Umetniki / Artists:
Shaun Gladwell, Hans Op de Beeck, Beppe Bonetti, Béatrice Lartigue, Vinko Tušek, Natalija R. Črnčec, Nina Šulin, JUNEsHELEN
Kustosa / Curators: Marika Vicari, Jernej Forbici (Art Stays)
Osrednja razstava letošnje edicije nagovarja prostor, kot živ, nenehno se spreminjajoč organizem, v katerem človek še danes išče svoj prostor. Povabljeni mednarodni umetniki se predstavljajo v odprtem okolju, kjer mobilnost (Vinko Tušek), meta-racionalnost (Beppe Bonetti), vizualna fikcija (Hans Op de Beeck), dimenzije (Natalija R. Črnčec, Nina Šulin, JUNEsHELEN), procesi širjenja (Béatrice Lartigue) in ravnotežje (Shaun Gladwell) ponujajo razmišljanja o naravi prostora, spremembi in refleksiji človeka. Razstava je potovanje, na katerem se dela v medsebojnem stiku na novo definirajo. Zbirajo se, odbijajo ali se v svojem iskanju in dodajanju kot dinamični položaj nenehno pozivajo k novemu opazovanju prostora s strani gledalca. Kajti s tem, ko dela bivajo in živijo z nevtralnim prostorom Mestne galerije Ptuj, iz njega in v njem, postanejo njegov del, zaznamujejo čas z vsakdanjostjo in razgrinjajo nove izkušnje možnega.
The main exhibition of this year’s edition addresses space as a living, ever-changing organism in which man is still searching for his place. The invited international artists are presented in an open environment where mobility (Vinko Tušek), meta-rationality (Beppe Bonetti), visual fiction (Hans Op de Beeck), dimensions (Natalija R. Črnčec, Nina Šulin, JUNEsHELEN), processes of extension (Béatrice Lartigue) and balance (Shaun Gladwell) suggest reflections on the nature of space, change and a reflection of man. The exhibition is a journey, where the works redefine themselves in their contact with each other. Gathering together, repelling or in their finding and adding themselves as a dynamic position, they constantly call for a new observation of space on the part of the viewer. For in their being and living with, of and in the neutral space of the Ptuj City Gallery, the works become part of it, marking time with the everyday, declining new experiences of the possible.
UMETNIKI / ARTISTS
Hans Op de Beeck (BE) ustvarja velike instalacije, skulpture, filme, risbe, slike, fotografije in besedila. Njegova dela so razmislek o naši zapleteni družbi ter o univerzalnih vprašanjih pomena in smrtnosti, ki odmevajo v njej. Na človeka gleda kot na bitje, ki na tragikomičen način uprizarja svet okoli sebe. Op de Beeck želi predvsem spodbuditi čute gledalcev in jih povabiti, da sliko resnično doživijo. Želi ustvariti obliko vizualne fikcije, ki prinaša trenutek čudenja in tišine.V zadnjih dvajsetih letih je Op de Beeck izvedel številne monumentalne „senzorične“ instalacije, v katerih je obudil to, kar opisuje kot „vizualne fikcije“: otipljive zapuščene prostore kot prazno kuliso, po kateri se gledalec lahko sprehodi ali se usede, izklesana zatočišča za introspekcijo. V mnogih svojih filmih pa je v nasprotju s temi izpraznjenimi prostori v ospredju anonimni liki.
Hans Op de Beeck se je rodil leta 1969 v Turnhoutu. Živi in dela v Bruslju v Belgiji. Op de Beeck je svoja dela velikokrat predstavil na samostojnih in skupinskih razstavah po vsem svetu: Reina Sofia, Madrid, Španija; Scottsdale Museum of Contemporary Art, Arizona, ZDA; ZKM, Karlsruhe, Nemčija; MACRO, Rim, Italija; Whitechapel Art Gallery, London, VB; PS1, New York, ZDA; Musée National d’Art Moderne, Centre Pompidou, Pariz, Francija …
Hans Op de Beeck (BE) produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence.Over the past twenty years Op de Beeck realised numerous monumental ‘sensorial’ installations, in which he evoked what he describes as ‘visual fictions’: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters.
Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world: The Reina Sofia, Madrid, ES; Scottsdale Museum of Contemporary Art, Arizona, US; ZKM, Karlsruhe, DE; MACRO, Rome, IT; Whitechapel Art Gallery, London, GB; PS1, New York, US; Musée National d’Art Moderne, Centre Pompidou, Paris, France ..
Stagings Silence (3), Video, 2019. 44’00“ Črno-bela, stereofonski zvok, Full HD video / Video, 2019. 44’00” Black and White, Stereo Sound, Full HD video, Courtesy Studio Hans Op de Beeck
Beppe Bonetti se je rodil leta 1951 v Rovatu (Brescia).Leta 1980 je ustanovil skupino TREA, ki je prenehala delovati dve leti pozneje in s katero je organiziral razstave v „Centro culturale materiali ed immagini“ v Perugii, v galeriji Il Brandale v Savoni, v javni knjižnici v Rudianu (BS) in v galeriji Matisse v Barceloni. Za svoja dela je skoval izraz „metaracionalnost“, ki odlično označuje njegovo poetiko, ki uporablja najbolj prefinjene tehnike geometrijske optike, ji odvzema racionalni element in uvaja prostorski element.Že vrsto let sodeluje na domačih in mednarodnih razstavah v javnih in zasebnih prostorih. Prisoten je v javnih in zasebnih zbirkah v Italiji, Franciji, na Nizozemskem, v Španiji, na Japonskem, v Združenih državah Amerike, Venezueli, Srbiji, Ekvadorju in na Danskem.Živi in dela v vili Erbusco v pokrajini Brescia.
Beppe Bonetti was born in Rovato (Brescia) in 1951.He began his exhibition activity in 1979. In 1980 he set up the TREA group, which was dissolved two years later, with which he organised exhibitions at the ‘Centro culturale materiali ed immagini’ in Perugia, at the Il Brandale gallery in Savona, at the civic library in Rudiano (BS) and at the Matisse Galeria in Barcelona. He coined the term ‘’Metarationality‘’ for his works, which perfectly identifies his poetics that makes use of the most refined techniques of geometric optics, depriving it of the rational element and introducing the spatial element.He has participated for years in national and international exhibitions in public and private spaces. He is present in public and private collections in Italy, France, Holland, Spain, Japan, the United States, Venezuela, Serbia, Ecuador and Denmark.He lives and works in Villa Erbusco, in the province of Brescia.
Variazioni su un errore di Parmenide, 2011, Courtesy ARTantide Gallery, Verona
Shaun Gladwell je odraščal v zahodnem predmestju Sydneya in začel eksperimentirati z videom, potem ko so se njegove ambicije postati profesionalni skejter uničile zaradi poškodbe.Vendar Gladwell ni običajen skejter, ki bi uporabljal video, in njegova dela niso hitri in raztrgani videi, kakršne običajno vidimo v tej zvrsti. Gladwell je že od samega začetka svojih poskusov z videom, ko je snemal svoje brate, ki so s kolesi skakali čez slike, želel posneti nekaj drugačnega.Ravnovesje je tudi stalen podtekst večine Gladwellovih del. Na postaji podzemne železnice, 2006, so poetična raziskovanja ravnotežja v vsakdanjem pomenu, dobesedno kot ravnotežja. Njegovi izvajalci premikajo ali držijo svoja telesa v stanju, v katerem so vse sile, ki delujejo nanje, enake.Gladwell je bil s svojim delom MADDESTMAXIMVS izbran za predstavnika Avstralije na beneškem bienalu leta 2009.
Shaun Gladwell grew up in Sydney’s western suburbs and began to experiment with video after his ambitions to become a professional skateboarder were ruined by injury.However, Gladwell is no ordinary video-wielding skateboarder and his artworks are not the fast and choppy videos you normally see in this genre. From the very beginning of his experiments with video, taking shots of his brothers jumping over paintings on their bikes, Gladwell wanted to capture something different. Equilibrium is also an ongoing subtext in much of Gladwell’s work. In a Station of the Metro, 2006, are poetic explorations of equilibrium in its everyday sense, literally as balance. His performers move or hold their bodies in a state in which all forces acting on them are equal.Gladwell has been selected to represent Australia at the Biennale of Venice 2009 with his work MADDESTMAXIMVS.
n a Station of the Metro, 2006. DVD video Courtesy Studio la Citta, Verona
Béatrice Lartigue se od leta 2008 ukvarja s projekti na presečišču umetnosti, znanosti in tehnologije. Pri svojem delu raziskuje materializacijo nevidnih fizičnih dogodkov, tako da obiskovalce potopi v prostor, katerega pravila so deloma napisana, deloma pa šele nastajajo. Njeno prakso usmerja kritičen pogled na uporabo tehnologije v krhkem okoljskem kontekstu.Njena dela so bila razstavljena v centrih Barbican (London), Arsenal v Benetkah, Muzej Miraikan (Tokio), le Centre Pompidou (Pariz), la Gaîté Lyrique (Pariz), DMuseum (Seul), Times Art Museum (Peking), Photo Elysée (Lozana).
Wood Wide Web (Lesna mreža) je zapleten, organiziran živ organizem, ki je rezultat zaporednih variacij tekom evolucije. Sestavljen je iz več živih celic, ki tvorijo večcelični organizem.Lesna mreža se razvije iz ene celice z zaporednimi celičnimi delitvami. Razmnoževanje celic ohranja organizem in njegov razvoj. Wood Wide Web uporablja generativne algoritme umetne inteligence za preoblikovanje velikih količin podatkov v žive organizme.
Since 2008, Béatrice Lartigue has been working on projects at the intersection of art, science and technology. Her work explores the materialisation of invisible physical events, by immersing visitors in a space whose rules are partly written and partly in the making. A critical perspective on the utilisation of technology in a fragile environmental context guides her practice.Her works were exhibited at the Barbican Centre (London), the Arsenal of Venice, the Miraikan Museum (Tokyo), le Centre Pompidou (Paris), la Gaîté Lyrique (Paris), the DMuseum (Seoul), the Times Art Museum (Beijing), Photo Elysée (Lausanne).
Wood Wide Web is a complex, organized living organism, the result of successive variations over the course of its evolution. It is made up of several living cells, forming a multicellular organism.Wood Wide Web develops from a single cell through successive cell divisions. Cell multiplication maintains the organism and its development. Wood Wide Web uses generative AI algorithms to transform large quantities of data into living organisms.
Wood Wibe Web, 2023. Strojno učenje, razširjena resničnost / Machine Learning, Augmented Reality Courtesy Lab212
Ustvarjeni svetlobni prostor je redka priložnost, kjer lahko odložimo težo sveta, se prepustimo globoki modrini in v valovanju spokojnosti pogledamo vase.
Nina Šulin je tkalka prostora, ki s konstrukcijo črtnega tkanja spontano, v odnosu do prostora in trenutka, ustvari ožilje lebdečih temeljev.
Natalija R. Črnčec s poslikanimi kroglami vstopi v polje stkanega ožilja in vzpostavi telo prostora. Ob spoju obeh svetov se odpre portal v globoko modrino, ki naenkrat preseže meje strukture in telesa in postane brezmejni in breztežnostni prostor subtilne senzibilnosti čutil.
Čutni vidnosti se pridruži zvočni svet Juneshelen, ki objame in prepoji celotni prostor, in svetovi se začnejo zlivati drug v drugega.
The light space created is a rare opportunity to lay down the weight of the world, to surrender to the deep blue and to look inwards in a wave of serenity.
Nina Šulin is a weaver of space who, through the construction of line weaving, spontaneously creates a vasculature of floating foundations in relation to space and the moment.
Natalija R. Črnčec enters the field of the woven vasculature with painted spheres and establishes the body of space. At the merging of the two worlds, a portal opens into the deep blue, which suddenly transcends the boundaries of structure and body and becomes a boundless and weightless space of subtle sensitivity of the senses.
The sensual visibility is joined by the sound world of Juneshelen, which envelops and permeates the entire space, and the worlds begin to merge into each other.
Natalija R. Črnčec, Nina Šulin, Juneshelen, globoka MODRINA si Svetlobno prostorska in zvočno razstavna instalacija / Light, space and sound exhibition installation
Vinko Tušek je svoje likovno razmišljanje konec šestesetih let prejšnjega stoletja prvič razširil v prostor s izobešenjem kakih 8 metrov visoke mobilne plastike v kanjonu reke Kokre ob vstopu v staro mestno jedro Kranja. Velja za začetnika ambientalnih postavitev v tedanji skupni državi Jugoslaviji. Prvi – še bolj eksperimentalni ambient z naslovom Beli labirint je februarja 1970 postavil v atriju Gorenjskega muzeja na razstavi z naslovom Henrik Marchel – Marko Pogačnik – Vinko Tušek. Nakar je v hitrem zaporedju sledila serija ambientov: Rdeče-modro-oblo (Moderna galerija Ljubljana, 1970), Barva-črta-prostor (Tribina mladih, Novi Sad, 1971), ambient M-1 (Gorenjski muzej, 1971 – sedaj v zbirki Modrne galerije Lj.) in ambient K2 (Neokonstruktivisti, Modrna galerija Ljubljana, 1972). V tem času je bil aktivni član skupine Neokonstruktivisti (D. Čadež, D. Hrvacki, T. Lapajne, D. Tršar, V. Tušek), ki jo je ves čas kritiško spremljal Aleksander Bassin. Vinko Tušek je razvijal zelo raznotere likovne pristope od zelo raziskujoče-analitičnih do bolj igrvo-izraznih; prostorske postavitve pa so bile ves čas močno zastopane.
In the late 1960s, Vinko Tušek first extended his artistic thinking into space by displaying an 8-metre-high mobile sculpture in the Kokra River canyon at the entrance to the old town centre of Kranj. He is considered the pioneer of ambient installations in the then common state of Yugoslavia. His first – even more experimental – ambient, entitled White Labyrinth, was installed in February 1970 in the atrium of the Gorenjski Museum in an exhibition entitled Henrik Marchel – Marko Pogačnik – Vinko Tušek. A series of ambients followed in quick succession: red-blue-white (Moderna galerija Ljubljana, 1970), colour-black-space (Tribina mladih, Novi Sad, 1971), M-1 (Gorenjski muzej, 1971 – now in the collection of Modrna galerija Lj.) and K2 (Neokonstruktivisti, Modrna galerija Ljubljana, 1972). During this time he was an active member of the Neokonstruktivisti group (D. Čadež, D. Hrvacki, T. Lapajne, D. Tršar, V. Tušek), which was critically accompanied by Aleksander Bassin. Vinko Tušek developed a wide variety of artistic approaches, from the highly exploratory-analytical to the more playful-expressive; spatial installations were strongly represented throughout.
Ambient Rdece-modro-oblo, 1970, obarvan les
5. JUL 2024 / 19.00
Galerija mesta Ptuj / Ptuj City Gallery
Prešernova ulica 29, Ptuj, www.galerijamp.si
TOR / TUE – NED / SUN 10.00 – 17.00 (do / until: 08.09.2024)