Koroška Gallery of Fine Arts, Slovenj Gradec
Koroška galerija likovnih umetnosti Slovenj Gradec
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In the year 1975 the French artist [[Daniel Buren]] was invited to Slovenj Gradec to participate at the international fine art exhibition - the outlined theme was ''Engaged Figuration'' - he chose a conceptual artistic engagement, as he placed his blue-white flag among other flags hanging in front of the gallery and announcing the participation of artists from different countries. In the seventies Slovenia still lived in the spirit of the more or less uncomprehended conceptual activity of the OHO group. Although one could no longer speak of the pioneering days of Slovene contemporary art, Slovene fine art criticism of the day did not take much interest in the work of the currently very famous French artist who created his installation in front of the Slovenj Gradec gallery. And beside numerous artists who exhibited more "classical" works in the gallery, there were still other conceptualists, like [[Pino Poggi]] with his AU Arte Utile Manifesto, which the artist claimed to be a graphic work with the functions of film and newspaper, and which entices the viewer to engage in constructive thinking. Or [[Braco Dimitrijević]], an artist born in Sarajevo who only later acquired international acclaim, also participated at the exhibition with two documentary photographs. | In the year 1975 the French artist [[Daniel Buren]] was invited to Slovenj Gradec to participate at the international fine art exhibition - the outlined theme was ''Engaged Figuration'' - he chose a conceptual artistic engagement, as he placed his blue-white flag among other flags hanging in front of the gallery and announcing the participation of artists from different countries. In the seventies Slovenia still lived in the spirit of the more or less uncomprehended conceptual activity of the OHO group. Although one could no longer speak of the pioneering days of Slovene contemporary art, Slovene fine art criticism of the day did not take much interest in the work of the currently very famous French artist who created his installation in front of the Slovenj Gradec gallery. And beside numerous artists who exhibited more "classical" works in the gallery, there were still other conceptualists, like [[Pino Poggi]] with his AU Arte Utile Manifesto, which the artist claimed to be a graphic work with the functions of film and newspaper, and which entices the viewer to engage in constructive thinking. Or [[Braco Dimitrijević]], an artist born in Sarajevo who only later acquired international acclaim, also participated at the exhibition with two documentary photographs. | ||
− | ====='''1979'''===== | + | ====='''1979 and 1985 Ossip Zadkine'''===== |
In the 1979, the Slovenj Gradec international fine art exhibition opened some of the most topical issues of contemporary fine art again, and this time it was with the self-confident appearance of domestic selectors and their colleagues from abroad, as the contacts with the [[AICA international association]] and several foreign institutions were continually growing stronger. The exhibition exposed the problems of the socialisation of art and psycho-formation, it dealt with the peripheral areas of fine art, and touched upon the alternatives in contemporary architecture in the seventies - all this subjects were intended to stimulate a critical reflection in the context of fine art. Among the exhibitors was the Italian artist [[Ico Parisi]], exhibiting 1976 on [[Venice Biennial]]. For Slovenj Gradec he constructed the Wall of Apocalypse in the hall of the Gallery; today this act is seen as a truly prophetic warning on modern communication and the addiction to electronic media. | In the 1979, the Slovenj Gradec international fine art exhibition opened some of the most topical issues of contemporary fine art again, and this time it was with the self-confident appearance of domestic selectors and their colleagues from abroad, as the contacts with the [[AICA international association]] and several foreign institutions were continually growing stronger. The exhibition exposed the problems of the socialisation of art and psycho-formation, it dealt with the peripheral areas of fine art, and touched upon the alternatives in contemporary architecture in the seventies - all this subjects were intended to stimulate a critical reflection in the context of fine art. Among the exhibitors was the Italian artist [[Ico Parisi]], exhibiting 1976 on [[Venice Biennial]]. For Slovenj Gradec he constructed the Wall of Apocalypse in the hall of the Gallery; today this act is seen as a truly prophetic warning on modern communication and the addiction to electronic media. | ||
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This continuity was certainly also featured in the 1985 exhibition, when the subject of the exhibition was not defined, while the concept was only bound to the technique of woodcut and small sculpture in wood. The choice of traditional fine art materials also meant a return to the appreciation of the traditional aesthetic of fine art works, while the simultaneous international architectural invitation for a wooden family house, and the exhibition of the submitted projects, only confirmed this orientation. The author of the exhibition, art historian Stane Bernik, had already presented the same problems of residential architecture, with a particular emphasis on alternatives in modern architecture, at the 1979 exhibition. | This continuity was certainly also featured in the 1985 exhibition, when the subject of the exhibition was not defined, while the concept was only bound to the technique of woodcut and small sculpture in wood. The choice of traditional fine art materials also meant a return to the appreciation of the traditional aesthetic of fine art works, while the simultaneous international architectural invitation for a wooden family house, and the exhibition of the submitted projects, only confirmed this orientation. The author of the exhibition, art historian Stane Bernik, had already presented the same problems of residential architecture, with a particular emphasis on alternatives in modern architecture, at the 1979 exhibition. | ||
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Koroška Gallery of Fine Arts, Slovenj Gradec
Koroška galerija likovnih umetnosti Slovenj Gradec
12 Jul 2021
31 Dec 2021
Slovenian contemporary visual arts exhibition We Live in Interesting Times, curated by Marko Košan, on the occasion of Slovenian Presidency of the Council of the European Union, coorganised by the Ministry of Culture, Museum of Modern and Contemporary Art Koroška in Slovenj Gradec, and the European Parliament,
13 Jun 2017
A presentation of the The Second Explosion - Slovene Art of the 1990s research project and book launch by artist and curator Tadej Pogačar and photographer Dejan Habicht, coorganised by the P.A.R.A.S.I.T.E. Institute, Koroška Gallery of Fine Arts and the educational program for young curators INCUBATOR,
8 Dec 2016
9 Dec 2016
Mateja Lazar of the Creative Europe Desk Slovenia (Motovila Institute) and Andreja Hribernik (Koroška Gallery of Fine Arts) at the Creative Georgia Forum
25 Oct 2013
1 Dec 2013
Transfer > Slowenien, a joint exhibition organised in the framework of an artists-in-residence exchange programme between Slovenia and Upper Bavaria also featuring works by Katja Felle, Jure Markota, and Uroš Weinberger (Koroška Gallery of Fine Arts),
19 Sep 2013
13 Oct 2013
The joint exhibition Augenräume - contemporary art from the Koroška region - by Zoran Ogrinc, Luka Popič, and Peter Hergold, and curated by Marko Košan (Koroška Gallery of Fine Arts),
The institution was established on ideas and endeavours similar to Arnold Bode idea of establishing Documenta in Kassel in 1955, so to create fine arts centre out of a rural town like Slovenj Gradec. First exhibition was in Slovenj Gradec lounched allready in 1954 and entitled Swedisch kitchen. Officialy was the gallery established in 1957 having its own exhibition space in old town hall on Glavni trg. In the year 1966 it was built the object, where the gallery operates and exhibits till nowdays. In the same year the gallery stared with the international programme establishing the gallery politic that soon came under the sponsorship of the United Nations and support international programme in 1966, 1975, 1979, 1985 and 1991.
"Slovenia was part of the then Socialist Yugoslavia, and only a skillful organiser could successfully have convinced the ruling elite in the town that the fine arts were precisely what was needed to elevate the town's reputation. The decision to invite the United Nations to take honorary patronage over the exhibitions proved to be appropriate, and it guaranteed the participation of renowned artists," wrote Milena Zlatar abote those pioneering perod of the gallery on the gallery web page and continuing that "participation in exhibitions in a socialist country represented a kind of challenge to some artists. One way or another, the exhibitions have opened Slovenj Gradec up to the world, and domestic fine art production has taken its place side by side with that from abroad." In the gallery there was exhibiting several famous stars of fifties and sixties, including Henry Moore, Ossip Zadkine, Victor Vassarely, Johny Friedlaender, etc.
In the year 1975 the French artist Daniel Buren was invited to Slovenj Gradec to participate at the international fine art exhibition - the outlined theme was Engaged Figuration - he chose a conceptual artistic engagement, as he placed his blue-white flag among other flags hanging in front of the gallery and announcing the participation of artists from different countries. In the seventies Slovenia still lived in the spirit of the more or less uncomprehended conceptual activity of the OHO group. Although one could no longer speak of the pioneering days of Slovene contemporary art, Slovene fine art criticism of the day did not take much interest in the work of the currently very famous French artist who created his installation in front of the Slovenj Gradec gallery. And beside numerous artists who exhibited more "classical" works in the gallery, there were still other conceptualists, like Pino Poggi with his AU Arte Utile Manifesto, which the artist claimed to be a graphic work with the functions of film and newspaper, and which entices the viewer to engage in constructive thinking. Or Braco Dimitrijević, an artist born in Sarajevo who only later acquired international acclaim, also participated at the exhibition with two documentary photographs.
In the 1979, the Slovenj Gradec international fine art exhibition opened some of the most topical issues of contemporary fine art again, and this time it was with the self-confident appearance of domestic selectors and their colleagues from abroad, as the contacts with the AICA international association and several foreign institutions were continually growing stronger. The exhibition exposed the problems of the socialisation of art and psycho-formation, it dealt with the peripheral areas of fine art, and touched upon the alternatives in contemporary architecture in the seventies - all this subjects were intended to stimulate a critical reflection in the context of fine art. Among the exhibitors was the Italian artist Ico Parisi, exhibiting 1976 on Venice Biennial. For Slovenj Gradec he constructed the Wall of Apocalypse in the hall of the Gallery; today this act is seen as a truly prophetic warning on modern communication and the addiction to electronic media.
This continuity was certainly also featured in the 1985 exhibition, when the subject of the exhibition was not defined, while the concept was only bound to the technique of woodcut and small sculpture in wood. The choice of traditional fine art materials also meant a return to the appreciation of the traditional aesthetic of fine art works, while the simultaneous international architectural invitation for a wooden family house, and the exhibition of the submitted projects, only confirmed this orientation. The author of the exhibition, art historian Stane Bernik, had already presented the same problems of residential architecture, with a particular emphasis on alternatives in modern architecture, at the 1979 exhibition.
Therefore it came as a logical decision that the 1985 exhibition concept was followed by the exhibition of works by Ossip Zadkine from the artist's collection in Paris. The exhibition took place in 1991. The sculpture Memorial to the Apologist of Cubism - the Poet Guillame Apollinaire (1937, bronze), which Zadkine presented as a gift to Slovenj Gradec at the first international fine art exhibition in 1966, was transferred from Paris - with the permission of the foundation - as late as 1990, and in the same year it took its place in the atrium of the gallery. But this was not the sole reason for the exhibition, wrote Milena Zlatar, Zadkine's exhibition meant a logical continuation of the exhibitions which emphasised traditional fine art practice, and one of the most important among them was certainly the exhibition of sculptures and graphic works by Henry Moore in 1979.
Towards the end of the nineties, before the preparations for the international fine art exhibition which this time was particularly animated by the active contribution of Slovenj Gradec in the non-governmental organisation of Cities - Messengers of Peace, the fact became prominent that the issue of the influence of urban surroundings on artists and their works needed to be reassessed.
"We did not primarily have in mind manifestations in specific urban space, known as open-air projects (although these are also included), but rather the incorporation of artists into living surroundings, their reactions here and now, conscious or unconscious," are words of Milena Zlatar, gallery director of many years', now curator dedicated mostly to gallery collection. "The theme of ""The Artist and an Urban Environment"" exhibition, therefore, seemed to be broad enough to allow for the incorporation of quality fine art works, including those whose creators did not reflect very profoundly or concretely on the issues of the contemporary urban world, but had allowed themselves to be driven by their own creative potential and the universal nature of fine art expression; our task remains, however, that even in such works we look for answers to such questions as: What is the role of artists in the urban environment, and how do artists respond to it? How much are they influenced by the specificity of a surrounding, or the cultural space, and what can they themselves give to it?"
Selectors of the show displaying art activity in Peace Messenger Cities like Milena Babić,Vanesa Cvahte, Mathias Flügge, Fernando Castro Florez, Marko Košan, Jernej Kožar, Želimir Koščević, Pino Poggi, Ron Ramsey invited artists like Peter Hergold, Jože Tisnikar, Sašo Vrabič, Achille Ghidini, Alija Hafizović - Haf, Yukihiro Sumie, Katrin von Maltzahn, Katja Valeska Peschke, Matten Vogel, Concha Garcia, Antonio Murado, Gonzalo Puch, Javier Tudela, Milorad Djokić, Jovan Marinković, Goran Rakić, Milivoje Štulović, Seiichi Furuya, Sarva Sanna, Minna Heikinaho, Alii Maria Savolainen and others.
The ever topical theme indicated the problems of contemporary society, most eloquently with the expressive potential of photography and video, very concretely also with the written reflections and installations, and sufficiently sensitively and sometimes even exotically with several "classical" fine art works.
Gallery´s collection is using a museal accession to the collecting, preservation and conservation of modern and contemporary Slovene fine arts production. Focused especially on the regional authors, but also refined with several donations, bequests and purchases of international ones, the gallery is since its establishing building up a kind of museum of social aesthetics. In the moment the collection is in the process of archiving art works digitaly to create the accessibility of all works of the collection worldwide in every moment. There are several segments of the collection with more than 1000 art works:
Painter Jože Tisnikar (1928-1998), who matured as an artist while suffering traumatic experiences in a hospital pathology department and whose work is best defined by the term 'dark modernism'; 43 paintings and drawings present the artist's development from the early years to maturity and, together with documentary material on the artist's life, reveal Tisnikar's world from different angles, examining his iconographic theme of death and highlighting his particular nature.
It consists of paintings, prints, photographs, original architectural drawings, statues, and documentary material on installations, including performances and other audio-visual forms of contemporary presentation. A range of internationally-famous artists is represented, including Ossip Zadkine, Victor Vasarely, Maria Bonomi, Toon Wegner, Gene Chu and Paolo Minoli.
The gallery's collection of works by Slovene artists reflects several decades of the gallery's exhibitions programme, and features the work of Marko Šušteršič, France Mihelič, Riko Debenjak, Marjan Pogačnik, Božidar Jakac, Ive Šubic, Rudolf Kotnik, Kiar Meško, Dragica Čadež, Janez Boljka, Zdenko Huzjan and others. The most significant segment of the collection are works by artists who are natives of Carinthia or are in some way or another connected with the Mislinja, Drava or Mežica Valleys, namely Franjo Golob, Karel Pečko, Bogdan Borčić, Lojze Logar, Gustav Gnamuš, Rade Nikolić, Anton Dolenc, Vida Slivniker, Harald Draušbaher, Andrej Grošelj, Štefan Marflak, Miran Prodnik, Naca Rojnik, Peter Hergold and Sašo Vrabič.
The collection also presents the heritage from the 19th century onwards as well as the most recent art trends. A special place is occupied by the works of Franc Berneker (1874-1932), the first modern Slovene sculptor and fellow traveller of the impressionist painters, and by the works by painter Oskar Pistor (1865-1928), whose portraits, genre and landscape paintings establish links between the Upper Drava Valley and cosmopolitan Vienna and Munich, and also depict the landscapes of the Tyrol and Carinthia which inspired Pistor. The collection included also some works of former Yugoslav authors like: Krsto Hegedušić, Vlado Jakelić, Pedja Milosavljević, Miljenko Bosanac, Zorislav Drempetić, Nikola Koydl, Robert Tanay, Seid Hasanefendić, Zvonko Lončarić, Branislav Dinić, Nikola Gvozdenović, Mića Popović, and others.
Works by Italian artist Pino Poggi (donated in 1998) provide the basis for a developing International Museum of Social Aesthetics.
Dr. Franc Tretjak spent nearly 20 years in Africa as an economic consultant of the United Nations and donated to Slovenj Gradec his African collection consisting of domestic artefacts (vessels, ladles, calebashes, fans, baskets, musical instruments, tools, arms, etc) and items which have an ethnological value (cult objects including masks and statuettes, fetishes and amulets, objects of white and black magic, Nomoli (Nomori) statues and rare 'antiques' from the African continent).
The open-air gallery on the edge of Štibuh Park is also arranged as a venue for cultural events. In the 1970s its cultural function was further enhanced with the installation of sculptures by selected artists (Ivan Meštrović, Drago Tršar, Josip Diminić, Jordan Grabuloski, Ivan Sabolić, Ratko Vulanović, Ana Bešlić, etc) under the slogan 'For Peace'.
Culture.si offers information on Slovene cultural producers, venues, festivals and support services, all in one place. It encourages international cultural exchange in the fields of arts, culture and heritage. The portal and its content is owned and funded by the Ministry of Culture, funded by the European Union Recovery and Resilience Plan and developed by Ljudmila Art and Science Laboratory.