Meta Grgurevi~ Presek/Intersection

Meta Grgurevi~ Presek/Intersection 10. - 30. 4. 2015

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Presek

Umetniška praksa Mete Grgurevi~ vselej pre~i sko-zi razli~ne izrazne medije, ki jih avtorica s prisotnostjo osebne poetike povezuje v uravnoteženo celoto, le-to pa precizno sidra v svoja konceptualna izhodiš~a. ^eprav umetniška dela Mete Grgurevi~ venomer izražajo izredno specifi~no poeti~no noto, pa hkrati zaradi analiti~nega pristopa v sami realizaciji govorijo o kompleksnosti struktur našega vsakdana ter tako na izredno subtilen na~in vzpostavljajo relacijo do preteklosti in njenih pre-vodov v širše polje sodobne umetnosti. Na ta na~in Meta Grgurevi~ zelo iskreno govori o tem, da so umetniška dela lahko nekakšen opomnik gledalcu, saj je vsako iz-med njih lahko zapis stanja, v katerem se vsak izmed nas lahko vselej prepozna. Njena kompleksna umetniška dela vselej nagovarjajo ve~ ~utov hkrati in tako nenehno preizkušajo možnosti gledal~eve (samo)refleksije, a vse-skozi izražajo tudi umetni~ino lastno intimo, ~ustva in iz-redno neposreden pristop k vprašanjem, ki jih umetnica želi izpostaviti v kontekstu posami~nih projektov.

Prav o tem, sicer na nekoliko druga~en na~in, želi spregovoriti tudi razstava Presek , ki poskuša s pre-~enjem preko izbranih umetniških del izpostaviti nekate-re formalne in vsebinske poti Mete Grgurevi~ v ~asovnem razponu štirih let. Izbor treh umetniških del za razstavo Presek želi izpostaviti soodvisnost razmerij, ki nastajajo med materialnim in nematerialnim v kontekstu dela Mete Grgurevi~, entiteti, ki v nekakšnem soodvisnem razmerju tvorita celoto umetniškega dela in ena brez druge ne obstajata. In prav ta suspenz oziroma nape-tost, ki nastaja med tema entitetama, je to~ka, iz katere vznika dejstvo, da umetnica gledalca vselej privede do trenutka, znotraj katerega poskuša prese~i enozna~no in “medijsko plosko” dojemanje podob, objektov, giba in zvoka. Jedro pri~ujo~e razstave je izbor in sopostavitev umetniških del, ki so nekakšna sinteza projektov Lucid Dream (2012), Galanterie Mécanique (2013) in Saudade (2015). Na ta na~in se v galerijskem prostoru vzpostav-ljata dialoga, ki gledalca peljeta v dve smeri. Smer, v ka-tero avtorica najprej zapelje gledalca, je nekakšen inter-ni dialog med gibljivo podobo in stati~nim objektom, ki nastaja z njuno sopostavitvijo v kontekstu posami~nega projekta. A vendarle je druga smer tisto, o ~emer želi raz-

stava Presek spregovoriti v prvi vrsti, in sicer gre za skrit, a ve~plasten dialog, ki vzpostavlja razmerja med gibljivo sliko – zvokom – objektom – prostorom. Navidezno izpraznjeni galerijski prostor tako pripoveduje zgodbo, znotraj katere umetniško delo (podoba, zvok, objekt) ne obstaja izklju~no v svoji kompoziciji “materialne pri-sotnosti”, ampak predvsem v suspenzu, ki se ustvarja v odnosu le-te do nematerialnega.

Galerijska postavitev tako postaja nekakšna “ko-reografija” posami~nih elementov in zarisuje možnosti, ki jih lahko ima v današnjem ~asu pre~enje skozi razli~-ne medije. Izkušnja razstave Presek tako postane nekaj neizbežnega, a hkrati izmuzljivega, saj se razmerja med gledalcem in posami~nimi elementi nenehno spreminja-jo in se posledi~no s tem tudi odmikajo od konvencij izklju~no hapti~ne percepcije. Zato se zdi, da soposta-vitev projektov ni zgolj sinteza umetni~ine preteklosti, ampak gre za novo sozvo~je avdio-vizualnih struktur, ki omogo~ajo nov svoboden pogled, ki lahko povsem rela-tivizira staro izkušnjo. Prav zaradi tega se, ko razmišljamo o umetniški praksi Mete Grgurevi~, ne moremo znebiti ob~utka, da umetniški projekt v trenutku, ko je zaklju~en, že postane izhodiš~e za razmislek o novih razmerjih, ki nastajajo znotraj njega. Presek skozi preteklost, da lahko razumemo prihodnost.

Tevž Logar

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Intersection

In her artistic practice Meta Grgurevi~ travels across a range of different media of expression, which the author brings together into a balanced whole with her personal poetics and anchors them accurately into her own conceptual foundations. Although there is a peculiar poetic note to all of her works of art, because of her analytical approach to creating, her works speak about the complexity of our day-to-day life and weave subtle references to the past and to its transpositions into contemporary art. Thus, Meta Grgurevi~ honestly concedes that artwork acts as a reminder for the observers that every piece of art is a record of a set of circumstances each of us may – from time to time –identify with. Her complex artworks continue to address various senses at a time, thus continuously testing the capabilities of the viewers’ self-reflection, while expressing the artist’s very intimate world, her feelings and her decisively straight attitude to questions that the artist would like to raise trough individual projects.

This is exactly what the Intersection exhibition is trying to express in a slightly different way. The purpose is to emphasise certain formal and substantial topics in Grgurevi~’s work over a period of four years by making intersections between an array of her works. The selection of three works for the Intersection exhibition is aimed at exposing the correlation between the tangible and intangible in the works by Meta Grgurevi~, the two intertwined entities that make a piece of art and cannot exist one without the other. The resulting suspense or tensions between the two entities brings to fore the fact that the artist always manages to bring the viewer to overcoming plain and shallow perceptions of images, things, movements and sounds. The core of this exhibition is the juxtaposition of works of art that summarise three projects: Lucid Dream (2012), Galanterie Mécanique (2013) and Saudade (2015). The resulting two dialogues lead the viewers in two directions: The one, the artist immediately entices the viewer towards, is a particular internal dialogue between moving images and static objects, established by putting them side by side in individual projects. The other direction is the one the exhibition would like to talk about, the concealed

and layered dialogue between moving images, sounds, things and space. The seemingly empty exhibition space thus tells the story, in which the individual works of art (images, sounds, objects) do not only exist as material presence, but also as suspense created by its relation to the intangible.

The setting of the exhibition in the space thus becomes a type of choreography of individual elements and traces the opportunities brought about by intersecting various media at a certain moment of the present. The experience of the Intersection exhibition thus becomes something unavoidable and yet escapes definition, as the relations between the viewers and individual elements change constantly and therefore flee the conventions of mere haptic perception. The juxtaposition of projects therefore creates far more than a summarised account of the artist’s past, but a new harmony of audio-visual structures that offer a fresh and free view at things and questions the preceding perceptions. Because of that – when we think about the Grgurevi~’s practice of art, we cannot get rid of the feeling that every art project, once completed, immediately brings forward suggestions about new relations that are beginning to take shape. The intersections of the past enable us to understand the future.

Tevž Logar

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Lucidne sanje/Lucid Dream2012

Avtorica/author : Meta Grgurevi~Besedilo/text : Žiga Dobnikar (uporabljeno v katalogu)Pri projektu so sodelovali/project collaborators : Jaša, Otto UrpelainenPosebna zahvala/special thanks : Kokeellisen elektroniikan seura, Linda HofvanderKustosinji/curators : Marita Muukkonen and Taru ElfvingProducent/producer : HIAP – Helsinki International Artist Pro-gramme

Meta Grgurevi~ v projektu Lucidne sanje reflektira napetosti med idejo, to je briljantno zamislijo, in realnostjo, ki prvi pogosto stoji nasproti. Vendar ne ostaja le na ravni opozicije ideal – resni~nost, ki je vse od romantike ena od temeljnih preokupacij umetnosti; konceptualno jedro posta-vitve je razmislek o hipoteti~nem prostoru/stanju, ki je odprt do realnosti, a hkrati do neke mere avtonomen, realnosti ne povsem podrejen. Dela ~rpajo navdih predvsem pri dveh klju~nih osebnostih sveta znanosti in umetnosti – Nikoli Tesli (1856–1943) in Vladimirju Tatlinu (1885–1953). Oba sta hotela s svojim delom izboljšati svet, vendar je njun idealizem tr~il v zid realnosti in neko~ živa, na videz skoraj mogo~a ideja je postala del zgodovine spodletelega/nemogo~ega. Za-zdela se je absurdna kot Tatlinova letalna naprava Letatlin, poimenovana z neologizmom, skovanim iz ruskega glagola leteti (летать – letati) in umetnikovega imena. Poimenova-nje spomni na besedne igre Tatlinovega prijatelja, pesnika Vladimirja Hlebnikova (1885–1922). Sorodnosti med Tatlinom in Hlebnikovim pa niso bile omejene le na podro~je jezika: oba sta verjela v nujo po tesni povezavi med ~loveštvom, tehnološkim napredkom in naravo, hkrati pa sta bila navdu-šenca nad aviacijo – predvsem nad idejo letenja kot odraza absolutne svobode. (Odlomek iz teksta Žige Dobnikarja za razstavo Lucid Dream, ki je bila na ogled med 28. 6. in 3. 8. 2012 v Galeriji Ganes Pratt.)

In the project Lucid Dream Meta Grgurevi~ contempla-tes the tension between ideas, i.e., a brilliant conception, and reality, which often opposes the former. The artist, however, does not limit herself only to the age long antagonism bet-ween ideals and reality; the conceptual core of the exhibition is a deliberation on a hypothetical space (or even a state), which is exposed to reality, but at the same time remains autonomous ... The works are inspired particularly by two key figures from the fields of science and art – Nikola Tesla (1856 -1943) and Vladimir Tatlin (1885-1953). Both wanted to im-prove the world with their work, but their idealism shattered on the wall of reality and the once vigorous, even seemingly achievable, ideas became a part of the history of impossible. They became as absurd as Tatlin’s flying device the Letatlin; named with a neologism coined from the Russian verb letati (летать; meaning to fly) and the artist’s name. This resembles the experimental word constructions in the poetry of Tatlin’s friend, the futurist poet Khlebnikov. The parallels between the Tatlin and Khlebnikov were not nilimited only to linguistic experiments: both strongly believed in the need for a close bond between man, technology and nature. Furthermore, both were avid aviation enthusiasts – especially attracted to the idea of flight as a representation of absolute freedom. (Excerpt from the text of Žiga Dobnikar for the exhibition Lucid Dream that was held at Ganes Pratt gallery, between June 28 and August 3, 2012.)

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Izsek iz videa/still frame

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Izsek iz videa/still frame

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Foto/photo: Meta Grgurevi~

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Galanterie Mécanique2013

Avtorici/authors : Meta Grgurevi~ in Urša VidicBesedilo/text : Žiga Dobnikar (uporabljeno v katalogu)Pri projektu so sodelovali/Project collaboratorsPerformansAvtorji/authors : Meta Grgurevi~, Jaša, Urša Vidic Izvajalci/performers : Nina Fajdiga, Leja Juriši}, Tine Grgurevi~, KALUGlasba/music : Tine Grgurevi~, Jaša, KALU Kostumografija/costumography : Nika Ravnik / n i O k a / VideoRežija/directors : Meta Grgurevi~, Jaša Koncept/concept : Meta Grgurevi~, Jaša, Urša Vidic Besedilo/text : Jaša,Fotografija/photography : DK Avtorji glasbe/music authors : Tine Grgurevi~, Jaša, KALU Tehni~na pomo~/technical help :Projektiranje in 3D-modeliranje/3D modeling : Johnatan Pod-boršek Avtomatizacija elektrike in izvedba/electricity automatisation : Tomo Marko~i~, Martin Podlogar Konstruiranje/consulting : France Peta~Producenta/producers : Svetlobna Gverila, Galerija ŠkucKoprodukcija/co-producers : Plesni Teater Ljubljana – PTL in MUSM – Muzej sodobne umetnosti

Galanterie Mécanique Mete Grgurevi~ in Urše Vidic je simfonija kineti~nih objektov, videa, performansa ter glasbe, ki jih avtorici povežeta v enovito prostorsko celoto, za kate-ro stoji razmislek o odnosu ~lovek – stroj, o sodelovanju in kooperaciji med posamezniki ter o položaju posameznika v širših družbenih odnosih. Gibalo prostorske postavitve je sožitje vseh elementov, tako nujnih kot dozdevno nepotreb-nih – prav slednji, nakazani že v naslovu, zavzamejo vlogo drobnih povezovalnih ~lenov, ki stopijo v dialog z navidezno ute~enostjo in funkcionalnostjo mehanskih elementov ter jim pri tem vdahnejo noto liri~nosti in organskosti, hkrati pa tudi sami sprejmejo del mehanske esence. Nastali preplet postane delujo~i sistem, ki do neke mere funkcionira sam, a za svojo popolno realizacijo potrebuje vpletenost vseh komponent, organskih in mehani~nih. (Odlomek iz teksta Žige Dobnikarja za razstavo Galanterie Mécanique, ki je bila na ogled med 11. 6. in 14. 7. 2013 v Galeriji Škuc.)

Galanterie Mécanique by Meta Grgurevi~ and Urša Vi-dic is a symphony of kinetic objects, video, performance and music. A homogenous spatial whole reveals a contemplation of the relationship between man and machine, collaboration and co-operation between individuals, and the position of the individual within wider social relationships. The driving force of the installation is harmony of constituent parts – the seemingly crucial or superfluous ones. The latter take on the role of tiny connecting elements, communicating with the seemingly established system and operation of mechanic elements and imbuing them with a lyrical and organic tinge, while assuming a part of mechanic essence. The new convo-lution becomes a working system, which is independent to a certain extent, buts need the participation of all components, both organic and mechanical, in order to function. (Excerpt from the text of Žiga Dobnikar for the exhibition Galanterie Mécanique that was held at Škuc Gallery, between June 11 and July 14, 2013.)

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Foto/photo: DK

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Foto/photo: DK

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Foto/photo: DK

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Saudade2015

Avtorica/author : Meta Grgurevi~Kusotosinja/curator : Alenka TrebušakBesedilo/text : Alenka TrebušakZasnova in izvedba trikotnih resonan~nih elementov/conceptualization and realistation of elements : Meta Grgu-revi~, JašaAvtor glasbe/music : Bowrain (Tine Grgurevi~)Oblikovanje zvoka/sound design : UM (Mario Babojeli~)Fotografija/photography : Meta Grgurevi~, DKKonstruktor/constructor: France Peta~Svetovanje in priprava urinih mehanzimov/consulting and pre-paration of clock mechanisms : Jure HubscherAvtomatizacija elektrike/electricity automatisation : Tomo Marko~i~Producenta/producers : Muzej in galerije mesta Ljubljane, Galerija Škuc

V tokratnem razstavnem projektu raziskuje specifi~-no emocionalno stanje, ki ga morju in glasbi zapriseženi Portugalci ozna~ujejo s saudade. Beseda v slovenš~ini nima enakovrednega termina. Najboljši približek predstavlja kopr-nenje, pomensko pa korelira z nam bolj poznanim sevdahom. Skupek ~ustev je vezan na dogodke ali izkustva iz preteklosti. Le-ti so neko~ vzbujali sre~o, v sedanjosti pa odzvanjajo z ve-seljem in so~asnim upanjem na ponovno doživetje/ob~utenje, a z zavedanjem, da je to morda nemogo~e. Saudade torej predstavlja svojevrstno koprnenje po ne~em, kar ni sedanjost; zazrto je v preteklost in se obenem obra~a k prihodnosti. Poudarjena ~asovna komponenta ob vseprisotni sintezi z zvokom (glasba je nastala v sodelovanju z Bowrainom) te~e skozi celotno postavitev: urni mehanizem, sicer relevantno orodje za merjenje ~asa, je predelan v svojevrsten glasbeni instrument, ki dodatno rahlja naše relativizirano zavedanje ~asa. ^asovno razsežnost nadalje tematizira video matere in h~ere, ki na lebde~em stolu iš~eta negotovo ravnovesje v življenju. V videu se umetnica skozi spominjanje povezuje s sebi najbližjimi z namenom oblikovanja alternativnih oblik (so)bivanja. Natan~no odmerjeni intervali definirajo vsebino, podvrženo ~asovnim zankam, kot ponavljajo~e se stanje, kot to~no odmerjeno možnost realnosti. (Odlomek iz teksta Alenke Trebušak za razstavo Saudade, ki je bila na ogled med 26. 2. in 27. 3. 2015 v Kulturnem centru Toba~na 001, Mestni muzej Ljubljana.)

By converting them into gallery space, the artist pro-bes the phenomena that affect human perception of time and place. In this exhibition project, she delves into a specific emotional state that the Portuguese, a nation of seafarers and musicians, call saudade. The word has no directly translatable meaning in Slovene. It describes profound longing for somet-hing and correlates with the here better known word sevdah. The mixture of emotions is associated with events and expe-riences that once brought happiness and now resonate with happiness and hope to relive or feel something again, despite knowing that what is being longed for might never return. Sa-udade encompasses a unique form of yearning for something other than the present, looking back at the past and turning towards the future. The emphasised temporal component, in its continuous fusion with sound (music was produced in collaboration with Bowrain), pervades the entire installation: the clock mechanism, otherwise a relevant time-measuring tool, is transformed into a musical instrument which further loosens our relativized awareness of time. The temporal di-mension is further thematised by the video of a mother and daughter struggling on a hovering chair to find the uncertain balance in life. In the video, using her recollections to find alternative forms of (co)existence, the artist connects with her loved ones. Precisely measured intervals define the content, which is subject to time loops, as a repetitive state and a pre-cisely measured possibility of the real. (Excerpt from the text of Alenka Trebušak for the exhibition Saudade that was held at KC Toba~na 001, City Museum Ljubljana, between February 26 and March 27, 2015.)

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Foto/photo: Matev` Paternoster

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Foto/photo: Matev` Paternoster

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Foto/photo: Matev` Paternoster

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Meta Grgurevi~ (1979) has completed the undergraduate studies of painting at the Academy of Arts of Venice in 2007. In 2002, together with Mara Ambroži~, Jasmina Cibic and Mery Favaretto she co-founded the Passaporta art group, operating between Venice, Ljubljana, Granada and London. She had a series of autonomous projects in Slovenia since 2007 and participated in a number of collective exhibitions in Slovenia, Italy, United Kingdom, Greece, New York, Bosnia and Herzegovina, Croatia, Macedonia and Austria.

Meta Grgurevi~ has been nominated for and awarded various prizes for young and talented artists: In 2002, she received the Bevilacqua La Masa prize for her work “Mickey Mouse is a Faggot”; in 2004 the Passaporta Group was mentioned among the most promising Italian artists by the Premio Furla and in 2009, her work “Worlds Don’t Come Easy” was awarded as the best inter-media project at the Akto Festival in Macedonia. Recently, she received three very important recognitions: BIENALEONLINE 2013 has ranked her among the 180 most promising artists in the world on the basis of votes by thirty leading global curators, she has also been short-listed among the four finalists for the prize given by the OHO Group and has won a special mention together with Urša Vidic at the 30th Ljubljana Biennial of Graphic Arts for their work Galantérie Mecanique/Fil d’argent . In 2010, she received a work grant from the Ministry of Culture of the Republic of Slovenia. In the spring of 2012, she won an artist residency at the Helsinki International Artist Programme and in 2013 she was a resident artist at the art studio of the Ministry of Culture of the Republic of Slovenia in New York. She lives and works in Ljubljana.

More information: www.metagrgurevic.com

Meta Grgurevi~ (1979) je leta 2007 kon~ala podiplomski študij slikar-stva na Likovni akademiji v Benetkah. Leta 2002 je z Maro Ambroži~, Jasmino Cibic in Mery Favaretto ustanovila skupino Passaporta, ki je delovala med Benetkami, Ljubljano, Granado in Londonom. Od leta 2007 je v Sloveniji pripravila ve~ samostojnih projektov in sodelo-vala na številnih skupinskih razstavah v Sloveniji, Italiji, Londonu, Gr~iji, New Yorku, Bosni in Hercegovini, na Hrvaškem, v Makedoniji in Avstriji.

Meta Grgurevi~ je dobitnica številnih nominacij za perspektivne mlade umetnike in nagrad: leta 2002 je v Benetkah za delo Miki Maus je pedr prejela nagrado Premio Consorzio Nuovo Bevilacqua la Masa, leta 2004 je bila skupina Passaporta uvrš~ena med per-spektivne italijanske umetnike Premio Furla, leta 2009 pa je prejela nagrado za projekt Worlds Don’t Come Easy, ki je bil prepoznan kot najboljši intermedijski projekt na festivalu Akto v Makedoniji. Lani je prejela tri zelo pomembna priznanja: BIENALEONLINE 2013 jo je na podlagi odlo~itve tridesetih vodilnih svetovnih kuratorjev uvrstilo med 180 najbolj obetavnih umetnikov na svetu, bila je iz-brana med štiri finaliste za nagrado skupine OHO, na 30. grafi~nem bienalu Ljubljana pa je za projekt Mehani~na galanterija/Srebrna nit (Galantérie Mecanique/Fil d’argent) s soavtorico Uršo Vidic prejela posebno omembo mednarodne žirije. Leta 2010 je prejela delovno štipendijo Ministrstva za kulturo Republike Slovenije. Spomladi leta 2012 je bila reziden~na umetnica na Finskem v HIAP – Mednarodni umetniški program Helsinki in leta 2013 reziden~na umetnica v ate-ljeju Ministrstva za kulturo Republike Slovenije v New Yorku. Živi in dela v Ljubljani.

Ve~ o umetnici na: www.metagrgurevic.com

Razstava je del projekta Zagon, ki ga delno financira Evropska unija.

Izid kataloga je omogo~ila:

Katalog izdal/Published by: Javni zavod Kulturni dom Nova Gorica, Mestna galerija Nova Gorica – Zanj odgovarja/Responsible: Pavla Jarc – Urednica/Edited by: Mateja Polj{ak Furlan – Besedilo/Text: Tev` Logar – Prevod/Translation: Peter Szabo – Fotograf ije/Photography: DK, Meta Grgurevi~, Matev` Paternoster – Oblikovanje/Layout: Adenda d.o.o. – Tisk/Print: Tiskarna Present d. o. o. – Naklada/Number of copies: 300

Mestna galerija Nova Gorica Trg E. Kardelja 5 SI 5000 Nova Gorica T + 386 5 335 40 17 E mestnagalerija@kulturnidom-ng.si W www.mgng.netUrnik: od ponedeljka do petka od 9. do 13. ure in od 15. do 19. ure. Ob sobotah od 9. do 12. ure. Ob nedeljah in praznikih zaprto.