Painter Marko Zorović (born 1973) has been successfully active in the field of Slovenian art production for some time. He completed his BA in Painting in 1997 in the class of Prof. Gustav Gnamuš and obtained his MA in 2000 under the supervision of Prof. Bojan Gorenc at the Academy of Fine Arts in Ljubljana.
Tilen Žbona is a visual artist of the middle generation with a BA and MA from the Academy of Fine Arts in Venice. He received the Award for Significant Artworks in Video and New Media from the Academy of Fine Arts and Design, University of Ljubljana, in 2011, and a PhD from the Faculty of Education in Ljubljana in 2017. He is currently Associate Professor at the Faculty of Education in Koper, where he lives and works.
The spatial-light installation consists of a series of kinetic objects made on the basis of scientific visualisations of magnetic skyrmions – thermal quasi-particles in the form of vortices in the structure of magnetic materials that can transmit information and have the specific technical potential for the development of advanced lighting and ecologically responsible technology.
These objects vary in form because they do not attempt to objectively explain and imitate scientific visualisations, but interpret different types of modelling (structures, diagrams, schemes, three-dimensional illustrations of the movement of particles or magnetic fields). The formal result of this artistic interpretation is phantasmagorical rather than veristic, and this aspect is emphasised by the additional effects of kinetic rotation, light and video projections, which together create an imaginary spatial landscape in motion.
The kinetic spatial installation creates a perceptual (optical and physical) experiment and expands the viewer's cognitive experience by challenging established habits of perception. The project strives to interweave aesthetic experiences with broader questions about the material structure of our universe at the subatomic level. It questions, on the one hand, the subjective possibilities of understanding and experiencing the nature of physical reality and, on the other, the importance of a technological-scientific perspective and ecological responsibility.
The project is being developed in collaboration with Prof. Sašo Šturm in the Department for Nanostructured Materials at the Jožef Stefan Institute.
Uroš Weinberger is an award-winning visual artist who has created several completed cycles of paintings between 2002 and 2022. His artistic activity is characterised by the diverse dynamics of solo and group exhibitions in Slovenia and internationally. He creates in the fields of contemporary painting, murals, intermedia installations and music.
In the Habitat exhibition, the artist thematically refers to the forms of habitat inhabited by humans. This first spread in nature, and then sought a way into space. Subjects from the field of the natural sciences inspired the artist to develop a new artistic approach. In his artworks, he combines figurative and op art techniques with a simultaneous fascination with space exploration. The artist critically questions the "fantastic" notions of commercial flights into space and expeditions to planet Mars, i.e. to environments inhospitable to humans. At this point, the artist thinks of the future and of new generations of people who may not be unfamiliar with such forms of life. The third habitat that the artist contemplates is the virtual world, an immaterial environment to which social reality is migrating.
Paul O Robinson is a visual artist, architect, educator and Fulbright Fellow in art and architecture. He was born into a family of concert and circus musicians and taxidermists and raised on the Atlantic coast of Northeast Florida, USA. He attended university in music theory and composition; served a 5-year apprenticeship in the atelier of a master industrial pattern-maker; began studio Paul O Robinson; received a master’s degree in architecture and design summa cum laude. His primary studio is located in Ljubljana, Slovenia, where X-Rays, paintings and castings are developed to create intertwined narratives and spatial correspondences. He continues to have exhibitions and installations in Europe and the USA.
In her art career to date, graphic artist and art teacher Jasmina Nedanovski has found her strongest means of expression in the graphic arts. Her creative streak first led her to the Secondary School of Graphic Technology in Ljubljana, then she studied at the Faculty of Education in Maribor, where she completed her studies in Printmaking with Prof. Samuel Grajfoner. She continued her studies at the Academy of Fine Arts and Design in Ljubljana and received her master's degree with distinction under the supervision of Prof. Branko Suhy and Prof. Jožef Muhovič. She teaches at the primary school in Metlika. She is a member of the Society of Visual Artists of Dolenjska, participates in group exhibitions and art colonies, and conducts workshops for children and adults.
The graphic series and project So, We Watch … were prompted by the turbulent events in the artist's home area as a result of the migrant crisis that hit Slovenia in the autumn of 2015, continued through the following year, and then slowly subsided but never really disappeared. The artist noticed the traces that the migrants left in the surrounding forests. Even when they moved on, the fragments remained, bearing witness to them, their journey and their lives. The artist documented them with photography. However, her impressions became an impetus for further reflection on the subject of migrants and how they are perceived by others.
Tea Curk Sorta studied Sculpture at the Academy of Fine Arts and Design in Ljubljana, where she graduated with a bache - lor's degree in 2007 and a master's degree in 2012. During her studies, she gained further training at the Academy of Fine Arts in Munich. The artist, who is concerned with the role of the individual in the world and in society, has created the spatial installation Transcendences for Krško Gallery, which consists of the series Women, Through Transition and the latest works from the series Self-Portraits.
The figures in the gallery space are positioned in three interconnected clouds of meaning. In the left apse are five of thirty figures from the series Women. The sculptures in this series have only a slight suggestion of identity. Unlike the figures in the presbytery, their arrangement is not evenly condensed, there is almost no interaction between them. We look at each figure individually and find out how it differs from the previous one. The drawing itself is also less condensed than in the next series, the sculptures are flatter. The artist asks questions about the individual, she is interested in how they are shaped by the present time, which dictates a new ethic of everyday life. The perception of social values has shifted. We vacillate between personal responsibility and the experience of helplessness. Defensively, we retreat into the private sphere and the family. According to Mirjana Ule, these values can be positive for society and the individual and lead to greater individual autonomy, but they can also be negative and lead to anomie (Ule, 2004).
Klemen Skubic (1982, Ljubljana) has created several complete series in his ten years of professional activity in the photographic medium. His work has been presented at photo festivals in Arles (France) and Tbilisi (Georgia), as well as in solo and group exhibitions in Slovenia and abroad, including at the Librarie Photographique in Paris, the Rotund Centre in Koper, the House of Culture in Kamnik and the Huiu Gallery in Pula (Croatia). He has participated in two projects, “Estrangement” and “If Slovenia Were”, conceived and directed by photographer and curator Klavdij Sluban. He lives and works in Ljubljana.
The photographs exhibited at Krško Gallery were taken over a long period of time. They are fragments of the artist's wanderlust through Moldova, fleeting shots of here and there, and snippets of the most intimate events in the shelter of the family cell. The exhibition thematically explores the relationship between child and parent, but the narrative is not revealed to us directly from the images. Instead, the photographer works with visually associative elements and metaphors, following a photographic narrative that sometimes seems autobiographical – which the artist does not deny – but which does nevertheless not mean that he is illustrating his life. So if we want to dissect the content of the exhibition, we can consider the photographs as a photo-reportage diary of the artist's life, consisting of landscapes, still lifes, street portraits and family shots. Skubic's photographs, however, cannot be defined as reportage, since stylistically they move between loosely documentary and expressive records of the artist's individual experiences and his sensitive engagement with the outside world.
Krško Gallery
Valvasorjevo nabrežje 4
8270 Krško
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Krško Gallery
Valvasorjevo nabrežje 4
8270 Krško
May 25th - July 5th 2020
