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2. shows and events
3. festival

LJUBLJANA FESTIVAL – CULTURAL HUB
12.–17. 7. 2015, Križanke
XVIII. MEDNARODNA
LIKOVNA KOLONIJA
18th INTERNATIONAL
FINE ARTS COLONY
EUROPE FOR FESTIVALS
FESTIVALS FOR EUROPE
EFFE LABEL 2015-2016
Ustanoviteljica Festivala Ljubljana je Mestna občina Ljubljana.
The Ljubljana Festival was founded by the Municipality of Ljubljana.
Častni pokrovitelj Ljubljana Festivala 2015 je župan Mestne občine
Ljubljana Zoran Janković. / The honorary sponsor of the Ljubljana
Festival 2015 is the Mayor of Ljubljana Zoran Janković.
LJUBLJANA FESTIVAL 2015, 28. 6.–28. 9.
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12.–17. 7. 2015, Križanke
XVIII. MEDNARODNA
LIKOVNA KOLONIJA
18th INTERNATIONAL
FINE ARTS COLONY
Selektor / Selector:
Tomo Vran
Lucijan Bratuš
Slovenija / Slovenia
[email protected]
Duša Jesih
Slovenija / Slovenia
[email protected]
Spoštovani,
z velikim veseljem vas vabimo na
odprtje razstave del udeležencev XVIII.
mednarodne likovne kolonije, ki bo 17.
julija ob 12. uri v Viteški dvorani Križank.
Dear Guest,
we cordially invite you to the opening of
the exhibition of works by the participants
of The 18th International Fine Arts
Colony. The opening will take place on
July 17, at noon, in Križanke, Knight's
Hall.
Darko Brlek
Direktor in umetniški vodja Festivala Ljubljana in predsednik
Evropskega združenja festivalov
Artistic and General Director of the Ljubljana Festival and
President of the European Festivals Association
Tomaž Milač
Slovenija / Slovenia
[email protected]
Lučka Šparovec
Slovenija / Slovenia
[email protected]
Ercan Arslan
Turčija / Turkey
[email protected]
www.ercanarslan.de
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LJUBLJANA FESTIVAL 2015, 28. 6.–28. 9.
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Veronika P. Dutt
Nemčija / Germany
[email protected]
www.veronika-p-dutt.de
Miljenka Šepić
Hrvaška / Croatia
[email protected]
Branka Kuzmanović
Srbija / Serbia
[email protected]
V času, ko moderna tehnika vedno bolj izpodriva našo
lastno imaginacijo, ko nam informacije in podobe na PC-jih,
tablicah, pametnih telefonih itd. sugerirajo razni Googli,
Yahooji, Twitterji, Facebooki, se sprašujem, kje je v tem
svetu prostor za intimno likovno ustvarjanje in ali je sploh še
potreba po tem. Bi bilo treba glede na sodobne smernice
tudi v umetnosti spremeniti koncept, ga posodobiti ali končati
in začeti drugače, znova? Pozornost javnosti se predvsem
glede vizualne umetnosti v zadnjih desetletjih obrača
pretežno k projektom, k eventom, ki so vsekakor medijsko
zanimivejši in ne zahtevajo toliko lastne percepcije. Dovolj je,
če prebereš spremljajoče tekste, pa se ti zdi, da si razumel.
Če je res »sanjarjenje« stvar preteklosti, arhaizem, kakšne
bodo posledice? Ali bo vsak individuum še lahko vse svoje
življenje sam in z lastnim doživljanjem ponotranjil in ustvarjal
svoj notranji svet, svet lastne fantazije ali mu jih bodo v
prihodnosti kar »downloadali«? Razvoj je bliskovit in sodobna
umetnost, kakršnakoli že, ne more stati ob strani. Problem
je, da smo vedno bolj v dvomih, kaj sodobna umetnost
pravzaprav sploh je.
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Če razmišljam o aspektih, ki bi natančno definirali sodobno
umetnost, vidim problem prav v dejstvu, da jo je zelo težko
natančno kritiško opredeliti. V obdobju pred šestdesetimi leti
se je dalo večino umetniških del preprosto pripisati rezultatu
določene slikarske ali umetniške šole. Tudi v sedemdesetih
in osemdesetih letih se še vedno pojavljajo jasne tendence,
na primer konceptualna umetnost, pop art, performans,
grafiti art in še vrsta drugih. Umetnost moderne dobe pa se je
transformirala in sledi tudi trendom globalizacije, ekonomije
ter politike in sociokulturnim spremembam. Hitrost pretoka
informacij in idej je krepko posegla tudi v svet umetnosti in
spodbudila večjo multidisciplinarno živahnost, ki je tipična
za sodobno umetnost. Prav tako so sodobni trendi tržnosti
pripomogli, da smo zašli v slepo ulico, kar se tiče vrednot,
sposobnosti izražanja čustev, kreativnosti. Življenje, ki se
vedno bolj reducira na »big brother style of life« ali izpeljanki
velikega brata zasvojenosti s Facebookom, nikakor ne daje
tistega humusa, iz katerega bi nastajale umetnine, vredne
tega imena.
Sodobno umetnost večkrat mešamo z moderno, vendar
vrsta smeri moderne umetnosti na primer ponovno raziskuje
osnove slikarstva, barvo, potezo čopiča, teksturo platna
ipd. Vrsta umetnikov se v svojih delih odmika od pozornost
vzbujajočih trendov in išče rešitve globalizirajočega se sveta
v svoji intimi. Namesto postduchampovske filozofije, po kateri
lahko vsak predmet postane umetnost, iščejo umetnost v
potezah lastne roke. Želijo biti slikarji, torej slikati – ustvarjati
slike in še vedno sanjariti.
Kot sem že v preteklih letih večkrat omenil, se Mednarodna
likovna kolonija Festivala Ljubljana od vrste podobnih
razlikuje predvsem po tem, da je aktualno urbana, vendar je
obenem izrazito intimna. Možnost miru, ki jo ponuja ambient
Plečnikovih Križank, sredi mesta, ki v tem poletnem času
dobesedno vrvi od najrazličnejšega kulturnega dogajanja,
je neprecenljiva. Do danes jo je tako ocenilo že več kot 136
slikark in slikarjev iz Slovenije in Evrope. Ljubljano so zapustili
zadovoljni s tem, kar so doživeli, zelo zadovoljni z rezultati
lastnega dela in hvaležni organizatorju, Festivalu Ljubljana,
da jim je to izkušnjo omogočil.
Gostje letošnje že osemnajste Mednarodne likovne kolonije
so poleg domačih iz štirih držav in sicer Miljenka Šepić
iz Hrvaške, Ercan Arslan iz Turčije, Veronika P. Dutt iz
Nemčije, Branka Kuzmanović iz Srbije ter Duša Jesih, Lučka
Šparovec, Lucijan Bratuš in Tomaž Milač iz Slovenije.
Vsem želim uspešno sanjarjenje, veliko novih idej, ustvarjalnih
trenutkov ter da bi jih Ljubljana očarala tako kot njihove
predhodnike.
Tomo Vran
Selektor
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LJUBLJANA FESTIVAL 2015, 28. 6.–28. 9.
At a time when modern technology is increasingly
displacing our imagination, and information and images
are suggested to us via PCs, TPads, Smart Phones, etc., by
various Googles, Yahoos, Twiters and Facebooks, I often
wonder where in this world it is still possible to find a place
for intimate artistic creation, or even whether there is a
need for one at all. Would it be necessary, according to
contemporary trends, to change even the concept of art,
to modernise it or just end it completely and start differently
all over again? In recent decades, public attention, in visual
art in particular, has been turning to projects or events that
are more interesting in terms of media, since they do not
require that much of one's own perception. It is enough just
to read the accompanying text and you already seem to
understand it all.
practising the post-Duchampian philosophy whereby every
object can become a work of art, they seek art in the
movements of their own hands. They prefer to be painters,
and therefore, to paint, to make pictures, and thus keep
daydreaming.
If 'daydreaming' is really a thing of the past, an archaism,
what are the consequences? Would it still be possible for
each and every individual through their entire life and
with their own experience to personalise and create
their inner world, the world of their own imagination, or is
it simply going to be downloaded to them in the future?
The development that we are witnessing today is swift,
and contemporary art, whatever kind it may be, can not
stand aside. The problem is that we are more and more
confronted by the dilemma of what contemporary art
actually is.
If I think of the aspects that precisely define contemporary
art, the problem seems to lie in the fact that it is quite
difficult to specify it from a critical point of view. Sixty years
ago, most works of art could be easily attributed to the
result of a certain art school. In the nineteen-seventies
and nineteen-eighties also, there were still clear trends
such as conceptual art, pop art, performance, graffiti
art and a whole range of other art forms. The art of the
modern age has been transformed and follows trends
of globalisation, economics and politics, as well as
sociocultural changes. The flow rate of information and
ideas has significantly encroached on the world of art
and encouraged the greater multidisciplinary vibrancy
typical of the contemporary scene. Present-day trends in
marketability also aid the attaintment of a dead-end in
values, the expression of emotions and creativity. Our life,
progressively reducing itself to a 'big-brother life style' or its
'addiction to Facebook' derivative, certainly does not offer
fertile ground from which works of art worthy of the name
could be created.
Contemporary art is often mixed up with modern art;
however, one trend in modern art is repeatedly engaged
in exploring the basics of painting - colour, brush stroke,
canvas texture, etc. A whole range of artists is moving
away from eye-catching trends, looking for solutions
in the globalised world in intimate moods. Instead of
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As I have already mentioned in previous years, what makes
the International Fine Arts Workshop hosted by the Ljubljana
Festival so special is its unusual fusion of up-to-date urbanity
and distinct intimacy. The peaceful ambience of Plečnik's
Križanke, situated in the heart of the city, which offers a
genuine diversity of cultural events this time of the year, is
quite invaluable. Over the years, it has been regarded as
such by more than 136 painters from Slovenia and Europe.
They left Ljubljana extremely happy with their experience,
satisfied with the results of their own work and thankful
to the organiser – the Ljubljana Festival – for making it all
possible.
The guests at this year's International Fine Arts Colony
(the18th) are Miljenka Šepić from Croatia, Ercan Arslan
from Turkey, Veronika P. Dutt from Germany Branka
Kuzmanović from Serbia, Duša Jesih, Lučka Šparovec,
Lucijan Bratuš and Tomaž Milač from Slovenia.
I wish all the participants a lot of pleasant daydreams, new
ideas and creative moments, hope they are as enchanted
by Ljubljana as their predecessors.
Tomo Vran
Selector
Izdal / Published by: Festival Ljubljana
Zanj / For the Publisher: Darko Brlek, direktor in umetniški
vodja / General and Artistic Director
Jezikovni pregled / Language Editing: Nataša Simončič
Prevod / Translation: Verbum prevajanje in jezikovno
izobraževanje, Doris Sodja, s. p.
Julij 2015
Glavni sponzor / General sponsor:
Sponzorji 63. Ljubljana Festivala / Sponsors of the 63rd Ljubljana Festival:
Sponzorji posameznih prireditev / Sponsors of the individual events:
Glavni medijski sponzor / General media sponsor:
Medijski sponzorji / Media sponsors:
Partnerji Ljubljana Festivala / Ljubljana Festival partners:
Uradni prevoznik
Official carrier:
Uradna vina / Official wines:
Prevoznik
Carrier:
Železniški prevoznik
Railway transporter: