Shop of Emptiness

2. 2.-25. 3. 2018


"When Robert Rauschenberg exhibited his blank canvases, Barnett Newman remarked to him that he should have achieved that through colour. Hadžifejzović is aware that leaving a space empty is not enough to evoke emptiness. He is interested in emptiness within borders, he is interested in forms of emptiness. These are never just forms, but always bearers of a wide variety of content, often very personal, often also very political." -- Miklavž Komelj

Jusuf Hadžifejzović – one of the most renowned Bosnian-Herzegovinian artists and one of the most provocative artists of the middle generation from the Balkans – has put on show his new artistic oeuvre, which he created on his residency in Celje. He has continuously maintained his practice of pursuing, collecting and selling emptiness, extending and expanding it thoughtfully into a new space. The fact that he created nearly all of his works during the residence, brought them here to finish, or combined them with the products that had recently accompanied him on his way, is no coincidence. This is part of the art concept that merges with the artist's life practice. These are observation and fascination over seemingly identical phenomena, formally set objects with the same shell, but a different possibility of content and mutual relations. Through association with the post-avant-garde artistic, performative and conceptual practices, the concept indicates a way of living and creating that is inseparable. At the exhibition, we enter the shop of emptiness and the shop of emptinesses. Present everywhere is the nothing that pervades the essence of the idea itself, the image of the image, and at the same time the constantly re-awoken discourse on contemporary art, which frequently becomes his trademark: What is actually the work of art here? Is that the set form? Is that the idea, the exhibition as a whole, the artist himself, his "signature" or the separate sum of the related elements that form the message?

With a kind of Beuys-like legacy from the Düsseldorf school, Hadžifejzović set off on a long artistic journey and is walking along those margins that consider art through a new life of seemingly dead objects or already known historical concepts. Persistently, with an almost incomprehensible verve, the artist collects either art objects or objects from everyday life, searches for new value systems in them, and bestows the status of a work of art upon them. As ready-mades and assemblages, he transforms them into art and gallery presentations, which the artist calls "depotgraphy"1. The term in the artist's case means writing with objects liberated from depots, either someone else's or his own. From the plethora of objects of various functions taken from different contexts of life, the artist has shrunk his collecting over a good decade to packaging, which he began to accumulate when he first returned to Sarajevo from Antwerp after the war in 2002. This is when he noticed how consumer products, their shape, their names, and their power are changing. The way in which emptiness gapes out of them. Collecting things and packaging of a certain time and environment transformed into collecting of consumed things that had once served the artist. With his gallery placements, he exposes everyday objects with indirect reference to the ideas of the most famous works of the 20th century art – from the cans of Piero Manzoni to Warhol's Campbell soups and still-life images of Giorgio Morandi, even the "items" of the conceptual OHO group. But with a different purpose. If the OHO group is all about a Reistic elevation of the "thing" itself outside the artist's privileged tendency, then what is at stake in the case of Hadžifejzović is the artist's personal and intellectual property, a consideration of things that used to be serialised before they became personal, then worthless, and then again filled with artistic form and as far as museum diction. The "depotgraphically" arranged items, artworks and art objects, therefore, create a museum of interpreted emptinesses. The packages are arranged like in a shop, they are for sale – at the original price of the former product or at the price determined by the artist. In the paintings from cardboard packaging used for batches of foodstuffs, the imprints on the packaging that took place during transportation from manufacturer to consumer, have been marked and coloured. The little holes are the elements here and there that are determined by a rhythm of hand-coloured dots, which are implicitly reminiscent of Damian Hirst's paintings, except that the artist's contemplation of painting takes place on recycled material, and the works come close to analytical painting in their various rhythms and colour schemes. According to the same artistic principle, objects that preserve their original form are addressed besides the paintings. Plaster casts of plastic bottles, boxes and tetra packs are the negative, frozen forms of packaging, archaeological documentation of the content of the nothingness of its shell, which has been condemned to transience and has now been transformed into museum eternity. The artist's series appear as the series of his recent personal chronicles on the one hand, and remind us of a historical overview of the artistic, conceptual and other visual practices within contemporary art, on the other. Further on from Hadžifejzović's performative auctions with signed packaging, the artist's art depot-bio-graphy is on sale at the Celje exhibition, which constructs new meanings to "words" (objects or phenomena) following the language system, and writes memories of the personal contemplation of emptiness.


Jusuf Hadžifejzović was born in 1956 in Prijepolje, Yugoslavia. He studied at the Belgrade Academy of Fine Arts in the class of Professor Stojan Čelić and completed his postgraduate studies at the Kunstakademie Düsseldorf under the supervision of Professor Klaus Rinke. His art practice includes painting, performance, installation and "depotgraphy". He has exhibited in many international exhibitions, from Berlin to South Korea, and has presented himself at the Venice Biennale four times. In 1984, Hadžifejzović, with the help of R. Tadić and S. Bukvić, conceived the Yugoslav Documents, a biennial exhibition of Yugoslav contemporary art in Sarajevo (1987, 1989), and in the 1980s, he was among those most merited for the rise and promotion of the Sarajevo art community and the Yugoslav scene in general, also within the international arena. He lives and works in Antwerp and Sarajevo, where he leads the Charlama Depo Gallery.


Curator: Maja Antončič


The exhibition is accompanied by a catalogue (75 pages, designed by Gaja Mežnarič Osole, translated from the Slovene by Arven Šakti Kralj Szomi, with texts by Maja Antončič and Miklavž Komelj).



The exhibition and catalogue were supported by Mestna občina Celje.

Thanks: Museum of Modern Art, Ljubljana / Eun Soo Lim / Tomaž Črnej, Andreja Džakušič, Narcis Kantardžić, Bojana Križanec, Nuša Ofentavšek, Matija Plevnik, Bojana Piškur, Lila Prap, Vojko Slapšark, Borut Špeglič, Violeta Vatovec Einspieler, Boštjan Verdnik, Andrej Vovk, Bori Zupančič, Peter Žula


1The term was invented by the philosopher Ugo Vlaisavljević, who encountered the work of Jusuf Hadžifejzović in the 1980s. See also Jusuf Hadžifejzović: Depografija Evropa (retrospektivna izložba), Muzej savremene umjetnosti Republike Srpske, Banjaluka, 2011



Johanna Billing, Matija Brumen, Andreja Džakušič, Priscila Fernandes, Eden Mitsenmacher, Franc Purg, Pilvi Takala

Curator: Maja Hodošček


10. 11. 2017 – 14. 1. 2018


The title of the exhibition refers to the work Kids (2002) by artist Franc Purg, produced during his residency in Belfast and New York. The artist focused his attention and the camera lens on a harrowing game of violence by a group of children from the outskirts of the city. In the work, the non-institutional street environment – which provides the children with randomly available materials, offering numerous possibilities of testing and acting out – represents a learning environment. By reaching into the actual environment and trying to change it, the children shape their own experiences and meanings, while at the same time disclosing their own position within the social structure. The artist does not intervene in their activities. Rather, he observes the group form of interaction within the complex social situation.

Taking the work of Kids as a starting point, the exhibition raises the question of how art can participate in an expanded area of education, where indirect forms of learning take place with the extraordinary effect of internalizing social structures and normative behavioural forms. The works presented stem from non-institutional contexts and explore the resources, possibilities and means of learning beyond programme guidelines and other run-of-the-mill ways of testing knowledge.

Jean Piaget, a key developmental psychologist, emphasizes that the fundamental principle that contributes to the development of an individual capable of self-determination and respect for the freedom and right of another is the limited power of the adult, providing the conditions within which there is the possibility of expression, self-directed learning, testing and improvisation. Under such conditions, children can develop their own forms of behaviour and gain a sense of responsibility towards society. The artists presented in the exhibition create such horizontal environments in their works, where children themselves direct the course of events, but they also point out that such open conditions are in fact rare at a time of a general instrumentalisation of pedagogical processes. They illuminate the subtle existing forms of the process of indoctrination and the environment, where such processes take place. They consider open didactic approaches and perceive those elements that contribute to the formation of systems, where rules are formed spontaneously, within the process of experience, without any advance, imposed structure. They are based on observation, improvisation, teamwork and exchange, or else create situations where a certain activity takes place that emphasizes cooperation, joint decision-making, self-initiative and independent thinking.

In her piece For a Better World (2012), Priscila Fernandes explores the mechanisms used to prepare the child for economic life and the existing form of the division of labour. The video was filmed in a small artificially constructed town with a shopping centre, hospital, cafés, restaurants, etc., where children play by taking on a variety of social roles and related activities. The complex was set up by merged corporations so as to offer children a real world experience. The experience of the process of political change and its effects on everyday practices is explored by Johanna Billing in her piece Magical World (2005), filmed in Zagreb. It shows a group of children singing together at regular singing practice. The children born after the end of the Balkan wars are the representatives of a new beginning, marked by a political orientation that, in the process of transforming the system, is indicative of a neo-liberal paradigm. How much space will they be able to capture within this "magical space" that promises a secure future? The possibility of the future as a product of joint decisions is highlighted by artist Pilvi Takala in The Committee (2014). She gives a group of children 7000 pounds, which she received as the winner of the Emdash Award (2013), and asks them to spend all the money as a group, with the decision of how to do this being left up to the children. The possibility of being a collaborator in the artwork is offered by Franc Purg in his new project, composed of three parts – a video, posters and documentation of the correspondence with his friend. The project explores the characteristics that guide the behaviour of the child, especially the curiosity and will to test things out, which is expressed in the early years, and becomes lost through the various educational mechanisms during the time of growing up. At the exhibition, children will be able to interact with the visual material and transform it at will, without pre-given instructions or suggestions on the subject matters of the visual material itself.

Collaborating with children, Andreja Džakušič is developing an adventure park based on urban gardening. After the installation of raised beds in a neighbourhood of the city of Celje, she is considering further possibilities of using green spaces and exploring the basic principles of gardening through workshops with young children. In the work of Marko, Ivo, Matija Brumen uses the photographic lens to follow his nephews from birth, portraying them in different periods of life and creating a document of changing time. Eden Mitsenmacher has been getting to know a girl from England over many years through correspondence, sharing a common interest in singing and exchanging footage. In one of the exchanges, the artist asked her to sing a song that inspired her with hope. Anticipating a selection with a wider social message, the girl surprised her with a song about a private anguish of love.



Media representations of characters, pop and contemporary art

Gallery of Contemporary Art, 21. 7. - 1. 10. 2017

Participating artists: Vesna Bukovec, Jure Cvitan, Tomaž Črnej, Gašper Kunšič, Tomaž Tomažin, Nika Oblak in Primož Novak, Iza Pavlina, Mark Požlep, Adrijan Praznik, Arjan Pregl, Oliver Pilić, Andrej Škufca, Manja Vadla, Mladina magazine*

Curator: Maja Antončič


"I'll always be there. Always. It's not the powers. Not the cape. It's about standing up for justice. For truth. As long as people like you are out there, I'll be there. Always." – Superman (Action Comics, #840)


A good sixty years have passed since the glittering images of advertising ads, star icons and film entered the field of art for the first time. The exhibition at hand attempts to show just how skilfully the references of media content and similar culturally interesting phenomena of everyday contemporaneity are being abbreviated by artists today. However, in contrast to the presentations of "pop art", which would relate to this specific direction of art particularly through historical connotation or association both in terms of form and content, it is the character, as the bearer of the popularization of cultural content and mass consumption that stands in the forefront of the exhibited projects. The emphasis is on using the well-known language of the mass media, which presents various semantic challenges, supported by the chosen character in the artwork. The character is in this case the player who already blurred the borders between reality and fiction in his original existence, but now constructs additional messages and creates a field of reflection or criticism within the context of contemporary art. Thirteen artists draw from an extensive dictionary of media images, online social networks, from the narratives of film and advertising, as well as the marketing apparatus. They speak of the "heroes" of contemporary society that fill our everyday zone of the visible and the perceptive. They are joined by a selection of covers of the Mladina magazine, whose authors – along with some other artists in the exhibition – satirically change the "heroes" into "anti-heroes", and less frequently the other way round.
The transition from the idols of the past – the "idols of production" to the idols of magazines – the "idols of consumption", took place in America in as early as the 1940s, according to the biographical research of sociologist, Leo Lowenthal. The classical hero, who fulfils his social roles, is pushed out by the "personality that no longer determines what he does, but the skill of self-representation, self-construction and the ability to simulate what this figure is supposed to be." It is precisely media representation that symbolically indicates the perception of the authority and legitimacy of someone or something. Pop culture is therefore always also a place of political and ideological conflict.
By using the elements and techniques of pop culture, the artists are making pop culture even more visible, entering the field of wider and closer politic strategies. The designers and photographers of the Mladina magazine covers (2016, 2017), for instance, play with the merger and semantic loops of current political and other phenomena. In the same way, the graphic series Fictional Portraits (2016) by Oliver Pilić combines two notorious political images, but only to achieve the ultimate effect with a more complex approach in technique and content. Tomorrowland (2013) by Adrijan Praznik, the only independently displayed painting piece, in the pop art manner, also contains several techniques and meanings. The use of the moving image and the language of film in the exhibition starts with the video 236743 (2015), a piece by artist Andrej Škufca. It deals with the consequence and effect of reading media images. The artist brings out the passive consumer of TV programmes and online channels with intense, content-rich narratives. Much like Škufca, most of the artists in the exhibition place themselves in the role of the central protagonist of the story. Precisely through this for instance that Tomaž Tomažin maintains a tension, either in his video Who's there? It's me. (2008) or photo panoramas Attempt to Levitate (2010). In their fictional documentary Going South (2009), Nika Oblak and Primož Novak stereotypically stage a true story from the Guinness Book of Records. A documentary is also presented by artist Arjan Pregl, who redirects the attention to the android Data from the Star Trek series in his film Painting of the Future(2007). The author as the researcher of the character and announcer of the story, tries to elaborate the android's tendency for humanity and artistic engagement. The star status is well outlined by artist Manja Vadla in her installation It’s time for revolution, Part 2: Alpen von Blond (2010). The image of a singer in the style of concert "merchandise" overflows the space. Instead of a helpless victim of fame, the artist builds the character into an emancipated representative of the object of desire and an activist against typical social anomalies at the same time. The abstract desire for success and happiness in life is, through parody of the suggestibility of the popular new age lifestyle, highlighted by Vesna Bukovec in her White Performances video series (2010). The desire of the viewer and the user of online sexual fetishes is explored by Iza Pavlina in her latest intermedia project Rule 34 (2017). Photographer Tomaž Črnej takes on the field of representation of characters from advertisements. He places the photographs of friends with a weird script, which is actually a trick to attract the attention of customers, into the central advertising scheme of a real bicycle catalogue (2014). Gašper Kunšič comments on the phenomenon of overwhelming images and empty consumerist slogans with the image of a gnome, which he plays himself, lost in a saturated graphic landscape (Lost in the Woods, 2014). The question of superheroes’ identity is concluded in the exhibition by the project The Last Supper of the Super Heroes (2006) by Mark Požlep and the project It's hard to be a Superman (2012-) by Jure Cvitan. In the first, the artist seats himself in the place of Judas in the costume of his own fictitious hero, who is the only one at the table that does not possess supernatural powers. In the second, the artist, in a Superman costume, literally assumes responsibility, and with this also a new social role, to help unknown people in real situations.
The story about us and them therefore unfolds. Through monitors, which replace picture frames, and travels into the world of media characters and artificially created faces of society, the artists either comment or take advantage of the phenomena that form an integral part of a complex circle of popular culture. The artistic presentations make a comment exactly where the effects of popularization do not leave us indifferent, but contain similar, if not identical, approaches of presentation. With a good degree of irony and humour in the representation of their heroes, the artists create a field of criticism, establishing a part of the discourse about contemporary society that sells its soul despite a clear insight into the problems of capitalism and collapse of social values. They recreate a ubiquity of buyable fictitious images that are always here. To reveal their own selves.


The exhibition is part of the programme Jeans Generation: The Popular Culture of Celje from Jeans to Mobile Phones, a project of the Museum of Recent History Celje.


* – design: Damjan Ilić, Tomaž Lavrič, Ivian Kan Mujezinović, Fabrika Sarajevo – photography: Uroš Abram, Borut Krajnc, Matjaž Rušt


Iva Tratnik
The curtain is so dense, but the North Star can be seen

Gallery of Contemporary Arts, 19.5. - 9.7.2017
Curator: Irena Čerčnik

The painting of Iva Tratnik, brimming with visual sensation, saturated with unusual, mysterious details requires an attentive viewer, who knows how to listen to the multitude of visual details, surrender to the flow of associations offered, and put together the meanings implied. To such a viewer it will be revealed that in the present exhibition, behind the pure fantasticalness – behind the enigmatic images in which we encounter combinations of human and animal bodies, fragile hysterical women patients, figures that are getting at themselves in everlasting circles, x-rayed bodies whom we can see 'under the skin', leeches and moths, bugs that look like masks – that behind their appearance, there is a sensitive reflection of the real world, and that the images, which at first glance appear completely imaginary, are often the metaphors of contemporaneity. Imprinted in them, with sophisticated sharpness and wit, is the real world. This is where the spasms and entrapments of the fundamental social phantasms, ideals and constructs make their dwelling.

The journey through the exhibition, consisting of large-scale drawings and paintings, photographs, effects of stroboscopic light and, to conclude, a collective wall drawing, drawing done directly on the walls – a kind of collective improvisation – is a stroll through the individual cores around which individual pieces extend and connect. The images of the first segment, where we meet the lush body in dynamic movement, a kind of cross between an ideal baroque woman and a chicken, where modern barbiesquely ideal women's legs spring up before us, hanging like pieces of flesh on hooks, where hybrids between a human and a pig are embodied (that are crossbreeds of Botticelli's Venus and Michelangelo's David) with lines drawn in like marked cuts of meat, reminiscent of the objectification of the female body, the construction of femininity and related beauty ideals, and then everything together of the 'new renaissance' of contemporary society, which is capable of creating a new kind of being, a human-animal hybrid, with all its scientific and technological achievements.

The big painting Blanche, don't get upset that dominates the following segment and is named after Blanche Wittman, who was sectioned in a Paris hospital for mental patients with a diagnosis of hysteria, is inhabited by almost unnoticeable tiny women in paroxysmal positions of a hysterical attack. These hysterical bodies, floating in a fantastic landscape of dark clouds, magnified moths and giant leeches, together with the image of a headless God with multiplied commanding gestures, who looks like a puppet, and a colourful image of a moth/pelvis consisting of spread open and closed women's bodies, unobtrusively, yet actively expose a society of hierarchies, patriarchal patterns and apparent authorities. How numerous are the interconnections and continual mental visual switch-overs that the artist demands from the viewer – hysteria that is nowadays more commonly known as neurosis and anxiety, was in the past linked with madness and bestiality, whereas the word itself is derived from the ancient Greek hystera (uterus). This is the strategy by which the artist creates the associative power of her images, offering a deciphering that is never shut off into unambiguous frameworks, and a reading that spreads beyond the boundaries of the image.

This is followed by paintings of imaginary tropical forests with numerous magnified bugs – they look like masks and warriors at the same time, placed in dialogue with a painting composed of surfaces of fabric and fake fur – we suddenly realize that we are facing a huge moth. The large dimensions of the paintings invite us to become immersed into the entire space, together with the stroboscopic light – which flashes pictures of people with painted faces in front of our eyes, sometimes barely noticeable among the tropical vegetation, as well as the feeling of almost physically experiencing the space and its images. The images, full of ritual elements, masks, mimicry imitating animals as if they were telling us about everyday life, about hiding or freedom behind the mask, the constant search for security, the importance of such elusive safety. The artist, as if she were offering us safety in the last 'group' segment, the collective drawing, which is, as she puts it, "an improvisation, but at the same time collaboration as the bright light of our times, a way of socializing and coexisting, which gives you new ideas or refreshes your own, which brings you and opens up new worlds yet to be experienced."

Iva talks about the real through the fantastical. When she encounters a fact, condition or event, object or form that attracts her in the outside world, she responds with attention and artistic accomplishment. With the dynamic exhibition, full of corporeality and details, which are rarely random, through a dream fairytale disguise of metaphorical and symbolic content, figures and signs, she addresses the topical – in a manner that is tranquil, yet keeps up the tension. (Irena Čerčnik)

Iva Tratnik (1980, Celje) gained her master's degree at the Academy of Fine Arts and Design in Ljubljana. She expresses herself though a variety of media, most often through painting, drawing, photography, installation and performance. She works independently as well as in temporary collectives.


Gallery of Contemporary Arts, 10.3. - 7.5.2017
Curator: Katerina Mirović

The exhibition entitled A Decade of Comics: Comics in Slovenia 2006-2016 is the third in a series of retrospective overview exhibitions with which the Centre for Contemporary Art Celje aims to present Slovenian comics created over a ten-year period. This time Stripburger magazine joined in the effort of conceiving and producing this exhibition. In addition, the exhibition catalog features an insight into the general developments in the comics scene by Bojan Albahari, while Gašper Rus contributed – in his own words – an extremely subjective overview of the creativity of individual Slovene comics artists.

The past decade was undoubtedly fruitful in terms of comics. This was not limited merely to the plethora of comics publications, for comics were often mentioned in different media. A few good years thus gave the impression that comics had finally found their place in daily newspapers and that a bright future lay ahead. The economic crisis combined with the greed of media owners or just plain ambitions of the decision-makers quickly uprooted comics from their place of origin after this short spurt of growth. Still, the determination and persistence of the various actors on the comics scene allowed for numerous new comics projects. Some civil servants and publishers have to a certain extent recognized the comics’ literary and visual value, but what really convinced them was its didactic and educational capacity. The art of comics as a means of passing on knowledge has become a tool in numerous cultural institutions and is included in various comprehensive art exhibitions. There is a rise in new (types of) collaborations (writer & artist tandems) between artists who are trying to tackle new topics and increasingly more ambitious projects. Young and fresh new artists are emerging from anonymity, new comics characters are being born, while the ‘forces of continuity’ are ensuring that some of the actors and phenomena in the scene remain or even evolve.

The exhibition includes comics for children and youth and comics with a strong educational note that weren’t present in the previous editions of the series, while the majority of the exhibition is composed of original comics for adults. Apart from individual original pages from selected comics, we also exhibited a few excerpts from the creative process, which show how comics could not avoid the impact of new technologies. In addition to this, there are also some other exhibits from the previous comics exhibitions. The exhibition exposes comics that were published as collections or independent book publications, and that have left a mark on the domestic daily publications. Individual sections of the exhibition present different novelties in the content of comics, new collaboration methods and affiliation with other artistic fields and the ‘new’ roles of comics.

And if you hear anyone complaining that nothing is happening in this country as regards comics, shamelessly confront them with this exceptional comics production in Slovenia.

Kaja Avberšek, Primož Bertoncelj, Suzi Bricelj, Matej de Cecco, Marko Derganc, Domen Finžgar, Miha Ha, dr. Horowitz, Saša Kerkoš, Jakob Klemenčič, Marko Kociper, Matej Kocjan – Koco, Tanja Komadina, David Krančan, Primož Krašna, Matej Lavrenčič, Tomaž Lavrič, Izar Lunaček, Marjan Manček, Martin Ramoveš, Gašper Rus, Jelka Godec Schmidt, Matjaž Schmidt, Iztok Sitar, Zoran Smiljanić, Damijan Sovec, Damijan Stepančič, Matej Stupica, Andrej Štular

Production: Zavod Celeia Celje – Center sodobnih umetnosti and Stripburger/Forum Ljubljana
co-financed by: Municipality of Celje, Ministry of Culture






Gallery of Contemporary Art and Likovni salon, 9.12.2016 – 26.2.2017
Curator: Irena Čerčnik

The retrospective exhibition of Celje painter Konrad Topolovec is an insight into the artist's rich oeuvre, which has evolved over more than three decades of intensive creation, and which at the same time represents an opportunity to journey through his body of work that is otherwise predominantly located in galleries and particularly in private collections. Konrad Topolovec graduated from the Academy of Fine Arts in Ljubljana in 1983. He entered the Slovenian art scene in the mid-1980s with his colour-intensive figurative paintings in the style of the new image of the time, and went on to build his artistic path through an interchange of abstract and figurative periods, on a creativity that was very individual in terms of style and motif and did not conform to the current dominant directions, but remained anchored within distinctly personal, sensitive confines.

The 1980s represents a period of grotesque figures with an emphasis on colour in the work of Topolovec. The transition to and beginning of the 1990s is marked by a gradual concealment and withdrawal of the figure, the introduction of the collage method, bringing to light fragments, contours and signs that act as traces of the almost vanished figure, until the paintings in which the mimetic form is completely absent prevail at the end of the 1990s. This re-emerges with a great stride in around 2003 and predominates until 2010. In the figurative paintings produced during the period from 2003 to 2006 – in which the light and effect of transparency from the surface of the canvas covered with abstract shapes in a limited colour scale have prominence – faces and bodies emerge, appearing as if from a parallel, dreamy world of unconscious thought processes. Through the use of contours that are intense and uniform in places, and then again almost disintegrating, softly visible through the language of colour on the surface of the painting, the images come, anchor themselves, but are on the constant verge of disappearing into the colour surface. This light period that brims with cheerfulness and the joy of life, is followed by the artist's representationally and expressively most prominent cycle Interlacements (2007–2012), imbued with a prevalence of darker, earthy tones and feelings of anxiety, vulnerability and unease. The series is a fascinating journey through a highlighted figurality, inexhaustible imagination and even more pronounced intertwining of forms and emphasised lines that sketch out the figure or build up the space and in places literally glow from the surface. In his recent creative period (2010–2014) Topolovec again returns to non-mimetic visual language. To a precisely defined intertwining of abstract forms that constitute labyrinths of spatial relations with an almost mathematically precise consideration of every detail.

The abstract paintings of Topolovec are both poetic and rational. His figurative works create an imaginary space that speaks of universal questions of the sort of existence that inhabits sentiment and the endless, serene or belligerent, loving or threatening, tranquil or anxious layers of the human psyche. They are like the unconscious that comes to the surface, the testimony of mystery and dynamic of the human soul, they are archetypal and personal at the same time, depicted with a delicate or coarse elegance.

The retrospective exhibition of Konrad Topolovec was produced with the help of private collectors and owners of the paintings, and in cooperation with the Štore Ironworks Museum. It is installed chronologically with the selection of works including the main periods of the artist's oeuvre: figurative works of the 1980s, painting collages 1989–1994, abstract works 1993–2000, figurative works 2003–2006, the Interlacements series 2007–2012, and recent abstract works 2010–2014. The exhibition is financially supported by the Municipality of Celje and the Ministry of Culture of the Republic of Slovenia. A catalogue featuring the writings of mag. Alenka Domjan and mag. Petra Kapš and an overview of works is being produced. The catalogue is scheduled for release in early February 2017.





Art matters, but art is not enough

Nika Autor, Jure Cvitan, Artan Hajrullahu, Maja Hodošček, Robert Hutinski, Davor Konjikušić, Bojan Krivokapić & KURS, Bojan Mrđenović, Mark Požlep, Danilo Prnjat, Ivana Smiljanić, Igor Sovilj

Curator: Mirjana Dragosavljević

Gallery of Contemporary Art and Likovni salon, 16. 9. – 23. 10. 2016

The role of art in the arena of the former Socialist Federal Republic of Yugoslavia over the past few decades has undergone a transformation that has taken place alongside the process of transition of the new states from socialism to capitalism. The state is increasingly withdrawing from funding the arts, while at the same time nourishing and developing entrepreneurial models such as the cultural industries, commercial showrooms and events, etc., whereas one of the main objectives of the local cultural policy, is increasingly becoming the creation of an art market following worldwide models of such centres. The work of art is becoming more and more of a commodity, the social role that should be played by art is disappearing, while at the same time enthusiasm and financial self-sufficiency are being emphasized as the basic motivation for work, which most often leads to (self) exploitation and reproduction of the existing system without any move to improve the conditions for artistic production. One of the aims of this exhibition is to question the role of art within society, particularly in the times of great financial and political crises, wars, refugees, the re-patriarchialisation and re-traditionalisation of society, with special emphasis on local circumstances and the transformation of these space in the past eighty years. On the other hand, hardly any of the artworks in the exhibition deal explicitly with the institution of art, and in this sense there is no single theme of the exhibition. Rather, the works are thematically diverse, they are linked by the way they question and address everyday reality at various levels. It is important to note that this not a comparison between the concepts of art for art's sake (l'art pour l'art) and socially engaged art, and neither is the objective an argument in favour of one or the other of these two options, since sometimes a highly aestheticised work can more strongly reflect a specific social problem, than explicitly engaged works and actions may be successful in portraying – and the same can be said for the opposite. The fact is that the exhibition space represents a public space or the place of encounter and confrontation of people, works, ideas, emotions, etc. The aim of the exhibition is to – through the relationships that are established in the process of production and exhibition – become a mediator "between particularity and universality, public spaces and activist strategies, networks and constituencies", as suggested by Simon Sheikh when he talks about the inevitability of connection, comparison and mediation between practice and theory, since "art matters, certainly, but art is not enough."[1]

[1]Simon Sheikh, Representation, Contestation and Power:The Artist as Public Intellectual



Baraga, Jure Cvitan, Polona Dolžan, Kyle Milne, Gašper Piano, Jani Pirnat, Ana Straže, Mia Špindler

Gallery of Contemporary Art, 15. 7. – 28. 8. 2016

The Me in My Pocket exhibition puts into the forefront the exploration of the silent background of creativity and the intimate foundations of some of the artists associated with Celje, who are in various ways also involved in the international arena. The artists, that are active within the various shades of artistic professions and missions, are characterized by a creativity that is – either through professional or private experience, and certainly through travelling and collecting – greatly touched by life itself, the internal psychological appearance or continuing interest for “things”, which were initially not necessarily the basis for the creation of the art project. What types of languages of creativity do the artists therefore seek when they are not uniquely confined to their professional practice? Instead of a cabinet of curiosities, which could through the gallery and curatorial position nevertheless be labelled as “artwork”, a direct display of the process, perhaps even an archival approach, I have chosen works or encouraged the formation of works for a presentation that conceals in its background the intimate atmosphere of the dairy. The works are the portraits of personal interests, experiences, impressions or feelings. Within them, we find continuous investigative processes arising from reflection on personal histories, everyday notations and mapping of spaces.
Disclosed in the individual presentations is the component of the creative process itself, regardless of the circumstances, the nature of the artistic profession, materiality, form, regardless of the project diction and determination of the art institution. Some of the artists have taken on certain mediums for the first time, or have revealed their medium precisely here for the first time. The works vary from the poetics of their own interests, the exploration of subjects, including conditions that are tied to a particular time and space; therefore they are used by the artists to outline their creative impulses, which are inspired by everyday experiences.
Polona Dolžan stems from her cooking blog Shit I've Eaten, which she adds to in her spare time. By noting down recipes, she creates a food diary, expressing a fascination with the ritual of socializing and cooking in different circles and in different geographical locations. On the one hand, she emphasizes an unrepeatable experience, also sharing it with us, while on the other hand, she uses the installation to display a loss of pleasure with the repeating nature of the eating timetable. Jani Pirnat also wrote a blog on his visit to Japan. At the same time, he used photography and video to record his feelings in a country with a different cultural background. Through an animation in which he portrays himself in the exhibition (Gomenasai, Say no evil, see no evil, hear no evil), he symbolically expresses his feelings at the change of living space, sense of isolation, limited understanding of the language and mode of perception. Ana Straže reflects on the spaces of temporary residence. She has systematically been taking photographs of the rooms in which she has stayed overnight on her travels for several years now. At the core is the most intimate area of the living space – the bed, into which she stages herself as a link in the whole chain of the other photographed objects and compositions of personal admiration in a certain place. The form of the postcard is similar to an organized dairy with a completely individual aesthetic. Its orderliness is juxtaposed with the footage of the artist's face made with a webcam. She uses it to continuously record the fleeting, random and uncontrolled apparitions of everyday and current sentiments. The static nature of memory and the movement of the everyday, interchange in the Notations installation. Mia Špindler is marked by her collecting, which is why she uses the “frottage” technique in her thinking as how to preserve the memory (or souvenir) that can not be gathered in physical form. This allows her to embrace the physical nature of the objects, their texture as a material aspect, and thus the fascination with the memory of the space and state of the object at a given time. Through his many trips, artist Kyle Milne deals with the concept of fear at a very personal poetic level. He sees the treatment of the latter in the mountain, which he visualises in his piece entitled Release in the form of an abstract map, linked to a text. Ana Baraga and Jure Cvitan also look to nature. Through a long story of collecting cork bottle tops, the artist sets himself the target to dress a precisely defined cork tree in Corsica. The collection campaign bears some kind of ritual action, including the time dimensions of the past, present and future. He materializes it in the set up of the tree shell that is actually the goal, but which is at the same time also a work in progress since he wishes to implement his project in-situ. Ana Baraga deals with the dimensions of illustration, all that the genre which accompanies her at all levels of her existence is capable off, even becoming the artist herself at a certain moment. The piece Becoming an Animal contains the personal ritual of the animalistic totem and selection of a wide variety of patterns, materials and feelings. The garment – “totem costume” consists of a unique material and spiritual side. Through the language of textile and graphic design, photography and poetry, she further upgrades the wearing ritual. The search for a contact with nature, precisely with the help of illustration and design, becomes her diary, which has overgrown into her degree project and a complex artistic manifestation, only partially presented in the exhibition. Gašper Piano presents himself with a video, in which his poetry is read by his friends, who shared a certain period of life abroad with him, inspired him and collaborated with him in business. Skinned Knee – visual poetry for lonely souls is an experiment of a new form and medium for the musician. In the same way the video appears as a contact point, at which people who share similar stories met at a certain moment in time.
“Art – as a form of creativity – does not reproduce the already established models, which would exist like images in our minds or as objects in the world, but combines the creative forces and flows,” says anthropologist Tim Ingold. He defines creativity as action based on relations, which can not be understood as an activity of the individual, but an integral part of the life process, covering the entire field of networks between people and their environment – in which there is no room for the hierarchical relationship object/subject.  The Me in My Pocket exhibition may initially suggest the subject as an introverted agent, however, all eight artists manage to manifest different ways of recording time and space, feeling and desire in the “things” (as opposed to objects) that they carry around with them, at the same time displaying them as artworks in the contemporary art field.


Jure Cvitan, Life After, 2016

Polona Dolžan, Shit I've Eaten, 2016

Gašper Piano, Skinned Knee - Visual poetry for lonely souls, 2015

Ana Straže, Notations, 2016


Photography: Tomaž Črnej


Peter Koštrun ─ Premonition

Gallery of Contemporary Art, 13.5.–26.6.2016

Peter Koštrun, one of the most prominent Slovenian photographers of the younger generation, Assistant Professor of Photography at the Academy of Fine Arts and Design, has shown his work in many important exhibitions at home and abroad, including Almost Spring, 100 Years of Slovene Art at the Maribor Art Gallery (2012), as well as in one of the most important exhibitions of landscape photography, Sense of Place at the Bozar Expo in Brussels. He worked with the Centre for Contemporary Art Celje last year, as he prepared a project for the Gallery of Contemporary Art together with Peter Rauch entitled Sounding – A research exhibition of abandoned, discarded, alienated and found photographic images, this year displayed as part of the exhibition From Community to Paradise. CSU Collection – New Acquisitions 2011 - 2016, and for the first time in 2004, when he presented his work in a solo show entitled Silence at the Gallery of Contemporary Art.

Peter Koštrun, a master of landscape photography, refined selection of framing and light, as well as a specific, extremely subtle atmosphere that gives the impression as if his images capture something greater and immortal, will this time present himself with works that have mostly been produced in 2015 and 2016. What is essential for his new, never before seen production of work featured in this exhibition, which is characterized by diversity of format, content background as well as formal expression (with some photographs being distinctly minimalist and others having more emphasis on structuring), is the transition from the previously typically contemplative mood, towards an engaged force of expression. This is not established through a direct commentary or an illustration of concrete events, but through a radical change in the atmosphere imbued by the image. Feelings of discomfort, unrest, premonition, even threat are inscribed into the black-and-white photographs, most of which are coloured with red ink, as a commentary on society. The landscape, in which a kind of unearthly, spiritual dimension has so far been present, enveloping physical reality like a veil, has take on a haunting and warning air. The photographs in the present exhibition, into which (beside the images) Koštrun has also inserted some personal items, address the viewer to reflect on man's deeds, his relationship to nature and fellow man, to reflect on the prevailing state of the spirit and subject matters that mark the present times and remain in the background of the photographs – from war to global warming, from erecting borders to the disappearance of the diversity of rural landscapes.

Peter Koštrun (1979, Ljubljana) graduated from the Academy of Fine Arts and Design in Ljubljana in 2007. He has been exhibiting at home as well as abroad since 2003. Recent solo exhibitions include Moments, Mottard & Jenray, Liège (2012); The Time is Now, Photo Gallery Lang, Samobor (2012) and Singularity 2004–2014, which he presented at the Photon Gallery in Vienna in 2014. His works can be found in the Essl collection in Vienna and in the collection of the Cabinet of Slovenian Photography in the Museum of Gorenjska in Kranj. He lives and works in Brnica near Celje.

More about his work can be read in the text featured in the leaflet published to accompany the exhibition.



CSU Collection - New Acquisitions, 2011 - 2016

Jure Cvitan, Matej Čepin, Tomaž Črnej, Andreja Džakušič, Borut Hlupič, Maja Hodošček, Robert Hutinski, Narcis Kantardžić, Bojana Križanec, Tomaž Milač, Željko Opačak, Iza Pavlina, Mark Požlep, Franc Purg, Ana Straže, Manja Vadla, Dalibor Bori Zupančič

Guests: Miha Kaučič, Peter Koštrun, Simon Macuh, Iva Tratnik, 24. 3. - 24. 4. 2016


Rajko Bizjak

Gallery of Contemporary Art, 28. 1. - 6.3.2016

Evolution, the title of the exhibition, in which Rajko Bizjak places recent and older works into a dialogue, offers a number of considerations, including the author's relationship to the photographic series produced to date. The body and corporeality represent the central position in his creative work. He uses them to address particularly sexuality, desire and pleasure, social and moral constructs and prohibitions, the comparability of man and the universe. But the main guiding principle of his photographic gaze is exploration. How to look at the things that we usually only see in a certain way, in a different way. In the breadth of three decades, his photographic series speak about the external and the internal, about the distant and the nearby, about the intertwining between the conscious and the unconscious, familiar and foreign, about the similarity of patterns and structures found in nature, the body, the universe. His work is at once the depiction of beauty in the sense of pleasure, and the attainment of an uncomfortable and anxious feeling. He finds beauty in the female body, like in the Hommage a Eikoh Hosoe series (1991, referring to the cultural differences in defining pornography), and achieves the effect of discomfort particularly with total closeness as he brings the gaze at and into the female organ so close that it turns into a foreign, unknown, almost scary scenery.  Bizjak plays with the viewer's knowing of what he is actually seeing, with a similarity between the forms in nature and parts of the body, reaching the pinnacle with the photos inside the body, as in the series Stardust – Incarnation (2007). With his latest piece, a large photograph entitled Evolution (2016) derived from Michelangelo's depiction of the Biblical Genesis and the main scene of The Creation of Adam in the Sistine Chapel, with all the meanings and associations that it triggers, he rounds off the stories of the series produced so far. Contemplation on man and creation, desire and pleasure, prohibition and control (as a tool for the existence of the system) is connected with the idea of God, its meaning along with all the scientific discoveries and astounding theories, with the question of whether the contemporary subject still needs God, where is the driving force of humanity, history and progress.

Bizjak's series of photographs always stem or relate to one another, build upon each other or expand into new spaces that he foresees or establishes on the basis of chance. They may seem as opposites, as a break, but there is an essential link between them, a focus on the body and the erotic, on a view into the veiled and concealed. 


Rajko Bizjak, Archetype, 2016
More about his work here.
Exhibited series: Blossoms (2002), Archetype (2016), Stardust – Incarnation (2007) Stardust – Comparison (2016), Hommage a Eikoh Hosoe (1991), Hommage – 23 Years Later (2013), Evolution (2016), Solar System triptych from the Short Stories series (2011–2015)

Rajko Bizjak (1963, Postojna) graduated in 1990 from the Academy of Dramatic Arts in Zagreb, majoring as a film and television cameraman. He works as a cameraman and photographer and is a lecturer at the Academia Maribor Vocational College, FAM Faculty of Media in Ljubljana, School of Arts in Nova Gorica and the VIST Higher School for Photography in Ljubljana. His works are held in national and international collections. He lives and works in Ljubljana.



Libia Castro & Ólafur Ólafsson, Matej Čepin, Robert Hutinski, Staš Kleindeinst, Aino-Marjatta Mäki and Jaakko Karhunen, Luiza Margan, Paula Muhr, Pleurad Xhafa, Adrian Paci, Ana Pečar and Oliver Ressler, Ana Nedeljković and Nikola Majdak jr., Vahida Ramujkić (together with: Aviv Kruglanski, Dejan Došljak), Zgodovinski arhiv Celje (Historical Archive Celje)


Curator: Maja Hodošček
Locations: Gallery of Contemporary Art, Likovni salon and Chapel of St Elisabeth
26. 11. 2015 - 17. 1. 2016


Shame on you! is an interdisciplinary project spanning over four years, produced in concept and programme by the cultural institutions Celeia Institute – Centre for Contemporary Art in Celje (Slovenia) and the Miroslav Kraljević Gallery in Zagreb (Croatia).

The project functions as an artistic and theoretical platform, focused on analysing the affect of shame. As part of the project, and alongside the lectures and presentations, an art residency programme also took place in the period between 2013 and 2015. During their residencies, the invited artists produced  the works that will be shown in the exhibition for the first time. Anna Dašović, Paula Muhr, Aina-Marjatta Mäki and Jaakko Karhunen, as well as Miloš Trakilović were hosted in Celje.

The starting hypothesis of the Shame on you! project is based on the assumption that feeling shame is a symptom that reveals various forms of social inequality since this is in its core a socially conditioned affect. In the process of coming up with the concept for the exhibition, we focused on the area of the economy and its division of labour as it is an essential producer of sociality (through work we enter into relationships and form a variety of social ties). It is worrying that in the contemporary times a singular form of economy is becoming established that is based on massive exploitation of the work force, which presents itself as the only possible social reality that should be adapted to. Theoreticians Julie Graham and Katherine Gibson write that it is precisely the naturalization of the economy, which has established itself in the public space to a totality after the demise of socialism, that has led to a shift from understanding the economy as a field of transformation, or at least as a field which can be communally managed, to exercising the latter as hegemonic formations of governing.[1] The governing of society from the standpoint of the interests of the economy, new production processes and changed forms of labour have a significant impact on social relations, creating new subjectivities and various social classes. As part of the project, we were predominantly interested in what type of working conditions, within situations where neo-liberalism appears as the fundamental discourse, the affect of shame occurs and the relations that it discloses.In doing so, we took into account the mentality of the neo-liberal ideology which spreads awareness that economic and social success depends on our own capacity for action on the labour market and that the individual is solely responsible for his own social status. Tomaž Flajs, Gestalt psychotherapist, stresses that shame is experienced by the individual in an intimate situation as something painful. This experience is inextricably linked with the external environment since by humiliating certain identities or ways of living, society establishes the mechanisms of control, thereby allowing the reproduction of socially acceptable norms.[2] Conformism is therefore essential for the maintenance of shame given that this affect appears as the individual or the community no longer has the ability or wish to adapt to the given norms of reality.

By establishing different relations to the concept of work in the present times, the works presented in the exhibition demonstrate that multiple diverse different identities are not able to adapt to the existing economic reality. The inability to achieve economic independence is experienced as personal guilt and shame.Such an intimate experiencing of one’s own inadequacy or failure significantly contributes to maintaining the system aimed at continuously exploiting the available resources in order to create surplus value. Through the artworks, the exhibition seeks to deconstruct the ideological idea which proposes that the social position in the economic division of labour taken up by the individual is his own fault. It draws attention to systemic violence that does not offer any, or else barely minimal, social security to the individual, yet demands increasingly more impossible ways of working, by which it has a fundamental impact on the reduction of the quality of life.

The works highlight precarity (Luiza Margan), which is, according to recent sociological research, becoming the most widespread present-day form of employment.[3] It is defined by a continuing state of uncertainty and is realized through the manifold forms of irregular working relations. Transnational capitalist action requires a global market and the countries that had in the past ensured at least the minimum social protection of the workforce due to national interests, have been abolishing this minimum security measure and are cooperating in spreading the neo-liberal discourse. The political decision-making system has completely distanced itself from citizens and is taking place separately, independently of the needs and will of the community (Matej Čepin).

The works in the exhibition address the increase of labour migrations (Adrian Paci) and link the exploitation of the labour of the global south to the historical phenomena of state racism, which is still exercised today through invisible mechanisms (Robert Hutinski).

They deal with the consequences of privatizations in rural areas (Vahida Ramujkić, in collaboration with Aviv Kruglanski and Dejan Došljak) and point to the proliferation of the so-called “working poor” (Pleurad Xhafa) in which workers do not earn enough to survive in their paid employment. They expose deviant practices (goodbye letter kept by the Historical Archives Celje) and activist situations that oppose the profitable mode of governing society (Ana Pečar and Oliver Ressler). They disclose capitalist strategies that are used to try and influence political decisions (Libia Castro and Ólafur Olafsson) and cast a doubt in democracy as a form of governance (Ana Nedeljković and Nikola Majdak jr., Staš Kleindeinst).

They wonder what kind of subjectivities are produced by capitalism (Aino-Marjatta Mäki and Jaakko Karhunen) and look for connections between the demands of the economy and an increase in all kinds of mental illness (Paula Muhr).

But they also offer different ways of thinking and living, such as the proposal to step out of the system of labour and into life (Dalibor Bori Zupančič).




WE MEET AT SIX. Proposals for communal practices and green areas in Celje

Participating artists:

Andreja Džakušič, Daniela Krajčová, Simon Macuh, Estela Žutič and Gilles Duvivier

Gallery of Contemporary Art, 11 September – 18 October 2015

You are cordially invited to attend the opening and tour of the exhibition on Friday, 11 September, at 6 pm at the Gallery of Contemporary Art. The exhibition tour will be conducted by the participating artists. At 7 pm, you are welcome to attend the performance Initiati ti ti ti by Estela Žutić and Gilles Duvivier.

Co-producer of the exhibition: KUD Mreža, Alkatraz Gallery, Ljubljana
Curators: Irena Čerčnik, dr. Mojca Puncer

A group of artists from the Association of Fine Artists of Celje, together with many colleagues and supporters, presents the proposals for community action and a greener city by changing the gallery into a space for raising awareness and discussion on the problem of the degraded areas and the untapped potentials of the urban area within Celje. The exhibition reveals the results of previous artistic research in the form of live events, installations, documentary material, drafts, sketches, photographs, video, as well as natural materials, relocated from the urban environment into the gallery space. The artistic research concerns topics related to specific city locations that stand out by their topical nature since they are subject to broad civil initiatives, among which four are highlighted in the exhibition – the Kare 9 initiative, the Tree Park initiative, the Urban Gardening initiative and the Let’s Preserve the Trees initiative. The presented initiatives confront the city with sustainable, continual challenges that involve a miscellaneous use of space that is friendlier to the people and the environment, as well as awareness of the protection of the local tradition. The exhibition plans for a series of activities in its accompanying programme that will take place outside the gallery framework, under the guidance of the members of the Association of Fine Artists of Celje with invited guests.

The need for sustainable development of the city does not only include the environmental aspect, but also economic and social sustainability, which assures the quality of life in the city. This should take into account the contribution of the contemporary art practices that enhance community awareness of the importance of environmental protection and cultural heritage, as well as the protection of natural resources. In pursuing real, sustainable impact within the local community, the artists are acting according to the principles of urban regeneration, social integration and participatory urbanism. The artists appear in the role of co-initiators in establishing communal urban gardening as well as in the conservation and expansion of green areas as an opportunity for sustainable development for the city. They are approaching the debate by means of artistic research covering experimental and educational workshops and campaigns for all ages, by which they are encouraging the exchange of experience and knowledge of all participants. In this way, they are contributing to the identification of the needs and potentials of the urban area and its inhabitants, as well as encouraging a quest for solutions in the broader context of the city by actively advocating changes in the public space. The objective is for the community to organize itself as a civil initiative that addresses a large untapped potential and for the residents and users to become actively involved in the sustainable development of the city of Celje. Certain proposals have already come to life among the citizens, and numerous individuals and associations have already joined the existing initiatives.

The exhibition deals with the life lived in the city of Celje as a network of interconnections within which artistic creation is only one of the sensitive layers among all the others. With this awareness, the exhibition offers a reflection on the local urban environment, which concerns ecology in its broader sense of connectivity within the community.

The project was supported by: Ministry of Culture of the Republic of Slovenia, Municipality of Celje, Okolje Consulting and KOB David Koželj.


A research exhibition of abandoned, discarded, alienated and found photographic images
Exhibition curators: Peter Koštrun, Peter Rauch

15.7. - 23.8.2015

A collection of vernacular photographs exposes those without a caption, those, who more than anything else, served their purpose well among the people: they represented companies or informed potential customers about a product, or else served as a reminder of the good and bad times. All these photographic mediators somehow found their way to marketplaces, into cellars and, in one way or another, into our hands. Then they stood still for some time, forgetting about their mediating function, and began to build collections of curiosities. Now we would like to revive their function again, whilst not completely eradicating their old one at the same time. If we are talking about transcribing memory, then this transcription should be very superficial, unscrupulous, leaving a sufficient degree of dust and clues on the surface for the photograph to lose itself between the new and old context. An advertisement is an advertisement, and at th artefact. In the aporia between a useful product and a collection object, some sort of photographic form should be detected therefore, to which no specific value can be attributed – not social, economic, commercial, artistic, familial or technical. All these values are extremely boring, and to top it all off, they bypass photography and reduce it to the level of a photocopier’s. The ontology of reproduction, this is therefore the subject of our interest – the essence of which is primarily a bet that what is beyond function is something extremely valuable, worthy of all of our time and study – the hope that there is a core, which is at the same time always only a product of this hope and the ambitions of these kinds of exhibitions. We are therefore trying to force all anti-photographic values to waiver, to make a lapse or error, and to blush in their banality. So what should remain? Nothing – perhaps a fundamental dilemma that will weigh the surface of the image and its use to such an extent that it will not be clear what is the essence and what is merely appearance.


The exhibition has been organized in cooperation with the Zavod FOKUS.




Time, Mood, Identity

3rd Triennial of Young Artists – PREMIERE 2015

Nevena Aleksovski and Ana Makuc, Nina Čelhar, Katja Felle, Jasmina Grudnik, Andrea Knezović, Gašper Kunšič, Maša Lancner, Ana Legčević, Jure Markota, Erik Mavrič, Iza Pavlina, Petra Petančič, Tejka Pezdirc, Adrijan Praznik, Urška Savič, Kaja Urh, Jara Vogrič

Gallery of Contemporary Art, 29.5. - 5.7.2015

This year, the Center for Contemporary Arts Celje is opening the third edition of the Triennial of Young Artists. The ambition of the Triennial is to make ongoing presentations of those young artists whose sovereign engagement in the contemporary times is made through their own language both visually as well as in terms of meaning. The selection of participating artists takes place on the basis of a call for submissions, which was first published in 2009. Out of 45 applications this year, 17 artworks were selected. The only criteria of selection were quality and contemporaneity, which is why this exhibition represents a field of diverse contents. Its significance – beside drawing attention to the young artists – is that this type of concept affords a view into how young artists, who are about to enter or have only just entered the world of art, are responding to the realities of today, the aspects of the diverse and changing present that come to the fore, as well as the internal and external impulses that act as starting points for their language and message passed on through their artwork.

Time, Mood, Identity are three chapters that cover the directions of the young artists at this year’s Premiere. These broadly outlined chapters present a discourse on contemporary migration and the hybrid identity of immigrants, gender roles, sexuality and relationships between the genders, as well as the contemplation of the role of the artist within society. The problems of identity and their related diversity of feelings are joined by consideration and reflection of other prevailing moods in contemporaneity, from alienation and isolation, feelings of meaninglessness and grasping for the tangible, to sensing the tiny moments that take place in everyday life which are simple, but nevertheless important for the individual. The critical look at the facts of social reality extends into the issue of violence against women, media-mediated reality and the gap between the expected and the real political and economic situation in the country. Besides social time, this year’s Premiere addresses the phenomenon of time as such, from the systematic identification and measurement of time, to highlighting its elusiveness. Noticeable is the use of the Internet as a work space, from the appropriation and transfer of a wide variety of images from the Internet to painting and the reflection on the relationship between the source of the image and its new status, to using online chat rooms, the randomness of contacts and the multiplicity of encounters enabled by the Internet.

Premiere 2015 questions the present through the identification of contemporary conditions, through the expectation of the future, as well as through memory and history. The current time of constant movement, flow, quantity, temporariness, variability and uncertainty is expressed through different artistic means, installation, painting, drawing, object, sound, words and photography; through various methods of work that also include dialogue and collaboration, and through diverse contents that often spring from one’s own experience.

The exhibition Time, Mood, Identity is accompanied by a catalogue (44 pages, designed by Studio Kindin, translated from the Slovene by Arven Šakti Kralj Szomi, with texts by the participating artists and Irena Čerčnik). 


Overview exhibition

18. 12. 2014 – 1. 2. 2015

Gallery of Contemporary Art and Likovni salon Gallery

The Gallery of Contemporary Art presents the artist’s oeuvre spanning over thirty years of creativity, whereas the Likovni salon Gallery hosts a display of works by the Zvono group (1982–1992), in which Narcis Kantardžić was actively involved for the entire ten years of its existence.

Narcis Kantardžić came from the strong creative circles of Bosnia and Herzegovina, and was active in the 1980s throughout the former Yugoslavia. During the last Balkan war he moved to Celje, where he still lives and works.
The art produced in the studio of Narcis Kantardžić is not usually associated with street actions, outdoor exhibitions, pioneering video experiments, conceptual performances, scenographic investigations, painting installations, OHO-style artistic holidays, or café curatorship. Yet a look into the documentation of his work, and many of the artist’s memories, talk of the fact that he tried out everything that was topical and available, and at the same time marginal and innovative, in the times before the war. The Zvono group, which is being presented as part of the exhibition at the Likovni salon Gallery, was founded by a group of colleagues from the Sarajevo Academy of Fine Arts on 2 April 1982, three years after the opening of the unusual set-up for the time – a café combining a gallery, after which the young students named themselves. Its members: sculptor AleksandarSašaBukvić, painters SeadČizmić, BiljanaGavranović, SadkoHadžihasanović, NarcisKantardžić and the later addition of photographer Kemal Hadžić, woke up the Sarajevo cultural scene of the time with their self-organisation, creative passion and wide-ranging activity. They began to prepare street exhibitions, organized various events, actions, carried out performances, travelled and tried to remain artists regardless of the established legitimate paths to attaining this status. From their position of collective action, as well as everyday life to a large extent,Zvono used the principles of the avant-garde, with each member maintaining their own art language despite their group projects.Zvono became and remains one of the leading Yugoslav art groups of the 1980s.
Narcis Kantardžić was as connected with the group, whose members never abandoned their own art practice, as he was individualistic in his painting. Soon after completing his studies at the Academy of Fine Arts, Kantardžić found his world in painting, which he strolls around regardless of social, political or economic circumstances to this very day. Kantardžić moved away from modernist abstraction early on, looking for challenges in landscape, romantic and metaphysical handling of nature, as well as architecture. Initially he was interested in the objecthood of the painting, which is why he expanded its surface with frames made of different materials. Motifs of man gazing into the distance and fantasy scapes remained enclosed into white wooden and concrete structures. A more sombre aspect was achieved with the images caught into gray boxes under glass, in which solitary towers and factories appear. Kantardžić’s step outside the painting was upgraded with installation and by adding tower sculptures made out of clay. The climax was reached with the performative moment – the burning of the tower at the large-scale Yugoslav Documenta exhibition in Sarajevo in 1989. Since the 1990s, the artist has increased the size of his canvases, simplifying his frames, whereas his landscapes have become more sophisticated and precise. Post-apocalyptic sublime spaces with strong references to the period of Romanticism in addition to the painting skills of the Renaissance masters appear as a consistent line within his painting practice. Since the mid-1990s and up till the present day, the central motif in his paintings remains the tower, be it a monumental fortress, a fairytale turret, a precisely shaped Tower of Babel or a burning factory.
The paintings of Narcis Kantardžić can be interpreted as “classical”, contemporary and timeless at the same time. The undefined vast landscapes, symbolic remnants of civilization, architecture that has survived man, isolated human figures, the sublime feeling of nature, metaphysical spaces, apocalyptic moments of destruction or silence, give the images a direction, limitation and simultaneously a mysterious timelessness, where the aesthetic note does not predominate over the message and feeling of the observed. The exhibition is a disclosure of two histories, artistic activities, which represent making and living. And with it, also the present moment that, in the face of the disclosure of Kantardžić’s artistic personality, still reflects something that remains a mystery in its quiet repeating rhythm.

Narcis Kantardžić was born in 1958 in Derventa and graduated from the Academy of Fine Arts in Sarajevo in the class of Professor MiloradČorović in 1982. In the same year he founded the Zvono group with four other graduates, which operated successfully until 1992. At the end of the 1980s he became assistant professor to Ratko Lalić, and enrolled on a postgraduate course of study in Painting and Restoration. In 1992, he moved to Celje, and then to Stuttgart for a year, returning to Celje in 1994, where he has lived for the past twenty years. He is a member of the Maribor Association of Artists and joined the Association of Artists of Bosnia and Herzegovina as a member in as far back as 1983. He has exhibited in almost all the leading galleries and overview exhibitions of contemporary art in the former Yugoslavia. He has presented himself in many venues throughout Slovenia, as well as in London, Budapest, Ravenna and Trieste. He has regularly attended painting and sculpture colonies, and has received numerous Slovenian awards for painting. In the first decade he worked in video, installation, set design and performance in addition to painting and sculpture, whereas his focus of attention in the recent years has been devoted to painting and printmaking. Kantardžić has been an important part of the Celje art scene for more than ten years. He continues with his teaching work, which he performed at the painting school and the Academy in Sarajevo in the late 1980s, in the newly created school of drawing and painting, not far from his studio in the art quarter near Gosposkaulica and Na Okopih in Celje.

Curator: Maja Antončič

The exhibition is accompanied by the catalogue NARCIS KANTARDŽIĆ, published in January 2015.


The exhibition and catalogue are supported by:



Thanks: Robin Bolić, Saša Bukvić, Jure Cvitan, Tomaž Črnej, Niđejm Djukić, Vili Einspieler, Marjan Furlan, Anton Jošt, Izidor Krivec, Kristina Ljevak, Andrej Pavlič, Iztok Pikl, Rade Spasovski, Nevenka Šivavec, Katica Trajkovska Abjanić, Manja Vadla, Stanislav Veniger, Marko Založnik, Jožef Žgank

Umjetnička galerija Bosne i Hercegovine, Galerija Škuc, Ljubljana, SCCA – Ljubljana



Affect and mood through photography

Goran Bertok, Rajko Bizjak, Brane Božič, Tomaž Črnej, Luka Dakskobler, Jon Derganc, Andreja Džakušič, Luka Gorjup, Severin Hirsch, Robert Hutinski, Ciril Jazbec, Jurij Korenjak, Peter Koštrun, Borut Krajnc, Arven Šakti Kralj Szomi, Jure Kravanja, Borut Peterlin, Boštjan Pucelj, Small but dangers, Tomaž Tomažin, Šimen Zupančič

Jon Derganc, from the Chasms series, 2010-2011

The exhibition focuses on that sort of photography that can bring about strong emotional reactions in the viewer with its image and context, particularly a sense of unease and uncertainty through nature and the workings of man, the authorities, politics and the economy. Through its individual parts, it talks about how we feel about the world here and now, a world in which death, persistent wars, encampments and killings, the unscrupulous ideology of neo-liberalism, the economic crisis, unemployment and exploitation of people, irresponsible attitude towards nature, climate change and violence against animals, have become a fixture, which builds an increasingly omnipresent experience of despair, exhaustion and helplessness in modern man without respite, as one finds it almost impossible to have a direct impact on the situations and developments in the world, yet at the same timebears a crux of the responsibility. It talks about a world in which it is obvious how the systems and centres of power maintain a sense of powerlessness and uncertainty because of their own interests, and intensify the perception of the present, in which it seems as if a break and a different choice that would disrupt the continuity of what exists are not really possible. By composing external, impersonal sources that predominantly live in the reality of capitalism and largely give rise to unpleasant emotions within society and the individual, the exhibition talks about a world in which anxiety is becoming one of its fundamental sentiments. (In the recent article, We Are All Very Anxious, the Institute for Precarious Consciousness claims that the dominant affects of the various stages of capitalism follow each other from a general feeling of deprivation and misery from the nineteenth to the mid-twentieth century, a feeling of boredom that prevailed between the 1950s and the 1980s, when the standard of living rose, to the widespread feeling of anxiety in contemporary capitalism.)

The photographs address the viewer at various levels. Some force open the feelings of the dark side of reality and the complete collapse of ethics, others speak at a symbolic level and visualize the unknown and the unimaginable, justlike the new demands, forms, rules, conditions, provisions and experiences of the impending worldremainunknown and uncomfortable.The suggestive address of the photographs, rather than capturing spectacular and shocking scenes, is built on a subtle yet at the same time eloquent delivery of contents. Some images even have a pleasant air to them at first glance, a comfortableness, it is the story and context,however, that have a powerful effect on the viewer,causing a sense of emotional discomfort,which are placed and (through the title, text, knowledge) disclosed to the viewer behind the surface. The common quality to all of the works is the way in which they use language to hold onto the viewer, engage him and in no way leave him unscathed. With their intensity, they are able to trigger off an affective response (let us disregard the apathy arising from the constant feeling of helplessness and passivity), and more – shed agitation into the complex emotional mood that remains in the viewer for some time to come and blends in with the generallydisagreeablefeel encompassed by contemporaneity.


At this point, the exhibition poses the viewer a question: not so much about the necessity for change as principally about the belief in change and the possible strategies of resistance, at a time when unease and anxiety so persistently inundate society.




Stranger Than Paradise


Gallery of Contemporary Art, 21.6. – 24. 8. 2014

Celje visual artist Mark Požlep is presenting himself at the Gallery of Contemporary Art with a solo exhibition of his most recent projects. All three include travel as a key moment of reaction towards the dichotomy between reality and utopia. What changes here, is the way in which the idyllic situation within a real environment is sought. Searching for symbolic heavenly oases is accompanied by the question of how reality can become a positive image, not only of space, but also of one’s own thinking and insight.

The projects Whatever Happened to Major Tom (2012), Homelands (2013/2014) and Stranger than Paradise (2014) appeared one after another just like the artist’s travels and desires for the realization of even the most incredible ideas. With these journeys, the artist tests his abilities to create spaces, mental images and actions that can take an effect on generally achieving positive goals. In the first project, Požlep transported a palm tree from a gallery to a Croatian islet in a yacht that he had bought and renovated. He planted it there and gave it a new lease of life. In the second project, he worked with children and adolescents in Holon (Israel) and built a sand mountain, by which he wanted to create, at least for a certain time, a symbol of cooperation and integration between the people, regardless of gender, age, origin and religion. In the last project, the artist held a concert tour across the republics of the former Yugoslavia, and sang popular Yugoslav songs from the 1950s and 1960s to the elderly in residential homes, who had once experienced the tracks in their perfect(ed) image. In a time span of three years, Požlep therefore moves more and more from experiencing adventure personally to creating a path on which he implicates the social environment and creates a positive situation with the help of predetermined or spontaneous cooperation.

The artist’s first medium of painting, within which he travelled through a personal development of principles tied to expression, content and form, later changed into a “multimedia” journey across fictitious spaces through his installations, and finally into specific journeys that are at times almost epically planned adventures. In parallel to the artist’s personal life stories, memories and imaginary situations, each of these journeys aims to search for the utopian, potentially heavenly moments within different environments. It is therefore an exploration of the creation of symbolic and actual images or situations. At the same time, searching for, also means finding, a time loop that is not only dependant on the artist’s action, but also on the social, historical and political seal of the “conquered” regions.

Požlep’s projects have in his past artistic practice been marked by superhero figures. The artist frequently adopted the superhero figure himself, especially in his performative pieces, only that it was usually presented as an antihero or given a humorous character. The heroes in the projects this time have positive connotations; they are colleagues, children, the elderly or are materialized and cultural symbols of searching for an oasis in a world where ideas are less and less attainable: boat, palm tree, mountain, song. A story weaves around these in the exhibition Stranger than Paradise, which is closely linked to the artist’s “archetypes”. Their implementation is the merger of life and art, of research and process. Stranger than paradise does therefore not imply a naive browsing for hidden treasure, but a gray zone of searching as a goal, discovery in the process itself. It also means building experience through collaboration with people and no longer with symbolic figures.

The exhibition presents three stories through video, photography and installation that are tied into an entity of visual messages. Each story is encompassed by a diary of entries that allow the viewer to take a step into the artist’s personal discoveries.

Mark Požlep (1981, Celje) graduated in Painting from the Academy of Fine Arts in Ljubljana under Prof. Herman Gvardjančič in 2006, before going on to complete his postgraduate studies with Prof. Srečo Dragan. He recently completed Advanced Master in Transmedia at Sint-Lukas art school in Brussels. He has been showing work in solo exhibitions since 2000. His works have been presented in many European cities: Berlin, Toulouse, Bratislava, Venice, Belfast, Belgrade and he has exhibited in almost all major Slovenian galleries. He is concerned with exploring the field of painting, drawing, video, installation and performance. His current focus is on projects that explore and actively involve different populations through travel.

He first attracted attention in the Slovenian arena with the multimedia installation Superheroes Last Supper at the U3 triennial exhibition at the Museum of Modern Art (Moderna galerija) in Ljubljana. He received an Essl Award for his multimedia installation Break Through. The project Whatever Happened to Major Tom was presented in several solo and group exhibitions in Slovenia as well as in Rijeka and Venice. He has published an artist’s cookbook entitled Drunk Cook Book and has participated in many collective projects.

Mark Požlep first introduced himself independently at the Center for Contemporary Arts Celje in 2006 in Likovni salon with the piece Purple Volvo Valentine, and then in the Gallery of Contemporary Art in 2008 with the successful projectUrban Savage as part of the exhibition Mark Požlep and Jaša: Against History for a Bit of Good Old Love.

The exhibition Stranger than Paradise presents two of the artist’s projects for the first time. Homelands was created in a residency in Israel under the auspices of MGLM, City Gallery, Ljubljana, The Israeli Center for Digital Art, and the Embassy of the Republic of Slovenia in Tel Aviv. His latest project, Stranger than Paradise was produced in a co-production between Celeia Celje Institute and Škuc Gallery, Ljubljana.

Curated by: Maja Antončič


Mark Požlep, Homelands, Gallery of Contemporary Art Celje, 2014            

Photo: Tomaž Črnej

In 2013 Mark Požlep was selected for an artist’s residency in Israel. He worked with children and adolescents from Jesse Cohen neighborhood in Holon, Israel, and built a four metre high sand mountain/sculpture, by which he wanted to achieve a cooperation and integration among the people, regardless of gender, age, origin and religion. With the help of an iron wheelbarrow, some shovels, a hoe and many hands, a temporary site-specific work was created as a symbol of the unification of the local community.

Mark Požlep, Aia, Oz
Mark Požlep

Produced by
MGLM/Mestna galerija, Ljubljana / MGML/City Art Gallery, Ljubljana,
The Israeli Centre for Digital Art, Veleposlaništvo Republike Slovenije v Tel Avivu / Embassy of Slovenia in Israel


Mark Požlep, Whatever happened to Major Tom, Gallery of Contemporary Art Celje, 2014                              

Photo: Tomaž Črnej

The piece Whatever Happened to Major Tom was created after the artist produced the Close to the Clouds project for Maribor Art Gallery (UGM), where he placed a palm tree as the only living element into a scenic setting with a sunrise. He then transferred the same palm tree to the real environment. For the artist, the journey began with the purchase of an old Cayuco yacht in Hamburg, and continued with its restoration and the preparations to move the palm tree from the gallery space to a real islet near Unije in Croatia. What had existed before only as a visual image and a metaphor for the realization of a utopian idea got itself a new story, which turned into a personal and project-oriented adventure.

Director of Photography
Aleš Šega
Damjan Švarc / Visual DPT
Jaka Kovačič
Sound recording
Gašper Piano
Produced by
MGML, Kulturni center Tobačna 001, Ljubljana


Mark Požlep, Stranger Than Paradise (Čudnije od raja), Gallery of Contemporary Art Celje, 2014    

Photo: Tomaž Črnej                                                              

The concept for the project was to do a concert tour of the homes for the elderly in seven days, in the seven newly established republics of the former Yugoslavia, with a music programme composed of seven songs that marked the Yugoslav popular music of the 1950s and 1960s. The artist, accompanied by keyboard player Igor Feketi, sang to the elderly in six homes in the cities of: Maribor (Slovenia), Opatija (Croatia), Risan (Montenegro), Sarajevo (Bosnia and Herzegovina) and Skopje (Macedonia). A concert in Kosovo was not approved. Through song, the artist entered the closed world of a generation that has seen the rise and connection of the different states into a single nation, as well as its disintegration.

The concept for the project was to do a concert tour of the homes for the elderly in seven days, in the seven newly established republics of the former Yugoslavia, with a music programme composed of seven songs that marked the Yugoslav popular music of the 1950s and 1960s. The artist, accompanied by keyboard player Igor Feketi, sang to the elderly in six homes in the cities of: Maribor (Slovenia), Opatija (Croatia), Risan (Montenegro), Sarajevo (Bosnia and Herzegovina) and Skopje (Macedonia). A concert in Kosovo was not approved. Through song, the artist entered the closed world of a generation that has seen the rise and connection of the different states into a single nation, as well as its disintegration.

Tour manager
Hana Vodeb
Maria Lucia Cruz Correia, Jure Cvitan, Mark Požlep
Mark Požlep
Igor Feketija, Mark Požlep
Sound recording
Igor Feketija

Produced by
Galerija Škuc, Ljubljana / Škuc Gallery, Ljubljana, Zavod Celeia Celje, Center sodobnih umetnosti / Zavod Celeia Celje, Center for Contemporary Arts
Ministrstvo za Kulturo RS, Mestna občina Celje / Ministry of Culture of the Republic of Slovenia, Municipality of Celje


Mark Požlep, from the exhibition Stranger Than Paradise, Gallery of Contemporary Art Celje, 2014              

Photo: Tomaž Črnej


Acknowledgements: Zveza kulturnih društev Celje, Šolski center Celje


Supported by:









Fokus Grupa, IC – 98, IRWIN, Borut Peterlin, Nives Sertić, Jonas Staal, Hito Steyerl

Curated by: Irena Borić

Borut Peterlin, Flower Power, photo serie, 2008-2013


Center for Contemporary Arts Celje, 17. 4. - 8. 6. 2014
Locations: Gallery of Contemporary Art and Likovni salon



"Meanwhile, with this programme, as with all programmes, you receive images and meanings which are arranged. I hope you will consider what I arrange, but be sceptical of it."

John Berger, Ways of Seeing


When John Berger made the Ways of Seeing, a BBC television series, back in 1972, he introduced a new set of ideas about meanings and the ideological framework of historically acknowledged artworks into the mainstream media discussion. He exposed possibilities of manipulation with the ways of seeing and interpreting art, as well as issues of value, commercial images and institutionalised misogyny. These ways of thinking contradicted the common understanding of art history in which art is seen solely through the categories of style, form and genre. By outlining the effects and consequences of representation, Berger recognized the political as already inherited within the art field, and it is precisely this that makes his contribution so relevant today.

Referring to Berger's thoughts on politics of representation the exhibition Politics Within emphasises two main assumptions. The first one deals with the context of art practices, regardless of whether it has already been set up and defined by various political, economic and social elements or, created anew. The second assumption has to do with the politics of display inherent to the processes of exhibition-making and the mediation of its meanings. Despite of the ambiguity that allows negotiations between various readings, the construction and production of meaning is conditioned by a specific, often ideological, context. For this reason, the exhibition Politics Within tackles not only the meaning of artwork, but its ideological constructions as well, by posing questions on the effects and consequences of representation, its origins, content, intentional and hidden meanings, and the specific usage of visual language and message. Based on Berger's understanding of the context: "Everything around the image is parts of its meaning, everything around it confirms and consolidates its meaning.", the exhibition presents different positions artists take in relation to the ideologies of the image, its representational role, and the strategies of its deconstruction (subversion).

Furthermore, the essential question that the exhibition tackles is what is the political within art, and how political are the ways of seeing today? For instance, at the time when Ways of Seeing were broadcast on BBC, Berger used the most popular medium of television to be critical of the media manipulation of images. Which contemporary media are to address political urgencies today?


The photo series Flower Power (2008-2013) by Borut Peterlin shows that meaning is not simply given, but that it can be subverted, deconstructed and recreated. Working as a photo journalist for years he shot various political meetings in which the scenography and dramaturgy were set in advance. All he needed was to find the right angle and light, and the image was ready for repository. The politicians, as the assumed main actors, use defined codes of style, speech, tone of language, smile (if needed), handshake gesture. The scenography of these events entail visual codes as well, since their design is conceived for an image that is supposed to be spread around the news. There is nothing extraordinary about the images, except for the flower arrangements that bring some colours to the dark suit scene. However, even though the intended meaning had been already arranged, Peterlin denies the politicians the right to power by transferring it to the decorative flower arrangements. Sharpened by the camera focus, the flowers have become the main protagonists of the scene, whereas the politicians remain passively present and their political importance irrelevant. They have become empty signifiers, as the alleged power they represent has been given to the flower arrangements.

The politicians ceased to bear meaning in Borut Peterlin's Flower Power, whereas in the Art, Property of Politics by Jonas Staal, politicians have the role of mediators, communicating the meaning of art to the public. The work Art, Property of Politics was originally presented in the form of a classical exhibition within another exhibition called The People United Will Never Be Defeated, which took place at Rotterdam’s Tent Gallery at the time of the City Council elections (2010). Perhaps there would not have been anything odd with this exhibition if the owners of the exhibited artworks had not been political parties, the candidates for the City Council of Rotterdam. Staal interviewed the politicians on the meaning of the exhibited artworks and on the relationship between art and politics. All of them found that art should be free and that the task of politics is to ensure this, although none of them questioned their own ideological partake on understanding the role of art in society. Just like the artworks from party “collections”, their opinions on the relationship between politics and art in fact reflect their parties’ ideological positions. Moreover, the original context of the artworks integrated in Art, Property of Politics were the party quarters of Rotterdam City Hall, but as they were shifted from the political into the art gallery context, their meaning changed as well. Interestingly enough, the works placed in a political context function as art, while in an art context they function as representations of particular ideologies.

But what happens when an image with clear ideological purpose gets deprived of its meaning? In Kapital 1986-2013 the artist collective IRWIN use socialist-realist, Nazi art and folk art images in a very precise, repetitive and programmatic way. Yet again, these visuals are chosen because of their implications and the propaganda role they had in specific historical circumstances. Coming from contexts loaded with ideological connotations and as such composed in a single composition, these signs are deprived of their original content even though this very content is the reason of their selection in the first place. Assembled as icons, they frame a familiar repository creating at the same time the context of its representation. As Igor Zabel wrote: "The reconstitution of the notion of the icon represents, then, a reflection of the group’s own practice and development as painters, a redefinition of the icon, and the establishment of a frame that delineates in a new way the territory of the icon1. The territory of the icon is in this case emphasised with flanking animal trophies. As they were often symbols placed on government buildings, their new position between the icons gives the icons the legitimacy of holy presence, which cannot be doubted.

Newly established state ideology needs a new historical legitimacy, which often implies the process of creating new archives of events. Through a careful selection – the existing materials can perhaps be re-arranged only through casting shadow or shedding light on certain events from the past. As this pattern of social behavior was in practice in Croatia, the Fokus Grupa framed an archive of events offering a different reading of the materials used. In a case study of Croatian nationalism of the nineties, they relate the language of nationalism to the discourse on nature and sexuality. The point of departure for the work P.H.S.H.N. (2014) was a monument Altar of the Homeland by the Croatian sculptor Kuzma Kovačić, erected in 1994 by the medieval fortress Medvedgrad above Zagreb. The monument reflects romanticism and delusions of grandeur by using the iconography celebrating the Middle Ages and by referring to the Altare de la Patria built in 19th century Rome. Conceived as an assamblage of cubes made out of various kinds of stone, the monument at first appears minimalist, but its total shape is that of the Croatian coat-of-arms inscribed with historical iconographic elements. The Fokus Grupa transforms the shape of the monument into plywood cubes of the same size, altering its function into furniture that opens up an ideological dispositive of an image of Croatian nationalism. The newly formed archives not only archive certain events, but produce them as well. Stored into the furniture set, organized in piles and caches, not all archival materials can be seen. Hence, the presented materials are just fragments, and as such they cannot be grasped at once. Therefore, this unfinished line of thought functions as a raw material of meaning.

Whereas the Fokus Grupa uses documentary material, IC- 98 take off from a myth and build up a fictional narrative. In their work Abendland: The Place That Was Promised (2013) the artist duo confronts the mythological past with a future fiction. When thinking of the past one, the reference is a myth on the Garden of Hesperides, where the evening nymphs resided somewhere in the West, the place of the sunset. While this place is often depicted as a beautiful, fruitful garden, in their idea of a possible future, IC-98 depicts a very old, crooked tree that exhausts rather than nourishes its surrounding environment. The dream of the West as a place of wealth is confronted with its darkened future. The decayed, barely alive ecosystem is situated at an old nuclear fuel repository site. Depicted as a rotten, forgotten place, it proposes the idea of Western Europe with a future of a parasite, resting on what we could hardly call the leftovers of a failed economy.


Hito Steyerl in video work HOW NOT TO BE SEEN A Fucking Didactic Educational .Mov File. (2013) gives out a set of instructions on how to be invisible in an age swarming with images. The video was partially shot at one of the aerial photo calibration targets in the USA, land-based two-dimensional optical artefacts used for the development of aerial photography and aircraft. The targets function like an eye chart at the optometrist, where the smallest group of bars that can be resolved marks the limit of the resolution for the optical instrument that is being used.2 Hito Steyerl's work brings to mind Monty Pyhton's sketch How Not to Be Seen3, in which the narrator attempts to explain the importance of not being seen, since those who are seen end up being shot. On the one hand they are the targets of the camera, while on the other hand as they are shot they disappear out of the picture. Furthermore, in Hito's work the unseen are not only pixels of an image; she also refers to pixels of an image that represent people. She poses a question on today's invisible people: of the discrepancy between the extremely powerful ones, and the ones completely underrepresented in power. However, the proposed instructions on being invisible seem like a rather utopian objective in the given context, and yet the form of a moving image allows various kinds of visibilities. When shown in art designated venues, the video has a high resolution and distinct visibility, while when this video is transferred into a so-called "poor image"4 due to the lack of resolution, it easily travels all over the digital media.

Unlike digital media that allow reproduced, low resolution images, white cube spaces still tend to follow a museum model that plays safe on what is displayed and how. When thinking of the politics of display within a white cube there are often certain predictable models to follow, and it is not often the case that such settings invite experimentation. And to see is the most important tool for understanding the displayed works. Nives Sertić approached the issue of seeing by transferring it into some sort of a choreography. Can ways of seeing physically become (path)ways of seeing? While doing performance Everything I See, It Moves, she explores the designated space for the first time, even though the instructions on the desired movement are set up in advance. The movement and the view are intertwined in a set of given directions that result in a ludic choreography of imaginary pathways, forms and geometrical shapes. Later on, the viewers are invited to follow the instructions coming from the headphones and repeat the choreography. In a sense, the viewer becomes the visible one.


Irena Borić


[1] Zabel, Igor (2006) Irwinove ikone. V: IRWIN:RETROPRINCIP, (Ed.) Arns, Inke. Mladinska knjiga Založba, Ljubljana. str. 77

Optical calibration targets. BLDG BLOG. Retrieved at 27 February 2014 from http://bldgblog.blogspot.com/2013/02/optical-calibration-targets.html

4Steyerl, Hito (2009) In Defense of the Poor Image. In: e-flux journal #10. Retrieved at 20 February 2014 from http://www.e-flux.com/journal/in-defense-of-the-poor-image/



ŽELJKO OPAČAK: The Return to the Kingdom

Željko Opačak, Feel, 2008, intervention in the public space

Overview Exhibition
Gallery of Contemporary Art and Likovni salon, 6.2. – 30.3.2014

The first overview exhibition by Željko Opačak (Banja Luka, 1962) presents his creative path spanning over almost thirty years. It is characterized by its diversity of medium and the way it interweaves the personal, social and spiritual. During his early period in the late eighties, as he moved to Slovenia after completing his studies of Painting in Belgrade, he soon became one of Celje’s more prominent artists, with painting being most potently present in his image-making in the early nineties. These expressive, flatly formed compositions of intense, dense and luscious applications of paint do actually closely resemble the build-up of abstraction, yet their starting point predominantly rests with the landscape and the figure. The artist’s paintings are a sort of intimate record of his observations, memories and states that came about particularly through his constant journeys between Bosnia and Slovenia, his sentiments over the disintegration of Yugoslavia, the death of his father, as well as interest in the ideas of Taoism and Zen Buddhism (Memories series (1998) and Lovers in the Japanese Gardens (1991). In the nineties, he focused on installations, which were filled with symbolism and a mystical atmosphere (The Dreaming Machines (1991–1993), House (1995), mainly utilising materials such as wood, iron, brick and including candles and mirrors into his pieces, which are their most visible and most powerful element. Through a symbolic language, they spoke of the soul, the connection between the visible and the invisible, the worldly and the transcendent. Another important part of his creative work is represented by the works characterized by a critical stance towards the mechanisms and nature of contemporary society. Opačak used the process of appropriation in these works so as to comment on the commercialization of life and art (The Famous Works of an Unknown Author, 2001, installation with paintings and drawings depicted in the manner of Claude Lorrain) and social manipulation, which is carried out in contemporary society in various ways by the agents of power (in The Famous Stories, a series of prints that use the motifs from The Passion, the artist used the famous painting masterpieces, placing his own image where the main protagonists should have been depicted.) From the end of the nineties, especially in conjunction with the annual festival Admission Free run by the Association of Fine Artists of Celje, performances, interventions and actions in the public space, as well as collective work prevailed. A focus on audience participation, hospitality, attention to the world within and the spiritual dimensions of being (Eat a Piece of My Heart (1999), The Artist Loves his City (2006), Veni Veni Sancte Spiritus (2007) were typical for this period, as well as a sharp criticism of the system and state of the country in his collective projects (Commemoration (2013), Look Look (2012).

With the selection of 40 works from the artist’s oeuvre, which are more than chronologically juxtaposed in terms of the content of the individual units, the exhibition aims to outline the main stations of Opačak’s creative thinking.

Željko Opačak lives and works in Polzela near Celje. He is a professor at Velenje gimnazija. He graduated in 1986 and completed his postgraduate studies in Painting at the Faculty of Fine Arts in Belgrade in 1988. He came onto the Slovenian art scene in 1989 with his exhibition of paintings at Likovni salon Celje. In addition to taking part in group exhibitions and festivals, he has also held solo shows at the Gallery of Contemporary Art in Mostar (1990), ZDSLU Gallery in Ljubljana (1993), Likovni salon Celje (1995 and 2001), Gallery of Contemporary Arts Celje (1998), Museum of Contemporary Arts in Banja Luka (2006) and Velenje Gallery (2007).

The show has been curated by Irena Čerčnik, with the texts for the catalogue due to be issued in April, contributed by Alenka Domjan, Petra Kapš and Irena Čerčnik. The exhibition belongs to the cycle of retrospective presentations through which the Center for Contemporary Arts Celje (CSU) wishes to provide the first comprehensive information on the work of artists who, with their artistic oeuvres, make an important mark on the Celje region, and as a result on the Slovenian art scene as a whole. So far, CSU has accomplished the debut major solo presentations of Dalibor Borij Zupančič, Lilijana Praprotnik Zupančič, Franc Purg, Andreja Džakušič and Borut Hlupič. The overview exhibitions of Narcis Kantardžić, Ervin Potočnik, Konrad Topolovec and Manja Vadla are in the pipeline for the next four-year cycle.

The realisation of the exhibition and the publication of the catalogue have been made possible by the support of the Ministry of Culture of the Republic of Slovenia and the Municipality of Celje









Jaroslav Kyša, HR–Stamenov, Susan MacWilliam, Momu & No Es, Nika Oblak & Primož Novak, Mark Požlep, Franc Purg & Voodoo Mule, Helen Stratford, Iva Tratnik, Katarina Zdjelar

6.12.2013. – 24.1.2014
Curator: Maja Hodošček

The international group exhibition The Air of Songs is the materialized portrayal of the bonds that have sprung from the activities surrounding the AIR CELEIA artist's residency programme at the Center for Contemporary Arts in Celje. The year 2014 will see the 10th anniversary of its implementation, and with it the aspiration to meet up again with the foreign artists that were hosted in Celje, bringing together also the Slovene artists that were given, through the joint partnership, the opportunity to live and work in Ireland as part of the artist's residency at Flax Art Studios in Belfast. 

Presented in this year's exhibition (the Center is planning a series of exhibitions that will be sequenced every three years) are the works of eight artists and two art collectives.


The AIR CELEIA programme was initiated due to the changing production conditions in making art, primarily since more and more artists are giving up studio practice in order to replace it with work in the social arena, within national borders as well as beyond. Networking and making connections with the space as a defining factor in the production of art demands a mobile and flexible way of working from the artist. Studio practice is expanding into artistic research, which emphasizes processuality, a way of working that encompasses a co-operation with different social communities, study of historical and political contexts of a particular area, a direct involvement in the local environment or the response to specific processes that occur in a given area. Residency programmes also allow for the dimension of time, which is required for this kind of work.


The Center for Contemporary Arts did not wish to establish a residency programme with a strict institutional character, but a friendly environment with close links to local events. Such an environment creates trust and reciprocity, it is important for creating lasting ties that go beyond the time frame of the residency. Exposing the forms of cooperation that allow for a continuity of functioning is one of our basic policies.

The Air of Songs is therefore an exhibition that is primarily conceived with the aim to re-actualize the existing international links. This includes work created after the residency in either Celje or Belfast, hence offering an insight into the most recent art practice of the participating artists.

The works which are diverse in subject matter (from addressing scientifically unprovable phenomena such as the paranormal field, to the reinterpretation of events from the past or exposing the topical issues of today, the power of the entertainment industry in forming a collective consciousness, the effects of consumerism on individual subjectivity and the natural environment ...) all share an explicit use of sound, various ways of using the voice, music, singing . And this is also where the title of the exhibition comes from.


In the video One Dog, a Man and an Island Mark Požlep sings the Santianna sea shanty. Franc Purg is preparing a performance in cooperation with the Voodoo Mule heavy metal group, which will last several hours. Using painterly means, Iva Tratnik depicts singing and dancing animals. In her piece How to Sing in Public, Helen Stratford invites the viewer to make a personal space for their own voice in public space. 
Katarina Zdjelar presents the process of a voice modulation in her video Stimme, highlighting the use of the voice as a technique that can lead to the self-empowerment of the individual. In the video Variable Physical Status by HR-Stamenov, where sound is replaced by silence, we observe the "speech" of a Bulgarian politician. Talking as an expression of creative thinking is present in Susan MacWilliam's piece F-L-A-M-M-A-R-I-O-N. In parts of the video we observe the Irish poet and writer Ciaran Carson reciting his poetry together with words from a filmmaking glossary.

Nika Oblak and Primož Novak invite us to the cinema by offering us a parody of the trailer for Pulp Fiction, in which pop music contributes significantly to the atmosphere of the work. In the video Mohai by Spanish collective Momu & No Es, pop music appears in the form of a song on playback, which mainly serves as the reason to bring together two fictional subjectivities lost in the middle of an urban city. We can eavesdrop to the sounds of the urban city in the work of Jaroslav Kyša.


The Spirit of Ecstasy, 2011

Intervention in the public space

On the bonnet of the prestigious Rolls Royce car there is a small statuette of a female figure leaning forward with her arms outstretched that resemble a bird’s wings. The statuette is called The Spirit of Ecstasy. The sculptor’s inspiration for the choice of motif was the love affair between British politician and pioneer of the car movement, Lord John Walter Montagu and his secretary, Eleanor Velasco Thornton. Due to class differences, their love affair remained hidden, yet imprinted forever in the statuette, for which Eleanor posed.
With his intervention into the public space of an urban city, Jaroslav Kyša gives the original background a new meaning. We observe the artist kissing and licking the figurine, an erotic relationship taking place between subject and object. Exposing the relationship between live and dead matter points to a modified form of lust, which has occurred with the rise of consumer culture. Objects of prestige have become objects of desire, which are mostly unattainable because of their high financial value. They are symbols of power and success, as they possess an identity which expresses a belonging to a select social class.

Slovakian artist Jaroslav Kyša lives and works in London. He works in installation, video and sculpture, with interventions in the public space constituting a major part of his art practice. He has shown work in solo (Alchemy inside of you, Plusminus gallery, Zilina, 2012,We are All Heroes, Nitra Gallery, Nitra,2011,…) as well as group exhibitions (The Emperor’s New Apparel, Trafo Gallery, Budapest, 2013, Mor Ho!, Red Gallery, London, 2013;…).

Variable Physical Status, 2011

Video, 1’56"

Variable Physical Status, video still, 2011
Courtesy of: Art Project Depot and HR-Stamenov

In astrophysics white holes are described as the opposite of black holes, their existence is questionable. White holes have the property to suck matter into the space-time tunnel and release it later into unknown space. It is believed that the first white hole on planet Earth, somewhere in Bulgaria, swallowed up a train. Scientists from the IMFR Institute believe that from the moment of its disappearance the train could reappear in a particular space away from the railway tracks, which could lead to disaster. After the disappearance of the train, some white holes began to swallow up people! One of the disappeared persons is a young but successful Bulgarian politician who was too concerned about himself and allegedly changed the state of his own existence. As if out of nowhere, in the middle of a speech, he was enveloped by the sudden light which swallowed him up. Even though he could supposedly reappear in different spaces, he will never again appear in normal physical form. (HR-Stamenov)

Bulgarian artist HR-Stamenov creates sound works, installations and interventions in the public space, videos, book projects and experiments, in which he is always referring to the events of the past, paranormal phenomena and scientific investigations. He has participated in international group exhibitions (Die Kunst der Intervention, Galerie im Ratskeller, Berlin 2012, Why Duchamp?, Sofia Arsenal – Museum for Contemporary Arts Sofia, 2012 …) and has presented his work in solo exhibitions (The Phenomenon of W24°58’59,43”N42° 07’55,29”, Lab for Electronic Arts and Performance, Berlin, 2013, Water, Suppositions and Urbanism, Likovni salon Celje, 2012, Presence, Studio Tommaseo, Trst, 2011 …).


Video, 17’13"


In 1931 a ‘teleplasm’ spelling out the name Flammarion appeared on the wall of a cabinet at a séance in Winnipeg. Camille Flammarion, 1842–1925, was a French astronomer and psychical researcher and his name appeared at Thomas Glendenning Hamilton’s sitting of June 10th, 1931. F-L-A-M-M-A-R-I-O-N features a reconstruction of TG Hamilton’s séance cabinet, the Belfast poet Ciaran Carson, Atlanta-based Danish-American poltergeist investigator Dr William G Roll and Arla Marshall, Canadian granddaughter of Hamilton’s Scottish sitter Susan Marshall. Recorded in three cities across the globe Carson, Roll and Marshall come together in F-L-A-M-M-A-R-I-O-N and respond to the image of the teleplasm. (Susan MacWilliam)

Susan MacWilliam’s video works have been exhibited internationally and are held in the Drama and Literature Section of the British Library’s Sound Archive. In 2009, she represented Northern Ireland at the 53rd Venice Biennale with her solo show Remote Viewing. Solo exhibitions include: NN Contemporary Art, Northampton (2013), Open Space, Victoria, BC (2012), aceart inc, Winnipeg (2010), Gimpel Fils, London (2008) …Group exhibitions include: NGBK, Berlin (2013), Kunsthalle Krems, (2012), Deichtorhallen, Hamburg (2011), Kino Kino, Sandnes (2011) … Susan MacWilliam is a lecturer in Fine Art at the National College of Art and Design, Dublin.

Mohai, 2012

Video, 13' 29"

The video Mohai presents the moments of the lives of Nane and Carina, who do not meet the norms of western society with their appearance and behaviour in any way. Their clothes are wacky, and their living space and way of spending time is also out of the ordinary. They seek to appease the spiritual emptiness that they feel in their everyday lives in the midst of the urban city. Their search for happiness does not follow the endless possibilities of choice offered by consumer-oriented society. Instead, they sway towards mystical forces and ancient beliefs. They buy a huge totem in a pawn shop, believing that the permanent presence of this magical object in their lives will bring them good fortune.

The art duo Momu & No Es consists of Lucia Moreno Murillo (Momu) and Eva Noguera Escudero (No Es). They have been working together since 2005, creating multimedia installations, videos and performances. A selection of recent exhibitions: Los Logrados, MAS, Museo de Arte Moderno y Contemporáneo de Santander y Cantábria, 2013 (solo exhibition), Three Artists Walkinto a Bar, de Appel, Amsterdam, 2012, POP POLITICS: Activism at 33 Revolutions, CeCentro de Arte Dos de Mayo, Madrid, 2013, etc.

Shund, 2008

Video, 2’23"

The video Shund is a reenactment of the trailer for the cult American film Pulp Fiction (1994) directed by Quentin Tarantino. The artists perform all the film parts that appear in the original trailer themselves. With the help of costumes and make-up, they create a copy of the external appearance of the performing characters. By making film props, with the help of found photos from the web, and by using the Chroma key technique in the studio, they also create a copy of the scenography. It is an ironic depiction of a product of the Hollywood film industry, which successfully exports the ideology of media stardom around the world. Media recognisability brings a certain social status. The increase in the widest variety of reality shows proves just how massive the desire for fame is. In their trailer, Nika Oblak and Primož Novak at least seemingly become film stars in a non-existent film.

Nika Oblak and Primož Novak have been working as a duo since 2003. They have both completed their postgraduate studies at the Academy of Fine Arts and Design in Ljubljana. They have presented their work with acclaim in Slovenia as well as abroad, in solo (Absolutely Fabulous 5, MC Gallery New York, 2011, Saetchi Collection, Zero Gallery, Berlin, Germany, 2008 ...) and group exhibitions (EMAF – European Media Art Festival, Osnabrueck, 2012, Robot Museum, A plus A, Venice, 2012 ...). They have attended several artists’ residencies around the world, including the ISCP studios in Brooklyn (NY). They live and work in Ljubljana.

One Dog, a Man and an Island, 2011

Video instalacija


The artist sings the sailor folk song Santianna, which dates back to the 19th century, to the times of territorial war between Mexico and America. The title of the song refers to President Antonio Lopez de Santa Anna, who was in charge of the Mexican rebellion against the U.S. forces at the time. The video translates the historic geopolitical conflict into an isolated quest for the space of the ideal. Požlep understands this as a sort of indeterminacy, as a stream of changing identities, processes and ways of living. He is primarily interested in the unpredictable journey of life, which forms with its own experiences as a way of acquiring knowledge about the present. Achieving the desired state represents a constant struggle with the various structures of society, as it is almost utopian to think about a space without historical, political and economic contexts, which significantly influence one’s subjectivity and way of life.

The Celje artist Mark Požlep received his master’s degree in Painting from the Academy of Fine Arts and Design in Ljubljana and is currently pursuing his postgraduate studies on the Transmedia programme at the LUCA School of Arts in Brussels. He works in painting, installation, video, artists’ books and performance. He likes to take on group projects (The Gods Came for Dinner Last Night with Jaša, U3 – 7th Triennial of Contemporary Art – Resilience, Museum of Contemporary Art Metelkova (+MSUM), Ljubljana, 2013, Queens & Criminals with Meta Grgurevič, Kibla, London, 2010 ...). He has presented his work in numerous exhibitions (Almost Spring / 100 Years of Slovene Art, Maribor Art Gallery, 2013, The Event, 29th Biennial of Graphic Arts, International Centre of Graphic Arts, Ljubljana, 2011 ...). He is currently on an art residency at the Israeli Center for Digital Art in Holon.


Franc Purg & Voodoo Mule
20. 118 /

Performans and video animation, 2013 

Fotografija: Andraž Purg

Purg has addressed environmental issues already in some of his previous projects, however, in his new piece he has put his attention to the list of endangered species of animals and plants that is getting longer with each passing year. The artist was reading the list of endangered species in Latin, whilst with every read word the group Voodoo Mule is responding in heavy metal manire. Part of the performans is a minimal video animation that visualizes  the question of appearance and disappearance.

Celje artist Franc Purg lives and works in London and in Celje. His practice is diverse, comprising of sculptures, installations, videos, sound works, installations in the public space, performances and collective actions. He uses his work to explore social reality, responding to it in a critical manner. His has presented himself in solo shows (Coming Back, The Future!, Center for Contemporary Arts, 2012, Privileged Tactics I, II & III, P74 Gallery, 2008 …) and numerous group exhibitions (The Event, 29th Biennial of Graphic Arts, International Centre of Graphic Arts, 2011, Consume, Exit Art, New York, 2010 …). His work has won numerous awards (UNESCO Digital Arts Award, 2007, Jakopič Award, 2005, International Media Art Award-Zentrum fur Kunst and Medientechnologie, Karlsruche, 2003 ...). Purg’s works are included in the collections of Moderna galerija Ljubljana, Center for Contemporary Arts Celje, Maribor Art Gallery, New Media Collection of the Centre Pompidou, Paris, etc.

How to Sing in Public, 2013

 Sound piece

How to Sing in Publicis a sound recording that takes the listener through the seven preparatory exercises for singing. The exercises focus on the relationship between the listener and the space in which he is situated. The public space, not intended for singing, thus becomes a place where anyone can sing their favourite song, bestowing the gift of their voice to passers-by. This act can become transformative since it interrupts and changes the rhythm of everyday life for a moment.The idea for How to Sing in Public came out of a workshop with students from Gimnazija Center – Celje,  who were asked to develop a series of instructions for ways the public market building in Celje might be performed differently to its everyday use. One answer was singing. The voice of the audio is Gea Gračner, a student who took part in the workshop. The piece was developed in collaboration with UK Mezzo-Soprano singer Lucy Taylor and translated by Slovenian Mezzo-Soprano Mojca Vedernjak.

English artist Helen Stratford completed her studies in Architecture.Her art practice explores the expanded spaces of architecture. She is interested in the performative aspects of architecture and how built structures dictate the behaviour of the individual. She is preparing a solo show for Likovni salon for 2014. Group exhibitions include: A State of Unplay, Atelje 35, Bukarest, Romania, 2013, CUBEOpen 2010 in collaboration with Diana Wesser, Manchester CUBE Gallery, England, 2010 …

Posthuman / Mantis Tango, 2013


Iva Tratnik has prepared a new painting especially for the exhibition, in which we find dancing and singing animals in a dynamic composition. Tratnik’s usual motifs, such as moths and mantises, reappear in this painting, only to be joined by boisterous cats.

Iva Tratnik, an artist from Celje, works in the field of painting as well as performance and contemporary dance. She is a member of the SIVA group (with Andreja Džakušič and Simon Macuh). She is a regular participant of the Free Admission festival, organized by the Association of Fine Artists of Celje. Her most recent solo show entitled Blackboard was presented at Likovni salon Celje (2012).  She has presented herself in group exhibitions (Sarajevo Winter, Sarajevo, 2013 …). Together with painter Marko Jakše they produced a series of paintings entitled Battle Dance on the Bombarded Moon (Gallery KIbla, Maribor, 2011).

Stimme, 2013

Video, 16' 56"

The video piece Stimme focuses on the training between a voice coach and her client, a young lady who fails to speak with her own voice. Focusing on the instances on having and receiving voice and its pitch, the piece opens up the questions around political and historical implication of voice modulation and its pitch (bringing to mind for instance Margaret Thatcher), its economy and the politics of anatomy.
The piece considers when voice becomes our personal property, where does the voice begin and where does it? Who is speaking when we speak and who is entitled to speak? The body of a trainee is akin to musical instrument. (Katarina Zdjelar)

Katarina Zdjelar lives and works in Rotterdam.She works in video and sound, book projects and educational platforms. Zdjelar has presented her works in numerous solo (Of More than One Voice, Museum of Contemporary Art Artium, Vitoria-Gasteiz, Spain, 2013, My Lifetime (Malaika), SpazioA, Pistoia, Italy, 2012 …) and group shows (HIS MASTER’S VOICE: On Voice and Language, HMKV, Dortmund, Germany, 2013, Time, Trade, Travel, Nubuke Foundation, Accra, Ghana, 2012 …). She also represented Serbia at the Venice Biennale (2009) and has won many awards. She is currently an MA Fine Arts tutor at the Piet Zwart Institute (Rotterdam) and a tutor on the Master Artistic Research programme at the Royal Academy of Art and Royal Conservatoire (The Hague).

Exhibition The Air of Songs is supported by:




SCULPTURE TODAY: Performative Bodies and Spaces

Maša Jazbec, Apparatus Monolith no. 2, 2012

Martin Bricelj Baraga, Vadim Fiškin, Tomaž Furlan, Maša Jazbec, Andrej Kamnik, Theremidi Orchestra (Simon Bergoč, Tina Dolinšek, Luka Frelih, Ida Hiršenfelder, Dare Pejić, Tilen Sepič, Saša Spačal, Robertina Šebjanič, Dušan Zidar), Luiza Margan in Miha Presker, Primož Pugelj, Tobias Putrih, Tao G. Vrhovec Sambolec, Borut Savski, Saša Spačal, Tanja Vujinović

Gallery of Contemporary Art and Likovni salon, 26.9. – 24.11.2013
Exhibition curators: Tomaž Brejc, Irena Čerčnik, Jiri Kočica, Polona Tratnik

This year’s exhibition and publication, which have focused mostly on the performative dimension within the field of sculpture, conclude the Sculpture Today project spanning over several years, a study and overview of sculptural activity within the Slovenian arena. The project began in 2010 when the Center for Contemporary Art Celje introduced contemporary sculpture as an expanded field that goes beyond the definitions of the medium and enters the field of the social, scientific, technological and interdisciplinary. The project continued in 2011 with a focus on the issues of the figurative and the relations between the sculptural body and the body of the viewer, and in 2012, with a focus on the interplay between art and science. The fourth and this year’s edition of Sculpture Today entitled Performative Bodies and Spaces brings together works that contain movement, aliveness and changeability. By using the elements of the dynamic, unexpected, interactive and performative, the crossing of the viewer’s role from that of the performer in interactive installations, to that of the viewer of performative objects and sculptures, we wanted to offer an experience of sculptural installations as performance spaces, which are capable of leaving a trace of the event with the visitor.

The exhibition features 14 artists, including new projects prepared specifically for this occasion by Martin Bricelj Baraga and Tao G. Vrhovec Sambolec, whereas Maša Jazbec has produced a third set-up of her interactive projectApparatus Monolith, in which she has used bit fields to connect the Monolith erected at the Gallery of Contemporary Art Celje with the Monolith in the Church of St Nicholas in Trbovlje. She has also set up the Apparatus Monolith web portal for the duration of the exhibition. Bricelj’s installation entitled Nine, by which the author refers to tense and conflicting political situations, features performative objects that suddenly increase in their body size, creating an atmosphere of the presence of something living and threatening. In the Untitled Time installation by Sambolec, the viewer becomes the performer that sets off the event, which will take place in the indefinite future. The viewer also takes on the performative role in the piece entitled Concert by the Theremidi Orchestra, when he has the option of becoming the user of the do-it-yourself instruments and a creator of sounds. Similarly, also in the Wear series by Tomaž Furlan, if he is willing to risk using his devices and “dangerous prosthetics” (Brejc). Besides Bricelj’s, also Fiškin’s balloons are performative sculptures, which dance to a waltz by Pyotr Ilyich Tchaikovsky in the installationtour en l'air. Such are also the dynamic and moving sculptures of Borut Savski, which function as “living” organisms, named by the author as Being, The Tree of Life and The Flowers of Evil. The ant colonies, which Luiza Margan and Miha Presker settled into the installation Formication, constantly create changeable forms in the projected image of the building site. Aliveness, movement and changeability are present in the responsive installation 7K: new life form by Saša Spačal, a technological biosphere inhabited by plants, microscopic organisms and constructed nano-creatures, as well as in the responsive installations by Tanja Vujinović (Oskop) and Andrej Kamnik (Wind Code Image). With Oskop, movement is present in a variable audio-visual composition, whereas with Wind Image Code, where the author explores the possibilities of interactive facades, it shows itself as the changes on the building and in the digital image. All three installations react to the presence of the viewer, who triggers off the dynamics in the pieces with movement. Hence the viewer holds a central position and role in most of the works, whose implementation actually begins with his presence. The reactions of the pieces are sometimes more and sometimes less obvious, taking place completely unexpectedly, like for instance in the interactive piece Apparatus Monolith by Maša Jazbec, who explores the relationship between real and virtual identity. Dynamics and movement are also present in the sculptures of Tobias Putrih and Primož Pugelj. Putrih’s monumental Maculas, an ingenious intertwining of collaboration between people and technology, are the result of the repeated errors of those collaborating, who have tried to follow the author’s original perfect geometric form in their drawings on paper. Pugelj’s heavy, but seemingly light sculpture (mask) Divided, is built up into an optically variable surface with the movement of the viewer through the alternation of material substance and blank space.

The four-year project Sculpture Today aimed to showcase certain aspects and developments within the field of contemporary sculpture, highlighting its complexity, breadth and boundlessness, particularly in terms of its abilities to interconnect and upgrade with other mediums. Even though we have tried to embrace into the project as many artists as possible whose works can be classified as belonging to the field of contemporary sculpture, its nature is by no means comprehensive, and many artists have been omitted due to one reason or another, and particularly due to the number of editions being limited to four, as well as the limitations of available space.

A catalogue has been published to accompany the exhibition, which has been issued on this occasion by the Celeia Institute – Center for Contemporary Arts Celje.


Martin Bricelj Baraga
Nine, 2013

(study – part of the 99 project)

Technical design: Igor Vuk
3D Visualisation: Erik Margan
Sound Design : Olaf Bender
Production: Center of Contemporary Arts Celje and MoTA

The project 99 by Martin Bricelj Baraga is inspired by "99 Luftballons" (Neunundneunzig Luftballons, "99 air balloons"), an anti-nuclear protest song by the German band Nena from their 1983 self-titled album. While at a June 1982 concert by the Rolling Stones in West Berlin, Nena's guitarist Carlo Karges noticed that balloons were being released. As he watched them move toward the horizon, he noticed them shifting and changing shapes, where they looked like strange spacecraft (referred to in the German lyrics as a "UFO"). He thought about what might happen if they floated over the Berlin Wall to the Soviet side.


Vadim Fiškin
tour en l'air, 2009

Courtesy: artist and Galerija Gregor Podnar, Berlin
Production: Association DUM, Ljubljana

tour en l'air is a spatial installation with helium filled star-shaped balloons floating in the air, synchronised to a waltz by P.I. Tchaikovsky.


Tomaž Furlan
Wear series, 2005 – 2013

interactive sculptures and video

The Wear series has fifteen parts so far. It is a kind of analytical reflection on the simple use of the interactive pieces. The pieces, or should I say sculptures, proved to be extended functions of the body in some forced process. In The Wear Project videos they are used as scene props in the form of clothes for the simple function of doing something. The name Wear derives from this, which suggests that these pieces are actually clothes, but they are also functional objects made for a certain production or ritual action. As I was alone when making them, I also tried on and used these pieces. It feels pretty silly to wear these “hard-wears”, use them, and explore their purpose. So why not make it even sillier by recording it on camera? Therefore, the videos are not representations of the function of the pieces, but a live way of using the pieces in action. (Tomaž Furlan)


Maša Jazbec
Apparathus Monolith no. 3, 2013
Galerija sodobne umetnosti, Celje - St. Nicholas Church, Trbovlje

The Apparatus Monolith appears in a set-up of two or more Monoliths in different locations. The faces of the visitors that enter into the interaction with the Monolith on site A, at the same time appear in the Monolith on site B. The newly created individual’s entity travels via bit fields to a different location where the turnaround takes place. If the entity in the first Monolith has been sucked up, it is spat out by the other to an unknown destination. The work raises questions as to what is going on with the identity of modern man, who increasingly exists and functions in a digital world. 

For the duration of the exhibition the Apparatus Monolith web portal has been set up, which shows the faces of the visitors and their newly formed digital entities. Anyone from anywhere can monitor the activity of the Apparatus Monolith over the portal. 


Andrej Kamnik and Marko Pihlar
Wind Code Image, 2008

Concept and implementation: Andrej Kamnik
Software design: Marko Pihlar (Xlab)

Wind Code Image is a prototype of an interactive façade and interior walls in an interaction with the wind, draft or the air currents of air-conditioning systems within a building. The mechanized wall that separates the interior from the exterior transforms any windy occurrences on the one side of the wall into animated images on the other. The computer programme connected to the sensors on the façade encodes the dynamics of the outside in such a way that the inside becomes a visual attraction. The Wind Code Image project aims to explore the possibilities of sensory, responsive and interactive architectural elements that could be incorporated into new buildings or used on existing structures. In the way that the exterior is creatively translated into the interior, the wall of the building changes from the usual caesura and surface for hanging traditional decorative elements into a “transparent” membrane that allows a different consideration of the overall architecture of the building.


Theremidi Orchestra (Simon Bergoč, Tina Dolinšek,
Luka Frelih, Ida Hiršenfelder, Dare Pejić, Tilen Sepič, Saša Spačal, Robertina Šebjanič, Dušan Zidar)
Concert, 2013

The Theremidi Orchestra (verb) was founded after a three-day theremin and theremidi physical interface workshop at Ljubljana Digital Media Lab – Ljudmila in May 2011 under the comradeship of Cirkulacija 2’s Borut Savski, who later also joined the line-up. The fascination for the electromagnetic sound waves grew into an exploration and production of sounds with the help of DIY gadgets, antennas, conductive ink, umbrellas, wire ducklings, air tubes, flowers and scrap metal. The live acts – indoor and outdoor – are more similar to experiment-seeking interventions, ongoing workshops or performances rather than conventional music concerts. The hands-on electro noise ensemble exists in the eternal present although it also refers to the history of electronic music, while the number of members varies from eight to ten, sometimes even twelve. The Theremidi Orchestra has its very own Female Section. The Theremidi Orchestra released its début double EP 4011 under Trivia Records in March 2013.


Luiza Margan and Miha Presker
Formication, 2007-2013

The installation Formication adresses the role of the individual and the group within the social system of constant progress. It explores the structure and meaning of the image through the layering and merging of its parts. Six layers of drawings on transparencies are positioned one above the other on a structure on top of an overhead projector and merged into one image – a construction site – in the projection. This structure is connected with plastic transparent tubes with an ant colony nest on one side and the ants' food chamber on another. The ants pass from their nest through the layers of drawings to get food, producing an uncontrollable movement and functioning like a kind of error within the image. The overhead projector projects the image together with the ants' motion on a large scale wall. One can follow the process of sculptural change in time, since the installation is an unpredictable and ongoing process, changing as the ants carry food and sand over the layers of the drawings, daily altering the perfect image of the construction site.


Primož Pugelj
Divided, 2012, black concrete and black iron

In the piece Divided I would like to warn or remind the observer that we are still one person, even if we are split into several personalities. The consequently upset inner balance of the individual, the sense of worthlessness, dispensability, the lack of any sense whatsoever, and the general state of nihilism takes away the human ability to make sound judgments and usually leads to irrational behaviour and consumption, which makes life seem meaningful in the short term. (Primož Pugelj)


Tobias Putrih
Macula K/15, 2013, cardboard

Courtesy: Galerija Gregor Podnar, Berlin

The artist draws a square and starts to make variations of it on one sheet of paper after another by covering the first drawing; during duplication, multiplication, the original figure is changed. In each consequent variation, the geometric solidity loosens, stretches and contracts as if we were using the drawing to reach into the unknown. The first 21 variations of the moving square are his. After that, recognised and random draughtsmen take part in the production. Each only sees the final reshaped, free “interpretation” of the square of his predecessor, which is increasingly biomorphous, misshapen, and then draws his own version upon the version. This is followed by another 360 drawings and the last draughtsman can but assume what the original figure looked like. These drawings are transferred to a computer programme, which guides the cutting machine with sharp needles in cutting out the card. They are then assembled in order from the bottom up (the entropic part is at the top). The thin cardboard cut-ups that look translucent and corrugated from the side, are not stuck, nor are they moistened, but are placed one on top of another and so the sculpture of contours grows to its top. Through the small slits in the outer “coat” towards the light we can also notice the inside “model” made in the same way, but in a counterpoint relation with the outer rim. The massive, architecturally formed sculpture is in comparison with its appearance almost featherweight (10 kg). It is such also when viewed up close. Series after series of filigree cuts creates a fine optical beauty that forms a considered and light aesthetic form out of a simple substance. (Tomaž Brejc)


Tao G. Vrhovec Sambolec
Untitled Time, 2013

Untitled Time is a work consisting of a set of identical postcards with written instructions:

"Take time
Write this postcard to yourself and send it now
You will receive it sometime in the future"

The postcards are displayed in an installation which invites the visitors to follow the instructions and activate the work. The act of sending the postcard to oneself and being aware of receiving it sometime in the unspecified future triggers the visitor's expectation and imagination of her/his future memory of "now". Receiving the postcard at a later time recalls the memory of the moment of sending it as well as the past imagination of its (then future) reception. As the work develops in time, it slowly spreads beyond the confines of the exhibition space, extending to the private homes of the visitors, dissolving into a multitude of unique and personal messages. Through these processes, Untitled Time destabilizes the relations between the visitor and the artwork, memory and expectation, time and materiality. 


Borut Savski
Strained Structures, 2008 - 2013

The project deals with the relatively fundamental research of autonomous structures/systems – namely (but not exclusively) the mechanic moving organons. It is about previously strained – and after that in a special way interconnected basic elements that in the final stage – as intertwined – make up a structure, onto which all the strains of basic elements are transferred. I tried to create a kind of twisting body – a morphologic object. The secret is in the use of torsionally twisted plastic elements that, when fixed (at least two together) on one end, create a transfer of torsion energy to the whole of the structure. The condition is that on the other end, the elementary structure is rooted to the point that is not directly connected to the first end of the basic structure). It is, however, desirable that the final combination of these elements creates a structure that is self-contained – and “strained” as a whole. The result is an interesting cybernetic system that has a built-in energy – and a number of properties, that make it “more body-like, more organic, more alive”. All the systems have sensors to scan the surroundings and respond to it with a non-linear movement. Of course we are in the domain of building autonomous machines popularly known as robots, although we much prefer the term dynamic structure. (Borut Savski)


Saša Spačal
7K: new life form, 2010

Concept, research, visual and spatial realization: Saša Spačal
Processing programming, system of sensors: Joby Harding
Max/msp programming, sound design: Tadej Droljc
Scientific consultation and micrographs: dr. Aleš Kladnik (Biotehnična fakulteta, Univerza v Ljubljani)
Production: MMC Kiberpipa

7K: new life form is an interactive audio visual art installation in which visitors find themselves immersed in a unique techno-eco system. A world also inhabited by plant life, microscopic organisms and a strange new class of engineered nano-beings. 7K’s vision of future reality features a custom-built photosynthesis chamber, electronic sensors and purpose-shot footage of life under the microscope to create an autonomous system in which visitors become active participants.
As human beings we have lived in an organic environment which we classified as biological, sorting all of its beings into six organic kingdoms. With our will to survive and procreate we became the origin, the maker of another kingdom, a kingdom much less ecological, biological and organic; a kingdom of various material tools, mental concepts, social organizations, new ways of using concepts from nature, in short, a kingdom of technology. This kingdom has been evolving alongside us and has formed new life which grows by its own accord. Technology has a life that we explore, use and learn about just as with the organic kingdoms. We also use it to explore, communicate, upgrade and cultivate biological life that by now requires our intervention in order to survive and prosper. The two have become so intertwined that technology itself has become nature.


Tanja Vujinović
Oskop, 2011

Production: Ultramono, 2011
Executive producer: Jan Kušej

Oskop is a black textile “creature” that mirrors and transforms our presence into a continuous formation of a dynamic sound sensitive “living” digital organism. The black totem-like object contains a video camera which emits a signal that is processed in a custom-made patch, and the result is displayed in the space as a real-time audio-visual composition.



Manja Vadla

In collaboration with Maj K.V., Faruk Pašič, Sub-i-Magos live (Sinkronics) and visitors


Gallery of  Contemporary Art, 25.4. - 16.6.2013

Manja Vadla is one of the more prominent artists from Celje, who has been on the art scene since 1992. She works on her own, but also takes part in collective projects, combining a wide range of artistic practice in her work, from painting, printmaking, video and installation, to intervention and action in the public space. Her creative process is essentially characterized by self-referentiality, social criticism, establishing situations that offer the viewer an experience, as well as the concept of recycling, which can also be seen in the repetition and use of individual elements or entire sequences of a project in the work that succeeds it. Up till now, she has presented herself with several solo exhibitions (among the most recent ones are the multimedia series It's time for revolution at the Ivan Grohar Gallery in Škofja Loka (2012) and at Plevnik-Kronkowski in Celje (2009 and 2010), where she also presented the painting installation You’re the same whenever I see you, apart from last time held last year, as well as her multimedia installation Pandora at Equrna Gallery in Ljubljana in the same year). She has also taken part in numerous group exhibitions and art colonies at home and abroad and is one of the key figures of the Free Admission festival of artistic interventions, actions and performances, which takes place annually in Celje’s city centre.

Vadla’s latest project I Who/Jaz Kdo, presented in the Celje Gallery of Contemporary Art, is a multimedia spatial installation, which she uses to discuss personal reality and the actuality of building personal identities through the presence of three subjective worlds (with all their complexities, inclinations and experiences, interests, relations and social engagements). The reason for it came in the form of an invitation from the gallery, requesting the artist to prepare a project for the exhibition venue in collaboration with another artist or individual from the non-art world. The author’s fascination with the creativity of the individual, especially that which she sees as a product of one’s own search for a position in society and as a product of internal distress in confrontation with social norms, has resulted in the creation of a project in collaboration with her son and partner. 

By organizing the installation as an open or closed space, saturated or passable, chaotic or orderly, as the individualisation of single units that follow one another, but at the same time encroach into each other, connect, with a multitude of elements – things, recordings, notes, images, directed or scattered gazes, self-referential and socially critical, bearing in mind the viewer, to whom she has dedicated the social space at the end equipped with armchairs and instruments that he can use and thus pass from being an observer to being a participant (a co-creator of sound in particular), the artist has composed with dramatic precision a complex, multifaceted environment in which, as in reality, individual subjectivity is built up through difference and through a network of connections.


Displaced world, deplasiran svet.


Uroš Weinberger, Video Control, 2012, oil on canvas

Gallery of Contemporary Art, 28.2. - 14.4.2013

Painter Uroš Weinberger has always been met with a warm reception in the environment of his origin, a proof of which has been his perpetual presence on this visual art scene in the area, among other things. Already as a fresh graduate from the Ljubljana Academy, he presented his work masterfully at the third biennial exhibition, A Look 3, at the Lamut Visual Arts Salon in Kostanjevica na Krki. Since then, he has been invited to all the consecutive exhibitions, including the latest, where he was the winner selected by curators from all over Slovenia. This award strengthened the artist’s recognition at home, and his presence abroad is growing.
Relentless research, which has led the artist to carry on along his path, and an extensive opus that Uroš Weinberger has created in mere ten years of making art make the observer realise that this is a painter whose exhaustive creativity denotes not only his calling, but a primal need of vitality. His creative action is always based on making something new. And as we can see, his creative path always follows a particular aim in his effort to achieve the appropriate visual articulation, which is to function as a message, and last but not least as the truth, so meaningful to Uroš Weinberger. What I am referring to is the joining of the autonomy of the medium of painting with a creative attitude dependent not only on fleeting mental flashes or associations; moreover, it is about deliberate, thorough research into the appropriate visual formulations of meaning.

It is a fact that this is a studious artist, who has, however, never let himself be seduced by the abundance of available modern media of expression, like some of his generation have. From the beginning, he has been profoundly convinced of the choice of a single medium of expression, making painting his consistent and, as it appears, his definite creative path.

Nevertheless, it is with the exhibition entitled Displaced world, deplasiran svet., it appears, that Uroš Weinberger is finishing the era of youthful eagerness to find his personal expression. The works, with which he has chosen to reach us this time, were made in the manner, which he has used and perfected for a long time, and which practically characterises his entire opus, the principle of collage. Frankly, he has chosen various means of expression. He concentrated on the classic collage initially using his own drawings and sketches on paper, transferring over time to painting compositions, which allude to the collage, while in this kind of concepts he has recently been using carefully chosen documentary photographs, or their details, taken out of different media and contexts, which he interprets in paintings creating in this way his view of the world.

As we know, the principle of collage as such is not a very innovative manner of expression in visual arts. Owing to its exceptional possibilities of relating meaning, a number of artists have used it since the beginning of the previous century (Dadaism), for instance Robert Rauschenberg as a prominent representative, and Sanja Iveković or Sigmar Polke among the most recent artists, and it is not a rarity among young artists of today after all. It is tailor made for Uroš Weinberger, as we say, with a number of his creations belonging to the top achievements of Slovenian visual arts scene. Standing out are those packed with narrative.

We can sense certain bivalence in his opus manifested in two extremes. Some of his works are of an explicitly monumental nature. They are characterised by clear borders and a minimum number of scenes in undefined environments. Meanwhile, others are packed with narrative, which makes their readability highly intricate. Although a presence of the artist’s fear of the empty (horror vacui) comes to mind, we can recognise a principle made plausible by the topic itself. Uroš Weinberger relates his topic by listing and intertwining carefully chosen metaphors and quotations.

Uroš Weinberger has reacted plentifully to everyday problems in recent years. Interpretive perceptions of intense impulses of our increasingly cutthroat living that we experience in our immediate environment and follow through the media every day, which is generally difficult to avoid, have become his priorities. In his attitude of deep social involvement, he has directed all his creative passions into a charge of powerful eruptive expressiveness. Attracting the observer with their allure of highly aesthetic ideals, his works actually cut deeply into the core of the problems singled out. It is the artist’s goal to seduce the observer and corner them immediately in order for them to recognize the issue. He wants to trigger a switch in their minds, so that they would rethink and change their established points of view.

Uroš Weinberger has designed a highly thematic display. Its name, Displaced world, deplasiran svet., tells us graphically where and what its message is. This is reinforced by purposely writing the title wrong. We live in a world, which under the cover of virtual order is essentially deformed, full of confusion, nonsense and contradiction. We are becoming more and more passive, uncreative, and thus more easily controllable. Individuals recognizing and confronting this are exposed to omnipresent mechanisms of control, which contribute to their taming.

As an artist, he stresses this exhibition was meant in its very design as an extremely personal statement. We can imagine the presence of the artist in individual images going through all this since his naive, perceptive childhood. He also refers to the present statuses of an artist and the arts in general. He says that an average day will leave a void filled in by the mass media that are becoming increasingly aggressive in trying to take over the control of material arts.

Of course, Uroš Weinberger does not mean the once utopian Orwell’s Big Brother, supposedly omnipresent and all-seeing, and sending the disobedient for reeducation, or the eye of God, who can apparently secretly punish our sins. The artist forces us with his representations to face the reality and makes us confront the base methods of monitoring control, and uncompromising methods of persecuting people who violate the order and are ill-adapted to our environment. The persecution progresses to beating with truncheons or to simple elimination. At the same time, he reminds us that these methods are not new. They come from the days of our ancient, and not so ancient, ancestors, and they are popular even today with all totalitarian and authoritarian regimes.

Entering the exhibition, we are distracted by sound impulses enveloping the display area as they are coming from tubes snaking through the entire room – from paintings through all places and forword outdoors. They seem to insist on involving us in the events on the canvasses, so that we become part of this displaced world, willingly or not.

Barbara Rupel

Overview Exhibition

Andreja Džakušič, Lunch, 2011

Gallery of Contemporary Art and Likovni salon, 20. 12. 2012 - 21.2.2013

Andreja Džakušič is one of Celje’s most prominent artists, and among the few in the Slovenian arena who express themselves mainly through performative practice. She mostly articulates her work around three pivotal points which are self-referential, inter-subjective and socially critical. She appeared on the art scene in 1999 with the multimedia installation Drawers of Memories that already encompassed some basic definitions that have marked her continuing artistic practice: the use of her own body as a means of communication, and making reference to personal situations as well as those within general society. Her next milestone direction occurred in 2002 with the exhibition Unusual Pairs (with Radivoj Mulić), when she stopped producing formally purified, aesthetic objects and focused her attention on the participation of viewers, as well as investigating and generating interpersonal relations, which become the essence of the artwork. Such artistic strategy, in which the visitors are those who make sense of the exhibited dispositive, can be found in her later works like Picnic on the Grass (2004) and Lunch (2011). We also come across it in the performative works like Washing Feet (2006) and Bloody Mary (2007), in which the significance of the piece depends entirely on the viewer’s willingness to cooperate, since only then is the real content and value of the work disclosed to him, through his own feelings and reactions. The majority of her production over the last ten years or more has therefore focused on the non-material and the creation of social spaces imbued with an atmosphere of spontaneity, or in the creation of thought-out situations that offer a certain experience to the coincidental passer-by, particularly in a street context.

When her work stems from the everyday situations of her life, she pours life itself into her art and that which she is surrounded by at a certain time – family, housework, motherhood, death, grief. This way of working can particularly be found in the pieces Developing Compassion (2006–2008) and Woman and Artist, Artist and Woman (2010). When she reflects and comments on the social climate and the state of the world – for example attitudes towards the environment (Hanging Gardens, 2012), cultural policy and the position of the artist (Survival Tactics, 2011), local reality (Cel'e 'as a deaf ear, 2010) – her engagement and critical stance are never coloured by aggression. She engages with her subtle, soft and precise presentation, which unobtrusively coaxes the viewer into reflection.

A significant number of her performative pieces have been produced as part of the Admission Free festival, organised for several years now by the Association of Fine Artists of Celje. Her openness to networking and cooperation, as well as the tendency to self-organize and function outside institutions, are reflected in her collective work: her participation in collective interventions and campaigns on the Celje art scene and beyond (Present, Teambuilding, Public Readings, Look Look) as well as the collaboration with the SIVA art group (Andreja Džakušič, Simon Macuh, Iva Tratnik).

Andreja Džakušič presented her work for the first time at the Celje Centre of Contemporary Arts, at Likovni salon to be exact. The cooperation between the Centre and the artist continues up till this day, as we open a retrospective exhibition of her work and a monographic publication that will be published on this occasion. The artist will present her art practice to date in the Gallery of Contemporary Art, while she is preparing a brand new piece for the Likovni salon venue.

After completing a Master’s degree in Design at the Ljubljana Academy she undertook further study at Vysoká škola Vytvarnych Umeni in Bratislava, Slovakia, and the Akademia Sztuk Pięknych in Krakow, Poland. She has also attended the Flaxart International Artist in Residency Programme in Belfast. Additionally, she works in the field of theatre, interior furnishing and design, as well as lectures on art, and organizes and conducts workshops for children and adults.

The realisation of the exhibition and publication of the monograph have been made possible by the support of the Ministry of Culture of the Republic of Slovenia and the Municipality of Celje.



Nevena Aleksovski, Boris Beja, Matija Brumen, Maša Gala, Jernej Jemec, Meta Kastelic, Nataša Košmerl, Stojan Kneževič, Matej Pečnikar, Adrijan Praznik, Saša Šuštar, 3kolektiv, Sanja Vatić, Brina Torkar Križaj, Tadej Vindiš, Klemen Zupanc

8. 11. – 9. 12. 2012

The Premiere show is not limited in theme and represents a diverse range of artistic practices and ways of thinking. The exhibition presents both traditional (painting, drawing and sculpture) and contemporary (video, photography, installation and performance) mediums.

An overview of topics shows that the works encroach upon the political field, embodying a committed response to recent government decisions that have led to changes in Slovene cultural policy (3kolektiv with their interactive installation and performance, Boris Beja with his object in the space). The works question social inequality by focusing on economic and social differentiation (Sanja Vatić in her installation No One raises issues of social stratification and the unjust distribution of capital seen through the depiction of the masses of exploited construction workers) and through the position of the individual in contemporary society (in his sequential stories Violent Lives, Adrijan Praznik draws attention to the plummeting power of bureaucratic mechanisms that are affecting rising violence in society due to the implementation of policies of inequality). The works point to the illusion of the dominant neo-liberal ideology (the melting Sugar Castle by Meta Kastelic as a symbol of apparent happiness brought by economic success), its transience (the paintings of Jernej Jemec) and absurdity (the astonished gazes of anonymous individuals caught in the photographs of Maša Gale). They also tackle the issues of social identities (questioning established social identities in the video by Nevena Aleksovski) and make visible the individual’s inner feelings (the photographs of Tadej Vindiš and paintings of Matej Pečnikar). They touch upon the processes of remembering – by addressing its characteristics (the installation by Saša Šuštar), dealing with memory as space (the series of photographs entitled Shine by Matija Brumen), or the space of reliving experience (the paintings Crash by Klemen Zupanc and Medicine by Stojan Kneževič). A segment of the featured pieces is motivated by intimate experience. Artists Nataša Košmerl (with her series of photographs entitled Finlandia) and Brina Torkar Križaj (with her painting Mercury Sea) spring from the experience of motherhood, bringing it closer to the viewer in a subtle and poetic way.
The works in the exhibition show that they have not merely been created for the purpose of being presented within art institutions. They are united by a tendency to interact with the wider environment in which they have been created. They particularly point to the fact that contemporary art is not neutral, but engaged in social, political and economic relations. 

A catalogue has been published to accompany the exhibition, which has been issued on this occasion by the Celeia Institute – Celje Center for Contemporary Arts.



Project was supported by:


SCULPTURE TODAY: A New Renaissance and Transhumanism

Arctic Perspective Initiative (API); Špela Petrič and Robertina Šebjanič; Maja Smrekar; Polona Tratnik with colleagues (Andrej Gregori, Mirjan Švagelj, Ajda Marič, Marin Berovič); Zupančič :: Turšič :: Živadinov

Center for Contemporary Arts Celje, 20.9. – 28.10.2012
Exhibition curators: Tomaž Brejc, Irena Čerčnik, Jiři Kočica, Polona Tratnik

The third edition of Sculpture Today (the series comprises four exhibition projects, followed by the final one next year) is focused on the presentation of projects at the intersection of science and art. Combining the two fields – which are essentially marked by creativity, the surpassing of boundaries and exploration of new dimensions – has up till recently been an endeavour embarked upon solitarily and individually, while it is today one of the most vibrant, lively and exciting goings-on. The connections between artists and scientists bring forth new ideas, concepts, visions and solutions that complement and upgrade each other, and in particular the collision of different ways of thinking, which can open up new possibilities and unexpected pathways.

In the recent decade, practices at the intersection of art and science have consolidated, and contemporary art centres continue to stimulate artists to work in laboratories and collaborate with scientists in transdisciplinary projects. The New Renaissance and Transhumanism project has been conceived experimentally: artists and research groups were given the chance to carry out joint research and present their results, which could take on diverse forms and did not necessarily need to follow the notion of “purified” aesthetic installations. The extent and method of the scientific contribution, as well as the degree of emphasis on the artistic part of each individual project and its presentation, was therefore a question that was left up to the individual groups. We are well aware that by doing so we have opened up a series of topical questions, such as: how do we understand art today and what is its meaning, what constitutes authorship, what constitutes scientific research, how can an artist contribute to a scientific project, etc., which will need to be posed in continuance. There are no easy answers to these questions and one of the purposes of this project is to provide a platform that will allow or even force some of these out into the open. We will have the opportunity to discuss these issues, at least to a limited extent, during the course of the project: artists, scientists and curators, as well as aestheticians. Hence, we have linked the project with a related project in the field of aesthetics, the colloquium of the Slovenian Society for Aesthetics entitled Surplus Art: Art – Science – Philosophy. The symposium will be held on 13 October in the gallery, where the groups will also present their projects.

Zupančič :: Turšič :: Živadinov / 14::VERTICALIZATION::MG.
Dragan Živadinov, Miha Turšič and Dunja Zupančič have spent years working on the culturalisation of space, and this is precisely the year in which their efforts have seen significant effect. The Cultural Centre of European Space Technologies (KSEVT) in Vitanje opened its doors. The aim of the longstanding endeavours of the Živadinov–Turšič–Zupančič artistic threesome in the culturalisation of space is an initiative to promote an understanding of space, not only in terms of militarization and commercialization, but also otherwise: as a place of multiple possibility, including as a place of art and the reflection of various activities within space.

Špela Petrič and Robertina Šebjanič / Towards the Human Spore: Reminiscing Algae (2012).
Robertina Šebjanič and Špela Petrič, an artist and a biologist by basic education, suggest a subversive creation of a trans-species of the human and alga, humalga, which would provide humans with better conditions of survival on Earth in circumstances that may be difficult to predict. The project also discusses the biotechnological feasibility and conceptual implications of the new organism, as well as assesses the project within the current ecological anxiety, considers the implicated bioethical issues and envisions future scenarios involving the humalga.

Maja Smrekar / Human Molecular Colonization Capacity (2011 – 2012).
Questions on the politics of life and the body are also addressed by Maja Smrekar. The question posed by this project is whether there may be a possibility - considering the consequences of a potential global food deficit and the drastic reduction of the value of material goods - that the human molecular production capacity in DNA, as one of the few uncolonized biotechnological materials, could become a trade tool (based on a system of genetic credit), which could become one of the next stages of evolution.

Polona Tratnik / Nomadology (2012)
In 1980 Gilles Deleuze and Felix Guattari defined the concept of the rhizome (non-hierarchy, decentralization, heterogeneity) as the basic model for the existence of contemporary society. The Nomadology project is investigating the life of fungi and is observing the evolution of a rhizome. Its aim is to establish a rhizome on a literal level (as the literalness was actually also requested by Deleuze and Guattari). In such a manner it will establish a living biological system of a philosophical concept.

Arctic Perspective Initiative (API) / ᓯᓄᓂ SINUNI
In 2010 and 2011 API developed and for the first time experimentally deployed a robust open hardware sensor network and communication system SINUNI. The system was developed in conjunction and collaboration with the communities in the North. Traditionally within many Arctic paradigms, there is a history of research conducted in the North, with the community having very little, if any, access to the results of the research conducted on their own land. The SINUNI proposes to allow communities to conduct their own research, and own their own data. Within this framework, the data would be validated, vetted, and ‘owned’ by the community, thereby further empowering the North.


The project was supported by:

Posebna zahvala:

Boštjan Bulgarič


Situation Report No. 2

Duba Sambolec, Drawing, 2010. Curtesy of the artist.

9. 3. – 26. 4. 2012
Gallery of Contemporary Art and Likovni salon Gallery Celje

The exhibition will be featuring a comprehensive selection of works by Duba Sambolec, created over the last four years. Following the first edition of the exhibition at the Škuc Gallery, which consisted of sculptures and a selection of drawings, Situation Report No. 2 on view in Celje will be extended to include works in other media. Through sculptures, objects, drawings, digital prints, printed banners and object painting, Duba Sambolec will present us with engaged, critical, (self)reflective and poetic reports about her own existence and the turbulent times and passive society in which she lives.

Exhibited at the Gallery of Contemporary Art will be sculptures created over the last three years: Balkans on My Mind, Temporary, ½ Volume Hanging, Lug-gage and This & That/Unplugged as well as a selection of drawings created between 2010 and 2011. The ambience Entertainment Place that Duba Sambolec will set up at the Fine Art Salon in Celje is a space of imaginary pleasure, since object paintings within it on the one hand seduce the spectator, while on the other hand prevent him/her from slipping into ease. An apparent opposition or the inverted side of the glowing inscription Entertainment Place will be represented once again by the exhibited printed banners that function as textual and visual labyrinths built from key words and free associations that deal with conformity, resignation, social repression, control and exclusion.

If on the one hand the exhibited works speak about the need for a critical response to the current social, economic and political situation as well as about the artist's questioning of her own identity that oscillates between different anchor points (gender, cultural space, art, …), on the other hand they testify to the interest and an almost physical need of the artist to explore the various materials and their artistic and semantic language. But above all, Duba Sambolec's works express a certain confidence in the power and need for art that rather than falling into a simplyfied slavishness of social utility, remains faithful to its own language.

Duba Sambolec (1949) graduated in sculpture and in 1978 finished her MFA studies at the Ljubljana Academy of Fine Art. Between the years 1992–2007 she was Professor of Fine Art and The Head of Sculpture at the Academy of Fine Art in Trondheim (Norway). Since 2008 she has worked as Professor of Fine Art at the National Academy of Fine Art in Oslo, Norway. She has exhibited extensively in numerous solo exhibitions (among other at the Gallery of Contemporary Art Celje, the Zagreb Museum of Contemporary Art and the Mala galerija in Ljubljana, 1998; at the Museum of Modern Art in Ljubljana, 1988; at the Salon of the Museum of Contemporary Art in Belgrade, 1983) as well as in group exhibitions, amog other at the National Art Gallery Zacheta in Warshaw (2010), Museum of Modern Art Vienna (2009/10), at the Aperto / Venice Biennial (1988) and at the Sao Paulo Biennial (1985).

The exhibition Situation Report No. 1,2 & 3 is a co-production between the Škuc Gallery and Centre for Contemporary Arts – Celeia Celje. The exhibition will also be presented at the HDLU & PM Galleries in Zagreb.

More about the artist's work:



Coming Soon, the Future!

Franc Purg, from the installation Global Debt, 2011

Center sodobnih umetnosti Celje / Center for Contemporary Arts Celje
December 15, 2011 – February 19, 2012
Locations: Gallery of Contemporary Art and Likovni salon Gallery.

The Center for Contemporary Arts Celje is pleased to announce the publication of an extensive monograph on Franc Purg’s artistic production.

Franc Purg’s artistic practice is mainly characterized by a clear perception of social phenomena, processes and relations, a prompt and direct reaction to the world in which we live, a critical view of the status of contemporary society as well as poignant and intensive representation of reality, which hardly fail to leave the spectator untouched. There are a number of works, among others the performance and installation Where is the Line? (1998) and the video Leon (2001), that have occasioned reactions and uneasiness among spectators, as well as repudiation and condemnation because of the artist’s intransigence and word-for-word presentation of reality, including theirown. The installation What Makes Me Look Like This? (1996), dealing with hypocrisy of religion, has gone so far as to prompt a censorship incident. In his recent works, the artist is opening up questions about relations of power and social justice, touching with great sensitivity upon the position of marginalized social groups, their everyday reality and the capability of inventing creative strategies and tools for the needs of survival (a series of projects, Priviligirane taktike/Privileged Tactics (2006–2008), in collaboration with Sara Heitlinger). He speaks about the margin of society and at the same time about the nature of society that makes possible the existence of the margin. As a careful observer of the relationship between the center and the margin, he considers the margin not as something frail and remote but as a creative and present cell capable of exercising an active influence on the center. His engaged and continuous research of the margin is the distinguishing feature of all of his works made after 2001 (the turning point in his work is represented by the video Kids (2002) about the suburbs of Belfast), which has contributed to the creation of his artistic statement according to which the margin is more important than it might seem, for it is more intensive and faster than the center towards which it is advancing – unnoticed, but with firm resolution – telling of its future.

The relationship between the margin and the center is as well the conceptual framework of Purg’s present extensive exhibition with the telling title Coming Soon, the Future! Featured at the exhibition, which is taking place in two locations, at the Gallery of Contemporary Art and the Likovni salon Gallery, is his recent work Global Debt, as well as the most emblematic projects, or parts of them, that have defined his artistic production to date. By placing them into new relationships and through the visual and above all content-related connections thus created that impart a special atmosphere to the individual spaces, the exhibition speaks about the dark side of our society and our existence, about transience, the urgency for changes in relation to the environment, to our fellow human beings and to life, about the creative solutions brought about by the social margin and the marginal situation, about when a criminal act becomes legitimate and about how we can read the future on the basis of our understanding of the margin.

Purg’s artistic practice dates back in the period of modernism. He set out on his artistic career as a sculptor and has been mainly engaged since the 1990s with video, photography, performance, sound and intervention into public space. He has participated in many international festivals and has exhibited his works in numerous museums and galleries, such as Museum of Modern Art Ljubljana, Grand Palais Paris, Le Fresnoy Lille, Hamburger Bahnhof Berlin, ZKM Zentrum fur Kunst und Medientechnologie Karlsruhe, E:vent Gallery London, Kunsthaus Graz, Essl Sammlung Vienna, Exit Art New York, Moderna Museet Stockholm, etc.His works are part of the collections of the Museumof Modern Art Ljubljana and the MariborArt Gallery, Okolje Consulting Art Collection, New Media Collection Centre Georges Pompidou in Paris and the Israeli Center for Digital Art in Holon. He was awarded the Unesco Digital Arts Award, the Rihard Jakopič Award for the year 2005, the first award at the competition for Slovenian independence, the International Media Art Award, The 50 Best, Zentrum fur Kunst und Medientechnologie, etc.

He graduated in Sculpture at the Academy of Fine Art in Ljubljana in 1979 and had further training as a student in Köln (1991), Glasgow (1995), Paris (1997) and Belfast (2001).

Franc Purg lives and works in Celje and London. Read more at: http://francpurg.net/

The realization of the exhibition Coming Soon, the Future! and the publication of the monograph has been supported by the Ministry of Culture of the Republic of Slovenia, Celje Municipality, Okolje Consulting Art Collection, Miklova House Ribnica and private collectors.


SCULPURE TODAY. Statues, Figures and Bodies

Mirko Bratuša, Polona Demšar, Boštjan Drinovec, Jiři Kočica, Anja Kranjc, Gregor Kregar, Boštjan Novak, Nika Oblak & Primož Novak, Katja Oblak, Žiga Okorn, Zoran Srdić Janežič, Lujo Vodopivec, Project The Waiting (authors: Katja Bogataj, Polona Černe, Pavel Ekrias, Neža Jurman, Ana Kerin, Miha Makovec, Barbara Pintar and Lan Seušek)

Katja Bogataj, Polona Černe, Pavel Ekrias, Neža Jurman, Ana Kerin, Miha Makovec, Barbara Pintar, Lan
The Waiting, 2010

Gallery of Contemporary Art Celje, 22. 9. – 13. 11. 2011
Exhibition's Curators: Tomaž Brejc, Irena Čerčnik, Jiři Kočica, Polona Tratnik

The pluriannual project SCULPTURE TODAY is a broadly conceived and retrospective study of sculpture in the Slovenian space that commenced last year with an exhibition and a publication and will be taking place in turns until 2013. If last year's exhibition titled Sculpture Today: Components, Junctures and Intersections through the works of 32 artists presented contemporary sculpture as the expanded field that is not media defined but enters the field of the social, scientific, technological and interdisciplinary, this year's exhibition focuses on questions of figurality and gives emphasis to the haptic experience and the relationship between the sculptural body and the body of the spectator. The works of the 21 participating artists change the gallery space into a space inhabited by “the people”: a multitude of statues, figures and bodies – mainly three-dimensional human figures in life size bearing reference to different personal, social and political contexts. The exhibition is accompanied by a catalogue in which questions raised by the exhibition are dealt with in detail in the introductory texts by Tomaž Brejc and Jiri Kočica. Brejc explains the exhibition’s concept with the following words:

Imagine an exhibition of merely bodies, statues, figures, phantasms, fragments, fictions. No matter what room I enter, they stare from everywhere – or ignore me – figures, more or less similar to human beings. The figures are (1) representations of human beings (Zoran Srdič, Anja Kranjc, Gregor Kregar, Polona Demšar); (2) apparent similarities of human beings of various shapes, big or small, material, of colors, light, heavy, but above all, they are narrative “allegoric” statues (Mirko Bratuša, Boštjan Drinovec, Lujo Vodopivec, Boštjan Novak); (3) mere fragments of bodies, refined residues of transitory gestures, attitudes (Katja Oblak); (4) fragments of embryonic cocoons, exhausted existential bodies (Anja Kranjc); (5) visual games with funny haptic effects, really blowing air (Primož Novak, Nika Oblak); and (6) carriers of the subjective and social, optical and haptic dialogue (Jiři Kočica, Žiga Okorn). Despite their diversity, they are imbued with a common creative intent: to place the haptic experience of the body in the sphere of the imagination, to establish an interpersonal relationship between statues and spectators.

This is why the exhibition is permeated by a feeling of closeness, touch, some kind of overabundance (horror vacui). However, involved here is not a postmodern mannerism, a senseless unveiling of existential fragility, an experimental design or a presentation of the raw power of big and heavy statues (in my imagination Drinovec’s Velikimali [The Bigsmall] happily floats in space). Rather, involved here is a special reciprocity, a mutual engagement between statue and spectator, between the body of the sculpture and the body of the spectator. It is as if contemplation can occur without the perspective, architectural space, and as if sculptural bodies, figures, fragments are that which defines when space is and what it is like. To paraphrase Maurice Merleau-Ponty, space is what creates the body, and it is not that there is space first (cognitive supposition) and only then comes the body to inhabit it. Individual rooms of the gallery are not only “white cubes”, empty volumes, but special dwellings, environments where statues find their place. Such friendly cohabitation changes the formality of a gallery space into the familiarity of the studio, where statues keep on living their lives, forcing the spectator to adapt to their diverse existence.




Center for Contemporary Arts Celje
Locations: Galerija sodobne umetnosti [Gallery of Contemporary Art] and Likovni salon Gallery
30.6. – 11.9.2011

Adel Abidin, Tomaž Črnej, Adela Jušić, Maja Hodošček, Mladen Miljanović, Simon Norfolk, David Tartakover, Susan Silas, Milica Tomić, Stefanos Tsivopoulos, Bojan Salaj, Artur Zmijewski, Dalibor Bori Zupančič

One of the fundamental questions of contemporary society is: what are the reasons for wars and could these last be prevented? Is this at all possible in a society with the existing political, economic and corporate relations of power and hierarchies which makes it a society of imposed imperial order?
The exhibition Continuity deals with the questions of war, genocide and memory. Through artistic projects with a direct bearing on World War II, the Israeli-Palestinian conflict, the war in Iraq, Bosnia, Afghanistan and the World War II and Srebrenica genocides, the exhibition will try to point at the phenomenon of permanent global war, where peace is manifested only as an interim period between states of war.
The war problematics will be tackled from many aspects: through research and reconstruction of traumatic events; through focusing on the consequences of war that have left their mark on the people, the landscape and the architecture; through exploring how history and conflictual situations are inscribed into a space, thus becoming part of its identity; through problematizing the media representation of war, and through testimonies and stories of the people who have been through war.
By presenting different artistic strategies, the exhibition will speak about a society that, in full disregard of ethical principles, decides on the life and death of people, changing wars into a self-interested global enforcement of political goals by any means necessary, and covers up its responsibility for the destroyed lives – which concerns not only those involved, but also the others who collaborate in wars by trading in arms or in some other “invisible” way, supporting and legitimating wars to their own profit and political interests – in a political lie despite our knowing. The works of the thirteen artists presented at the exhibition will address the issue of the continuity and reality of wars, of their permanency, of the emergence of ever new crisis areas and conflicts, of the incomprehensibility of war and, last but not least, of the urgency of awareness and remembrance (in the 19th and 20th centuries, approx. 205 million people died as a result of war and genocide).

Memorial, 3-kanalna animacija in instalacija / 3-channels animation and an installation, 2009, 02'56

Memorial by Iraqi artist Adel Abidin is based on a real event from 1991, when American forces bombarded Baghdad. The absurdity of an unusual scene witnessed by the artist gave rise to a work that, by merging fiction and reality, speaks about the incomprehensibility of war, about the irrepressible need of proximity, appurtenance and connectedness, and about a destroyed city as well.

Adel Abidin (Baghdad, 1973; živi in dela / lives and works in Helsinki). Darat al Funun - The Khalid Shoman Foundation, Amman, 2011; Venice Biennale 2011: Iraq; Biennale of Sydney 2010 ; Tracking Traces, Kiasma, Helsinki, 2010; Cairo Biennial, 2008; MoMA- Museum of Modern Art- New York, 2008; Venice Biennale 2007: Finnish Pavilion; …

Napaka / A Mistake, serija fotografij in video projekcija / a series of photographs and a video projection, 2010

The installation A Mistake by Celje photographer Tomaž Črnej, featuring a series of photographs of Auschwitz and of a mass grave in Laško pri Celju, where, after the World War II, hundreds of prisoners of war and civilians were killed, speaks about spaces marked by history, genocide and collective memory.

Tomaž Črnej (Celje, 1963) se v glavnem ukvarja s fotografijo in instalacijo. Za fotografijo je prejel številne nagrade. / Works mainly with photography and installation. He has won several awards for photography.

Snajperist / The Sniper, video, 2007, 4’21”

In her video work Sniper, Adela Jušić tries to come to terms with her own childhood lived in the besieged city of Sarajevo, and with the moment when she, as a 10-year-old girl, was confronted with a major loss in her life – the death of her father. The video deals with her own intimate, painful experience as well as with one of the most inhuman of wars, oriented mostly towards civilians, among whom the greatest loss of human life occurred.

Adela Jušić (Sarajevo, 1982). Videonale, Kunstmuseum Bonn, 2011; Manifesta 8, Murcia, 2010; Decolonial Aesthetics, El Parqueadero, Bogota; Transitland – Sofia Launch event , Center for Culture and Debate, Sofia, 2009. Zvono Award for the best Bosnian young artist, 2010; …

Raw Material, 2-kanalna video projekcija / 2-channel video projection, 2010, 17'20''

The video installation Raw Material by Celje artist Maja Hodošček speaks about the psychological suffering of war veterans, post-trauma stress, anxiety and fear of people. The spectator is presented with the experience of a young American soldier in the Iraq war. By alternating between the text of the interview held with the ex-serviceman and an image of a Slovenian boy telling his story in the first person, the artist points to the global dimension of war that is of our concern as well.

Maja Hodošček (Celje, 1984). Landscape, Likovni salon, Celje, 2010 ; RAW Material, Galerija Gregor Podnar, Ljubljana, 2010; OHO Award, Zavod P.A.R.A.S.I.T.E., Ljubljana, 2010. ISCP - International Studio and Curatorial Program, New York, 2010 …

Occupo, site-specific instalacija in intervencije v javnem prostoru / site specific installation and interventions in public space (prva produkcija / fist production Neue Galerie Graz, 2007)

Occupo, a spatial installation by Mladen Miljanović, applies the military visual vocabulary to the artistic context, ironically problematizing the militarization of society. The occupation of the artistic space is a means for the artist’s confrontation with the negative past – he grew up during the war in Bosnia – as well as a practical affirmation of the principle “make art, not war”.

Mladen Miljanović (Zenica, 1981). Taxi to Berlin, Antje Wachs gallery, Berlin,2011; Museum Service, MUMOK, Vienna, 2010; Occupational therapy, P74 Gallery, Ljubljana, 2009; Occupo, Neue Galerie Graz, Graz (Austria), 2007 .

Photographs from the War in Afghanistan, 2010

The series of photographs Burke + Norfolk: Photographs from the War in Afghanistan is the result of “the artistic collaboration” between John Burke, a war photographer during the Second Anglo-Afghan War (1878–80), and Simon Norfolk, who travelled to Afghanistan in 2010 to follow Burke’s path, where he created a series of photographs, sort of “re-photographs”, that, with analogous contents and situations taken from the current context, represent a response to Burke. The work addresses the issue of continuity of conflicts and imperialism in a country stricken with poverty.

Simon Norfolk (Lagos, 1963). Burke + Norfolk: Photographs From The War In Afghanistan, Tate Modern, London, 2011; The Holocaust Museum, Houston, 2002; Simon Norfolk: a retrospective, MACUF – Museo de Arte Contemporáneo de Unión Fenosa, La Coruña; Kolekcije / Collections: The Getty Museum, Los Angeles; The Museum of Fine Arts, Houston; Portland Art Museum; San Francisco Museum of Modern Art; Deutsche Böurse Art Collection; …

I'm here, digitalni printi / digital prints, 2004

The series of photographs I’m Here by Israeli designer David Tartakover, where the artist's figure is digitally inserted into the reportage photographs of different places and events, speaks about the consequences of the Israeli occupation, about the taking on of responsibility and about life in a space full of conflicts.

David Tartakover (Israel, 1944). Gold Medal, 8th Poster Biennial, Lahti, Finland (1989); Silver Medal, the 13th International Poster Biennial, Lahti, Finland (2001); Second Prize, 9th International Triennale of Political Posters, Mons, Belgium (2004); Grand Prix, Golden Bee 6, Moscow International Graphic Design Biennial (2004)

Helmbrechts walk, 1998-2003

Helmbrecht’s Walk (1998–2003) by the New York artist Susan Silas is an accurate reconstruction of a forced march of 580 Jewish prisoners after World War II. The work is a visual representation of the 225-mile-long walk from a camp in Germany to Czechoslovakia that brought about the death of 95 women. The artist set out on foot to retrace the path of these women, documenting the journey in photographs and writings that – complemented by news clippings taken from the front pages of the New York Times on the corresponding days in 1998 – bear witness to permanent violence and conflicts.

Susan Silas (1953, živi in dela / lives and works in Brooklyn). CB1 Gallery, Los Angeles, 2011; Helmbrechts walk, Hebrew Union College Museum, 2009; Helmbrechts walk, The Koffler Gallery, Toronto, 2005; Kunsthalle Exnergasse_WUK, Vienna, 2010; A Live Animal, Root Division, San Francisco, 2011; For Your Pleasure, CB1 Gallery, Los Angeles, 2010; …

Sigurnost u putu / Road Safety, video, 2008-2010, 40'

Milica Tomić, in her video Road Safety, travels to Srebrenica, where at least 8,000 Muslim men and boys were killed in 1995. The journey into the centre of the post-genocide trauma, into the world of women without men, villages without people, is an attempt at understanding how it is possible to survive and continue on with life despite irreplaceable loss.

Milica Tomić (Beograd, 1960). Milica Tomić, Muzej savremene umetnosti, Beograd, 2010; Safety on the Road, Charim Gallery, Vienna, 2010; Politics of Memory, Stacion – Center for Contemporary Art, Priština; GENDER CHECK – Femininity and Masculinity in Eastern European, MUMOK, Museum Moderner Kunst, Stiftung Ludwig, Vienna, 2009; Zones of Contact,  Biennale of Sydney 2005; Poetic Justice, 8th International Istanbul Biennial, 2003; Venice Biennale, Dreams and Conflicts – the Viewer’s Dictatiorship, Serbia and Montenegro pavilion, 2003; …

The Interview, 2-kanalna video instalacija / 2-channel video Installation, 2007, 33'
Z dovoljenjem / Courtesy artist and Prometeogallery di Ida Pisani, Milan

The video installation The Interview, composed of two parts – an interview with a Serbian ex-serviceman (The Interview) and an interview performed by actors (An Interview With War) – blurs the boundaries between the real and the staged. Stefanos Tsivopoulos’s video piece moves between reality and reconstruction, exploring questions of representations of history, personal memory, as well as interpretation and the media-mediated reality.

Stefanos Tsivopoulos (1973, živi in dela / lives and works in Amsterdam and Athens). Manifesta 8 Murcia, 2010; Witte de With Rotterdam, BFI Southbank London, ACF New York, Centre Pompidou Paris, Friedericianum Kunstverein Kassel, ev+a Biennial Limerick, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Heidelberg, Centre Photographique d’Isle Paris, 1st Athens Biennial; …

Kočevski Rog, fotografija / photography, 2008

The photograph Kočevski Rog by Bojan Salaj (Kočevski Rog is a mountain chain in Slovenia and at the same time a monument to the partisan movement during World War II as well as a site of post-war killings) is a part of the series of photographs Landscapes, a work-in-progress since 2008. The series, made by means of a camera obscura with snapshots of spots from the Slovenian landscape that represent the symbols of Slovenian national identity, addresses the question of rethinking, reevaluating and understanding history. The work is much more than a mere photographic depiction of what we see, for it directs our attention beyond the image.

Bojan Salaj (1964, Ljubljana). Paris Photo, statement, Carrousel du Louvre, 2010;  Interijerji III, Galerija Photon, Ljubljana, 2008; New SlovenianPhotography and Video, K2 Contemporary Art Center , Izmir, 2008; Monat der Fotografie Wien 2006; …

80064, enokanalna video projekcija / single channel video projection, 2004, 11''
Z dovoljenjem / Courtesy the artist and Galerie Peter Kilchmann, Zurich, Foksal Gallery Foundation, Warsaw

In his work 80064, the artist Artur Zmijewski convinces an ex prisoner of a concentration camp in Auschwitz to renovate his tattooed number. The act of tattooing the number anew was expected to elicit a wave of memories of his painful past. The work speaks about constraint and authority, as well as about conformation and subjugation as the only possible means of survival.

Artur Zmijewski (Warszawa, 1966). Centre Andaluz, Sevilla, 2011; International Istanbul Biennial 2009; Galerie Peter Kilchmann, Zurich, 2009; Institute of Contemporary Arts, London, 2008; Venice Biennale 2005: Poland Pavilion; Documenta 12, 2007; Manifesta 4, 2002; Wattis Institute for Contemporary Art, San Francisco ,2005; National Gallery of Art Zacheta, Warsaw, 2005; Kunstwerke, Berlin, 2004); CAC, Vilnius, 2004; …

Traja, traja, traja, instalacija / installation, 2011

Dalibor Bori Zupančič’s installation It Lasts, It Lasts, It Lasts deals with the permanent state of war, addressing at the same time the mass liquidation of political prisoners in the courtyard of the Stari Pisker in Celje, where, from September 1941 to August 1942, in six shootings altogether, 374 people were killed by the occupiers without any judgment being made against them.

Dalibor Bori Zupančič (Celje, 1949). Dance Macabre, Likovni salon, Celje, 1987; Mestece Celje – alternativa sedemdesetih /The town of Celje : the alternative of the seventies , Likovni salon, Celje, 1998; - Revizije.Slika 70+90, Galerija P74, Ljubljana, 2001; Dalibor Bori Zupančič - Introspektiva ZZ: 1970-2006, Galerija sodobne umetnosti Celje, 2006; …




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