Exercises in a Collection
Vaje v zbirki
Group exhibition
Skupinska razstava
Artists Umetnice_ki: Maja Bajević, Guido Chire Balderrama, Ana Bešlić, Jean-Marc Bustamante, Dante Buu, Jasmina Cibic, Documentary Embroidery Office, Dušan Džamonja, Róza El-Hassan, Cho Geumsoo, Cristina Iglesias, Hristina Ivanoska, Mamdouh Kachlan, Anish Kapoor, Liliane Karnouk, Ivan Kožarić, Petar Lubarda, Jelena Micić, Rafikun Nabi, S. Nandagopal, Rabab Nemr, Agnes Clara Ovando-Sanz de Franck, Saleh Reda, Naima El Shishiny, Erzen Shkololli, Shukriya, Gazbia Sirry, Maja Smrekar, Ilija Šoškić, Marino Tartaglia, Ivor Thom, Hambis Tsangaris, unknown artist from Indonesia, unknown artist from Palestine, unknown artist from Zambia, Lazar Vujaklija
Curated by Kurira:
Bojana Piškur
28/02 – 04/06/2023
Exercises in a Collection is an exhibition based on reflection about collections and their exhibitions. It puts forward the idea that works of art and their displays are not something static or permanent, with univocal meanings and ways of seeing, but that works of art need to be considered and thought about over and over, displayed in various ways, in diverse interrelations and concepts. In other words: a collection needs to be practiced. Over the last decade, discussions about collections and their exhibitions have become a significant part of contemporary museological practices. This of course entails more than just talking about the changes in their formal and conceptual aspects; it also requires looking back into their past, examining their history: what were the mechanisms that triggered starting a collection, which methodologies were used, what role did financial incentives play? Because collecting is not a neutral process, but is tied to various cultural policies, which are, for the most part, reflections of the ideologies of a certain time.
Razstava Vaje v zbirki izhaja iz razmišljanja o zbirkah in njihovih postavitvah. Napeljuje na idejo, da umetniška dela in posledično njihove postavitve niso nekaj statičnega ali trajnega, nekaj, kar bi dajalo zgolj enostranske pomene in načine gledanja, temveč je treba o delih razmišljati vedno na novo, v različnih postavitvah, odnosih in konceptih. Z drugimi besedami: z zbirko je treba vaditi. V zadnjem desetletju so razprave o zbirkah in njihovih postavitvah postale pomemben del sodobnih muzeoloških praks. Pri tem seveda ni dovolj govoriti samo o spremembah njihovih formalnih in konceptualnih zasnov, temveč je treba pogledati tudi nazaj, natančneje v njihovo zgodovino: kakšni mehanizmi so privedli do formiranja neke zbirke, katere metodologije so se pri tem uporabljale, kakšno vlogo so igrale finančne spodbude? Zbiranje namreč ni nevtralen proces, temveč je vezan na različne kulturne politike, ki so povečini odraz ideologij nekega časa.
Organisation Organizacija:
Museum of Contemporary Art Metelkova in collaboration with the Non-Aligned Art Collection Laboratory of the Center for Contemporary Art of Montenegro, Podgorica Muzej sodobne umetnosti Metelkova v sodelovanju z Laboratorijem zbirke umetnosti neuvrščenih držav Centra sodobne umetnosti Črne gore
Arteast 2000+ Collection Zbirka Arteast 2000+
Permanent exhibition
Stalna postavitev
Curated by Kurira:
Ana Mizerit, Igor Španjol
Arteast 2000+ is the first museum collection conceived with a focus on Eastern European postwar avant-garde art in a broader international context. Since its inception in 2000, the collection has become well known for providing a comprehensive overview of the art in the region. Similarly, it is recognized for the insight it provides into certain shared sociopolitical issues that are or were of central concern for the artists in the formerly socialist countries, outlining as it does the developments from the 1960s through the transition period in the 1990s to the present-day context of global neoliberal capitalism.
The current exhibition relies heavily on Arteast 2000+ collection, presenting it through the concept of art as work in the Yugoslav context in the work of avant-garde artists in the 1960s, 1970s, and 1980s, and the change of both the concept of artistic work and the spaces of art in the 1990s. The exhibition features works by key Yugoslav postwar avant-garde artists and art collectives who developed a parallel infrastructure through their collective work, making the concept of work the subject of their art.
Zbirka Arteast 2000+ je prva muzejska zbirka, ki se je oblikovala in nastajala s poudarkom na vzhodnoevropskih povojnih avantgardah v širšem mednarodnem kontekstu. Od ustanovitve leta 2000 je zbirka zaslovela po tem, da podaja obsežen pregled umetnosti v regiji in, kar je morda najpomembnejše, omogoča vpogled v skupne družbenopolitične problematike, ki so v ospredju dela umetnikov v nekdanjih socialističnih državah, ter pri tem izrisuje, kako so se te države razvijale od šestdesetih let preko tranzicijskega obdobja v devetdesetih letih do sedanjega konteksta globalnega neoliberalnega kapitalizma.
V trenutni postavitvi predstavljamo dela, ki se nanašajo na koncept umetnost na delu v jugoslovanskem in pojugoslovanskem kontekstu avantgardnih umetnikov v šestdesetih, sedemdesetih in osemdesetih letih prejšnjega stoletja ter spremembo koncepta dela umetnikov in njihovih prostorov v devetdesetih letih. Predstavljena so dela ključnih jugoslovanski povojnih avantgardnih kolektivov ter umetnikov, ki so skozi kolektivno delo razvili paralelno infrastrukturo in koncept dela razumeli kot vsebino svoje umetnosti.
Neža Knez: Touches, Changes, Viscous Time Dotiki, spremembe, viskozen čas
Solo exhibition
Samostojna razstava
Curated by Kurira:
Ana Mizerit
20/04 – 22/06/2023
Neža Knez’s multimedia installation Touches, Changes, Viscous Time presents the artist’s methodological approach that is in itself part of the artwork and the prism through which the individual elements are to be viewed – not separately, but as enmeshed in a dynamic network of relations that become the core and the structure of the work. The numerous elements constituting the installation function as connecting threads between artistic forms, further structuring our communicational existence.
A similar process of transformation as the one taking place in the artist’s studio during her experiments unfolds at the site of the installation, as visitors interact with the sound environment of the work. Over a microphone, the sound waves transform into vibrations of a water surface and of light, reshaping their appearance.
The artist thus underscores as the key element of the entire installation the physical contact that triggers the process of the communication interface of public intimacy and is both the content and the form of the installation, since one continually affects and shapes the other.
Multimedijska postavitev umetnice Neže Knez z naslovom Dotiki, spremembe, viskozen čas, na ogled v sklopu serije Prepih v MSUM-u, predoči umetničin metodološki pristop, ki je obenem sestavni del umetniškega dela in perspektiva, skozi katero ne gledamo posameznih elementov ločeno, ampak jih umestimo v dinamično mrežo odnosov, ki postanejo jedro in struktura samega dela. Množica elementov, ki sestavljajo postavitev, deluje kot povezovalne niti med umetniškimi oblikami, preko tega pa strukturira tudi naš komunikacijski obstoj.
Proces transformacije, podoben umetničinim eksperimentom v ateljeju, se odvija tudi na mestu same postavitve z interaktivnim doprinosom posameznikov in zvočnega okolja, v katerem se delo nahaja. Preko mikrofona se ti zvočni valovi pretvarjajo v vibracijo vodne površine in svetlobe in s tem preoblikujejo njuno pojavnost.
Umetnica tako kot ključni moment celotne instalacije izpostavi stik oziroma fizični kontakt, ki sproži proces komunikacijskega vmesnika javne intime in je hkrati vsebina in forma instalacije, saj eno nenehno vpliva na in oblikuje drugo.
*For free admission as part of Ljubljana Art Weekend please use the password “LJUBAW” at reception.
*Za prost vstop v okviru dogodka Ljubljana Art Weekend, prosimo, da na recepciji uporabite geslo “LJUBAW”.
Organisation Organizacija:
MG+MSUM
