černe, Lan Seušek, Barbara Pintar, Neža Jurman, Miha Makovec), Mentor Alen Ožbolt, Installation at the Office of the EU Parliament in Ljubljana, 2010, 20 Photo: A. O. archive 21 debelino in tri dimenzije? Obstaja namreč notranjščina that form has thickness and three dimensions? There is oblike – neki znotraj –, kar površina oblike skriva; tisto, kar an interiority of form, something within that the surface vidimo, namreč nekaj tudi skriva. Obstajata tudi zadaj – neki hides; what we see hides something as well. There is also zadaj – in spodaj oblike. Pogled na materialno obliko je torej something behind a form and something below it. The view vedno delen in nepopoln. of the material form is always partial and incomplete. Pri KipAktivu, po našem mnenju pomembnem razstavnem At KipAktiv , which we consider an important exhibition projektu v javnem prostoru, iščemo, ustvarjamo in project in the public space, we are searching for, creating tudi dajemo obliko in prostor kipu, kiparstvu ter hkrati and giving form and space to a sculpture, as well as neposredno, v živo nagovarjamo širšo javnost. addressing the general public live and directly. What we are Kar predlagamo, je, da zasedemo več možnosti od tistih, ki suggesting is that there are more options out there than are so nam ponujene. offered to us. Mentor projektov Alen Ožbolt Project Mentor Alen Ožbolt 22 4 Razen ko je ideja, beseda Carel Andre ali svetloba. 4 Except when it’s an idea, a word, Carel Andre or light. 24 Čakajoči, 2010 Železo, juta, žagovina, pesek Waiting, 2010 Avtorice, avtorji: študentje 4. letnika kiparstva (Katja Bogataj, Pavel Ekrias, Iron, jute, sawdust, sand Ana Kerin, Polona Černe, Lan Seušek, Barbara Pintar, Neža Jurman, Miha Authors: 4th-year Sculpture students (Katja Bogataj, Pavel Ekrias, Ana Kerin, Makovec), Polona Černe, Lan Seušek, Barbara Pintar, Neža Jurman, Miha Makovec), Mentor Alen Ožbolt Mentor Alen Ožbolt, Postavitev pred Muzejem premoderne umetnosti, Spodnji Hotič, 2011 Installation at the Museum of Too-Modern Art, Spodnji Hotič, 2011, Foto: Mija Polesnik Photo: Mija Polesnik 25 KipAktiv I. Intervencije v javnem prostoru / Interventions in Public Space AGITPROP projekt / project : KipAktiviti / SculptAktivat 9.–19. 11. 2018 17 lokacij / 17 locations 27 Avtorice in avtor / Authors: Urša Barle Maja Bojanić Gianna Buršić Petra Leskovar Grum Sander van Mechelen študentje_ke 3. letnika 1. stopnje Kiparstva / 3ʳᵈ year students of BA Sculpture Tehnična podpora / Technical support: Tomaž Furlan Tehnična podpora pri oblikovanju plakatov / Technical support for poster design: Sara Sešlar Naraks 29 Dodiplomski študenti 3. letnika oddelka za kiparstvo smo v 3rd year undergraduate students of the Department of sodelovanju s Svetom za umetnost in družbo Sculpture, in collaboration with the Arts Council and the TAM-TAM na mestnih plakatih izvedli kiparske intervencije company TAM-TAM City Posters, carried out sculptural na 17 lokacijah po ljubljanskih ulicah. Dinamičen in sproti interventions on city posters at 17 locations on the streets of razvijajoč se projekt je v javnem prostoru iskal, ustvarjal ter Ljubljana. This dynamic and evolving project sought, created dajal obliko in prostor kipu in kiparstvu. S tem je poskušal and gave form and space to sculpture in the public space. ozaveščati o sodobnem kiparstvu in njegovi odsotnosti v Thereby, the project was aimed at raising awareness of našem javnem prostoru. contemporary sculpture and its absence in our public space. Urša Barle, Maja Bojanić, Gianna Buršić, Urša Barle, Maja Bojanić, Gianna Buršić, Petra Leskovar Grum, Sander van Mechelen Petra Leskovar Grum, Sander van Mechelen 31 Everyday we are looking at flat posters, screens; either of our TVs, computers, smarthphones..That’s why this project is so special; it gives people something different, that isn’t „flat“. Something real. 32 Ulica Josipine Turnograjske / Street of Josipina Turnograjska 33 34 Štepanjsko naselje / Štepanjsko naselje Neighbourhood Podhod Celovška cesta / Celovška Street Underpass 35 Bežigrad, križišče Linhartove in Železne ceste / Bežigrad District, junction of Linhart and Železna Street 36 37 38 Železniška postaja / Train Station Ajdovščina / Ajdovščina Square 39 40 Bohoričeva ulica / Bohorič Street 41 Podhod Dunajska cesta / Dunajska Street Underpass 42 43 BTC nakupovalno središče / BTC Shopping Mall 44 Resljeva ulica / Resljeva Street 45 Glavna avtobusna postaja / Main Bus Station 46 47 48 Gosposvetska cesta / Gosposvetska Street 49 Plava laguna / 50 Blue Lagoon complex KipAktiv II. Intervencije študentk kiparstva v javni prostor / Interventions of Sculpture Students in Public Space 20. 5.–2. 6. 2022 10 lokacij / 10 locations 53 Avtorice / Authors: Kaja Horvat Špela Šedivy Tena Palijan študentke 1. letnika 2. stopnje Kiparstva / 1ˢᵗ year students of MA Sculpture 55 Bistvo KipAktiva je približati kiparstvo ljudem, ga vnesti KipAktiv’s mission is to bring sculpture closer to people, to v njihov vsakdan, v javni prostor. Hkrati gre za promocijo bring it into their everyday lives and into the public space. kiparstva in seveda študijskega programa kiparstva na At the same time, it is about promoting sculpture in general Akademiji za likovno umetnost in oblikovanje. and, of course, the sculpture study programme at the Academy of Fine Arts and Design. Naša ideja je bila, da se (zaradi različnih pristopov in idej) slogovno/vsebinsko ne omejujemo in ne iščemo Our idea was not to limit ourselves (due to different Our skupne teme. Kipu, instalacijam smo želele poudariti idea was not to limit ourselves (due to different approaches trodimenzionalnost in jih ograditi od šuma barv, eksplozij and ideas) in terms of style/content and not to look for informacij, napisov in podobnega s tem, da smo jim odvzele a common theme. We wanted to emphasise the three-vse razen same oblike. Zato so vsi plakati popolnoma beli dimensional nature of the sculpture, the installations, and (razen sivin, senc ...). S tem smo jih povezale v celoto in to set them apart from the noise of colours, explosions of hkrati ločile od drugih – naša rdeča nit je torej bela! information, inscriptions and the like by stripping them of everything but the form itself. That’s why all the ‘posters’ are Bela barva je tista, pri kateri se 3D oblika zelo lepo vidi, completely white (except for greys, shadows, etc.). This ties na njej so zelo izrazite sence ... Tretja dimenzija, globina, them together and, at the same time, sets them apart from prostor – vse to dojemamo kot bistvo kiparstva. Hkrati je the others—so our common theme is white! odločitev za odvzem barve temeljila na ideji, da belina/ monokrom naših intervencij bolj pritegne mimoidoče. With white, you can see the 3D shape very well, as it has Praznina/belina je v množici pisanih plakatov/oglasov/ pronounced shadows. The third dimension, the depth, the ekranov opažena že zaradi tega odstopanja, drugačnosti. space—all these are perceived as the essence of sculpture. Ljudje so na različnih koncih Ljubljane opazili zelo različne At the same time, the decision to not use colours was bele intervencije in so jih na tak način lahko tudi povezali based on the idea that the whiteness/monochrome of our oz. jih zaznali kot isti projekt. interventions would make them even more appealing to passers-by. The void/whiteness is clearly noticeable among Plakatne površine TAM-TAM mestnih plakatov smo torej the countless colourful posters/advertisements/screens spremenile v različne kiparske intervencije. Izbrale smo simply due to this deviation, this distinctness. People noticed 10 lokacij po Ljubljani, zasedle pa 12 plakatnih površin. the various white interventions in different parts of Ljubljana Pri projektu leta 2022 smo sodelovale tri študentke druge and were thus able to connect them or perceive them as stopnje Kiparstva pod mentorstvom prof. Alena Ožbolta. part of the same project. Nismo vedele, v kaj se spuščamo. Vedele smo le, da imamo svobodne roke, celotno produkcijo pa smo izpeljale same in So we transformed the poster surfaces of TAM-TAM city s pomočjo mentorja, kar poleg umetniškega dela vključuje posters into various sculptural interventions. We selected 10 tudi finance in birokracijo, promocijo, nabavo, organizacijo, locations in Ljubljana and occupied 12 poster surfaces. nameščanje ipd. Po končanem sestankovanju, dogovarjanju The 2022 project involved three second-cycle sculpture in načrtovanju sta nam za realizacijo projekta ostala students under the mentorship of prof. Alen Ožbolt. približno dva meseca. Mogoče se to zdi veliko časa, We didn’t know what we were getting into. We only knew vendar smo v ekipi bile tri, pred nami pa veliko dela – that we had total freedom and we undertook the entire narediti instalacije na 10 plakatnih površinah, v istem production ourselves with the help of the mentor, which 57 času pa pripravljati promocijo projekta in opravljati druge includes not only the artistic work, but also the finances študijske obveznosti. and bureaucracy, promotion, procurement, organisation, installation, etc. After all the meetings, arrangements and Tedni so tekli hitro. Včasih nas je zajel dvom in pomislile planning, we had about 2 months left to realise the project. smo, da smo si mogoče zadale preveč dela in da ne bomo This may seem like a lot of time, but there were three of us uspele vsega izpeljati. Delo smo doživljale zelo emotivno, in the team and we had a lot of work ahead of us—creating od entuziazma in utrujenosti do panike pred rokom, ampak 10 installations and working on the promotion of the project, to, kar nas je vodilo in povezovalo, je bila želja po delu alongside other study-related obligations. in medsebojno razumevanje. Kadarkoli je bila katera od nas slabe volje, sta jo drugi dve podprli s spodbudnimi The weeks just flew by. Sometimes we would start doubting besedami in zaupanjem v dober iztek. In tako je bilo. ourselves and we thought that we had put too much on Med sabo smo se spodbujale in podpirale ter na koncu res our plate and wouldn’t be able to do it all. We experienced izpeljale vse! many emotions, from enthusiasm and fatigue to panic as the deadline neared, but what drove us and kept us together Zaključimo lahko, da je bilo delo na tem projektu ena naših was the desire to work and mutual understanding. najboljših izkušenj. Naučile smo se, kako izpeljati projekt Whenever one of us was in a bad mood, the other two would v celoti in kako izjemno pomembno je imeti dobro ekipo, s come to the rescue; they would reassure that everything katero delaš. To doživetje nam je obogatilo duha in utrdilo was OK and that we would sort it out somehow. And so it vseživljenjska prijateljstva. was. We encouraged and supported each other, and in the end we really pulled it off! Kaja Horvat, Tena Palijan, Špela Šedivy Looking back, working on this project has been one of the best experiences we have had so far. We learnt how to carry out a project in its entirety and how important it is to have a good team of people to work with. This experience enriched our spirit and strengthened lifelong friendships. Kaja Horvat, Tena Palijan, Špela Šedivy 58 59 60 Kolodvorska ulica, Maistrov park / Kolodvor Street, Rudolf Maister Park 61 Železna cesta / Železna Street 62 63 64 65 66 Masarykova cesta / Masaryk Street 67 68 Erjavčeva ulica / Erjavec Street 69 Šiška, Trg prekomorskih brigad / Šiška district, Prekomorske brigade Square 70 71 72 73 Celovška cesta / Celovec Street 74 75 76 Trg mladinskih delovnih brigad / Mladinske delovne brigade Square 77 78 Kongresni trg / Congress Square 79 BTC nakupovalno središče / BTC Shopping Mall 80 81 KipAktiv III KipAktiv / Intervencije študentov_k kiparstva v muzejski prostor / KipAktiv / Interventions of Sculpture Students in Museum Space 2.–11. 6. 2023 Moderna galerija / Museum of Modern Art 83 Avtorice in avtor / Authors: Millie Case Daniel Dominguez Romero Daša Grum Sibila Leskovec študentje_ke 3. letnika 1. stopnje Kiparstva / 3ʳᵈ year students of BA Sculpture 85 Tudi letos – tako kot v prejšnjih letih delovanja KipAktiva – je As in previous years of KipAktiv , the aim of this art project bil cilj tega umetniškega projekta kiparstvo približati ljudem is to bring sculpture closer to people and to integrate it into in ga vključiti v njihovo vsakdanje življenje. Poleg tega smo their everyday lives. We also wanted to invite people to think želeli ljudi povabiti k razmisleku, kaj vse je lahko kiparstvo. about what sculpture can be. We intervened in the space of V prostor Moderne galerije smo posegli z intervencijami, the Museum of Modern Art, both outside and inside among postavljenimi tako zunaj galerije kot znotraj, med deli stalne the permanent collection. zbirke. Four sculpture students from the Academy of Fine Arts and Pri projektu smo sodelovali štirje študenti kiparstva Design of Ljubljana are taking part in the project, under Akademije za likovno umetnost in oblikovanje pod the mentorship of prof. Alen Ožbolt. Each of the students mentorstvom prof. Alena Ožbolta. Vsak je po svoje intervened in the gallery space in their own way, showing interveniral v prostor galerije, s čimer smo pokazali, kako how diverse art can be. raznolika je lahko umetnost. Millie Case, Daniel Dominguez Romero, Daša Grum, Millie Case, Daniel Dominguez Romero, Daša Grum, Sibila Leskovec Sibila Leskovec 87 88 89 KIPAK T IV III. Kot v prejšnjih letih delovanja KipAktiva, As in previous years of KipAktiv’s je tudi letos cilj tega umetniškega projekta operation, this year’s goal of this art kiparstvo približati ljudem ter ga umestiti v project is to bring sculpture closer to the javni prostor. people and is to bring sculpture closer to people and place it in a public space. Poleg tega smo ljudi želeli povabiti k razmisleku o tem kaj vse je lahko In addition, we want to invite people to kiparstvo. V prostor Moderne galerije smo consider what sculpture can posegli z intervencijami, ki se nahajajo tako be. We made multiple interventions in the space of the Modern Gallery with works that zunaj, kot znotraj med deli stalne zbirke. are located both outside and inside, integrated with the pieces of the Na projektu sodelujemo tri študentke in permanent collection. en študent kiparstva Akademije za likovno umetnost in oblikovanje Univerze v Three female and one male sculpture Ljubljani. Vsak je pri projektu po svoje student of the Academy of Fine Arts and interveniral v prostor galerije in s tem smo Design of the University of Ljubljana are pokazali kako raznolika je lahko umetnost. participating in this project. In this project, each student intervened in the gallery space in their own way, and with this we hope to show how diverse art can be. 91 93 94 95 96 97 KIPAK T IV III. Kot v prejšnjih letih delovanja KipAktiva, As in previous years of KipAktiv’s je tudi letos cilj tega umetniškega projekta operation, this year’s goal of this art kiparstvo približati ljudem ter ga umestiti v project is to bring sculpture closer to the javni prostor. people and is to bring sculpture closer to people and place it in a public space. Poleg tega smo ljudi želeli povabiti k razmisleku o tem kaj vse je lahko In addition, we want to invite people to kiparstvo. V prostor Moderne galerije smo consider what sculpture can posegli z intervencijami, ki se nahajajo tako be. We made multiple interventions in the space of the Modern Gallery with works that zunaj, kot znotraj med deli stalne zbirke. are located both outside and inside, integrated with the pieces of the Na projektu sodelujemo tri študentke in permanent collection. en študent kiparstva Akademije za likovno umetnost in oblikovanje Univerze v Three female and one male sculpture Ljubljani. Vsak je pri projektu po svoje student of the Academy of Fine Arts and interveniral v prostor galerije in s tem smo Design of the University of Ljubljana are pokazali kako raznolika je lahko umetnost. participating in this project. In this project, each student intervened in the gallery space in their own way, and with this we hope to show how diverse art can be. 98 99 KIPAK T IV III. Kot v prejšnjih letih delovanja KipAktiva, As in previous years of KipAktiv’s je tudi letos cilj tega umetniškega projekta operation, this year’s goal of this art kiparstvo približati ljudem ter ga umestiti v project is to bring sculpture closer to the javni prostor. people and is to bring sculpture closer to people and place it in a public space. Poleg tega smo ljudi želeli povabiti k razmisleku o tem kaj vse je lahko In addition, we want to invite people to kiparstvo. V prostor Moderne galerije smo consider what sculpture can posegli z intervencijami, ki se nahajajo tako be. We made multiple interventions in the space of the Modern Gallery with works that zunaj, kot znotraj med deli stalne zbirke. are located both outside and inside, integrated with the pieces of the Na projektu sodelujemo tri študentke in permanent collection. en študent kiparstva Akademije za likovno umetnost in oblikovanje Univerze v Three female and one male sculpture Ljubljani. Vsak je pri projektu po svoje student of the Academy of Fine Arts and interveniral v prostor galerije in s tem smo Design of the University of Ljubljana are pokazali kako raznolika je lahko umetnost. participating in this project. In this project, each student intervened in the gallery space in their own way, and with this we hope to show how diverse art can be. 100 101 102 103 104 105 106 107 108 KipAktiv / KipActivity Kiparske intervencije v javnem prostoru / Sculptural Interventions in Public Space Uredil / Edited by: Alen Ožbolt Založila in izdala / Published and issued by: Akademija za likovno umetnost in oblikovanje, Univerza v Ljubljani / Academy of Fine Arts and Design, University of Ljubljana Zanjo / For the Academy: Alen Ožbolt, dekan / dean Oddelek za kiparstvo / Department of Sculpture, UL ALUO Oblikovala / Design: Zala Križ Fotografije / Photos: Miha Benedičič, Tim Topić, študentke in študenti, avtorji projektov / Students, authors of projects Prevod in jezikovni pregled / Translation and proofreading: Soglasnik Ljubljana 2023 Nastalo v sodelovanju s Svetom za umetnost UL / Produced in cooperation with UL Arts Council. Kataložni zapis o publikaciji (CIP) pripravili v Narodni univerzitetni knjižnici v Ljubljani E-knjiga: COBISS.SI-ID 183546115 ISBN 978-961-7009-28-6 (PDF) https://www.aluo.uni-lj.si/zaloznistvo/kipaktiv/ www.uni-lj.si/kultura 111