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Enej Gala: Prav zvita zver / Predator’s turn

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Enej Gala: Prav zvita zver / Predator’s turn

pet, 4. septembra, @ 19:00 - pet, 18. septembra, @ 19:00

– for ENG below –

PRAV ZVITA ZVER

Razstavno sezono 2020/2021 v Mestni galeriji Nova Gorica začenjamo z razstavo domačega umetnika Eneja Gale, ki se že uveljavlja tako v slovenskem kot mednarodnem prostoru. V svojih delih zanimivo in izzivalno združuje slikarstvo, kiparstvo in prostorske instalacije. Tako si je zamislil tudi tokratno postavitev. Zapisal je: »Zamisel o razstavi je nastala po prebiranju Von Kleistove kratke pripovedi O gledališču marionet. Legendarna paradigma, kjer marioneta postane nedosegljivi ideal za človeka, saj postavi celotno perspektivo popolnega giba na glavo, nepričakovano izpostavi ključen pomen človeškega odnosa do očitne zvijače.

Mar se ne v ljudski pesmi Lisička je prav zvita zver vsi raje poistovetimo s prebrisano lisico kakor z zdolgočasenim lovcem pred praznim brlogom? Preobrat, kjer plen in lutka protiintuitivno ukanita svojega opazovalca, nas postavi na napačno stran noža dvakrat. Toda opraviti imamo tudi z dvopomenskostjo prav/prave/pravilnosti zvite/zvitosti, ki apelira na prav tisti zavoj v sami evoluciji, s katerim se je človek oddaljil od zveri. Kot bi obstajala pravilnejša zvitost od same zvitosti, ki jo lahko pooseblja samo človek. Zvijačnost je v tem smislu človekova lastnost, ki jo sam projicira na zver v poizkusu samorefleksije. Tako se moramo strinjati, da obstaja nekakšna nerazložljiva nuja po nenehnem postavljanju pred ogledalo z vprašanjem, kdo je pravzaprav ta zares prav zvita zver?

Objekti na razstavi se gibljejo med kiparstvom, slikarstvom in lutkovnim gledališčem. Strukture, ki so v predstavi predvsem zato, da gostijo akcijo, postanejo same protagonisti preko razgradnje na razstavne eksponate. Slika kot funkcionalen del obsežnejše zgodbe zataji svojo avtonomnost. Nosilnost niti marionet postane vprašljiva kakor tudi kompleksnost gibov, ki se oddalji od posnemanja človeške anatomije. Prostorska instalacija se razdeli na segmente posameznih skulptur, ki kakor zamrznjene scene v poljubnem vrstnem redu spodbujajo opazovalce k aktivnemu režiranju poteka minulih dogodkov.
Kakor lisica, ki se lovcu roga iz daljave, ali lutka, ki osvobojena gravitacije presega plesalca, skulpture ostajajo mahinacije, analogne idealnemu obiskovalcu, ki že s samo prisotnostjo zasleduje svoj nedosegljivi potencial.«

Razstava Prav zvita zver tako združi več segmentov: slikarstvo, ki je v »ozadju«, skulpture, marionete, »lisico, ki je zvita zver«, Von Kleistovo pripoved in čisto igro. Andrej Medved ob tem pravi: »Gre za ne- in proti- intuitivno razrešitev slikarjeve uganke, za dvopomenskost zvitosti, ki jo razreši (vsak) opazovalec … Kot da obstoji (nekakšna) zvitost, pravilnejša od same zvitosti gledalca, ki se vsakič znova postavlja pred ogledalo, da bi preveril zvijačnost v pravljičnosti dramske igre.

Kipi in slike so vpeti, ujeti v lutkovno predstavo, so protagonisti postavitve, njene Dejavnosti – razgradnje na razstavne eksponate. Slika = zatajitev njene avtonomnosti in marionete so »vprašljive«, kot tudi njeno gibanje in akcija, ki se prav vsakič znova oddalji od (nekega) posnemanja človeške anatomije. Posamezni segmenti kipov zmrznejo v poljubnem vrstnem redu. Kakor lisica, ki se roga iz daljave, kot lutka, brez (vsake) gravitacije, v plesu, ki presega (vsakega) plesalca in je v resnici analogen le idealnemu gledalcu.«

Eden ključnih elementov razstave je zvočna krajina NE GOVORIT! zloglasnih Eterethren Brethren Medvethren, ki jih je za to priložnost sklical Tomi Novak. Dolgometražni slavospev ne-govorjenju je sestavljen iz večletnega opazovanja in zbiranja zvokov naravnega habitata zelo glasnih bitij, ki le stežka utihnejo. Zvočna instalacija nas preko razkuževalne komore pospremi v galerijski prostor iz treh kanalov, ki vsak s svoje strani skušajo preglasiti nenamerno čebljanje običajnega obiskovalca. Zvok je praktično glas same razstave in njenih prebivalcev, ki govori zase in preko nasičenosti prostora, kakor ključen del razstavljene predstave, poskuša prikrajšati mimoidočega za brezsramno rabo besed.

O umetniku:

Enej Gala (1990) je študiral slikarstvo na beneški Akademiji lepih umetnosti, kjer je 2015 opravil tudi magistrski študij. Leta 2014 je bil na študijski izmenjavi na akademiji WDKA (Willem de Kooning Academy) v Rotterdamu na Nizozemskem. Trenutno pa nadaljuje študiij na Royal Academy Postgraduate Schools Programme v Londonu. Na zadnje je samostojno razstavljal v Ljubljanski Kresiji, Na Ramenih Pritlikavcev, v Bologni, v sklopu projekta MONO, ki ga organizira Localedue, koprski galeriji Loža v sklopu XVII. edicije festivala Maravee. Med zadnjimi skupinskimi razstavami velja izpostaviti Aureola nelle cose, kustos Guido Molinari, Fondazione Michetti, Brain-tooling v Pieve di Cadore z Dolomiti Contemporanee, Artissima ArtFair v Torinu, Pogled 8 v Galeriji Božidar Jakac (2016) in 31. mednarodnem grafičnem bienalu Nad tabo/ti / Over You, MGLC v Ljubljani (2015). Je član Društva likovnih umetnikov Severne Primorske in društva Fondazione Malutta, s katerim je na zadnje razstavljal v Giudecca Art District v Benetkah, Monitor Gallery v Rimu in muzeju Santa Maria della Scala v Sieni.

NAVODILA ZA OBISKOVALCE ZA ZMANJŠEVANJE MOŽNOSTI PRENOSA OKUŽBE S COVID-19
• V Mestno galerijo Nova Gorica lahko vstopajo le zdrave osebe, ki ne kažejo znakov akutne bolezni dihal.
• Število obiskovalcev je omejeno, zato je potrebno ob vhodu upoštevati navodila organzatorja.
• Ob vstopu v galerijo si je potrebno razkužiti roke, ter ves čas obiska skrbeti za ustrezno higieno rok in kašlja.
• Uporaba lastne zaščitne maske v prostorih galerije je OBVEZNA.
• Med obiskom je potrebno upoštevati predpisano medsebojno razdaljo najmanj 2 m.
• Listanje publikacij in dotikanje drugih izdelkov ni dovoljeno.

ENG
PREDATOR’S TURN

We begin the 2020/2021 season in Nova Gorica City Gallery with an exhibition by the local artist Enej Gala, who is already gaining ground in Slovenia and internationally. In his works, he combines painting, sculpture and spatial installations in always challenging ways.
The idea for the exhibition arose after reading Von Kleist’s short story On Puppet Theater. The legendary paradigm, where the puppet becomes an unattainable ideal for man, as it puts the whole perspective of perfect movement on its head, it unexpectedly highlights the crucial importance of the human relationship to the obvious trick. Isn’t it true that in the folk song about the willy fox we all prefer to identify with the cunning beast better than with the bored hunter in front of an empty lair? The twist, where the prey and the puppet counter-intuitively trick their observer, puts us on the wrong side of the knife twice. But we are also dealing with the ambiguity of the right / right / correctness of the cunning / twistedness, which appeals to the very turn in evolution itself with which man has distanced himself from the beast. As if there were a more correct wiliness than the wiliness itself, which can only be personified by man. In this sense, cunning is a human trait that he himself projects onto the beast in an attempt at self-reflection. So we have to agree that there is some inexplicable urge to constantly put oneself in front of a mirror with the question, who exactly is this really cunning beast?
The objects in the exhibition range between sculpture, painting and puppet theater. The structures that are in the show mainly to host the action become the protagonists themselves through decomposition into exhibits. The painting, as a functional part of a larger story, denies its autonomy. The load-bearing capacity of the puppet thread becomes questionable as does the complexity of the movements, which moves away from imitating human anatomy. The spatial installation is divided into segments of individual sculptures, which, like frozen scenes in any order, encourage observers to actively direct the course of past events.
Like a fox horning a hunter from a distance, or a puppet free of gravity beyond a dancer, the sculptures remain machinations analogous to the ideal visitor, who pursues his unattainable potential with his very presence. ”
The event combines various segments: painting, which is in the “background”, sculptures, marionettes, “a fox which is a wily and twisted beast” Von Kleist’s account in his On the Marionette Theatre and pure Play. Andrej Medved, the curator states that It is a non- and counter-intuitive solution of the painter’s riddle, the double-meaning of twistedness, which is solved by (each individual) viewer … As though there exists (some sort of) twistedness which is more correct than the very twistedness of the viewer, who, time and again, poses himself in front of the mirror, to confirm the wily twistedness in the folk-tale quality of the dramatic play.
Statues and paintings are integrated, caught in the puppet show, they are the protagonists of the presentation, its Activity – of dissolving into display exhibits. Painting = repudiation of its autonomy and the marionettes are “questionable”, as are motion and action, which repeatedly distances itself from (some) imitation of human anatomy. Individual segments of sculptures freeze in random order. The wily fox = twistedness is at the forefront, scoffing from a distance, as a puppet, outside (any) gravitation, in a dance that surpasses (every) dancer and is, in truth, analogous only to the ideal viewer.

One of the key elements of the exhibition is the soundscape SPEAK DO NOT! by the infamous Eterethren Brethren Medvethren, summoned for the occasion by Tomi Novak. The long-length hymn to non-speaking consists of years of observing and collecting sounds in the natural habitat of very loud creatures that are extremely difficult to silence. The sound installation accompanies us through the disinfection chamber into the gallery space from three channels, each of which in turn tries to override the unintentional murmur of the average visitor. The sound is practically the voice of the exhibition and its inhabitants, which speaks for itself and through the saturation of space, as a key part of the exhibited performance, tries to deprive the audience of their shameless use of words.

About the artist:
Enej Gala (1990) studied painting at the Venetian Academy of Fine Arts, where in 2015 he also completed his master’s degree. In 2014, he was on a study exchange at the WDKA (Willem de Kooning Academy) in Rotterdam, the Netherlands. He is currently continuing his studies at the Royal Academy Postgraduate Schools Program in London. He recently exhibited in Ljubljana’s Kresija Gallery, On the Shoulders of Dwarfs, in Bologna, as part of the MONO project organized by Localedue, in the Loža Gallery in Koper as part of the 17th century. editions of the Maravee festival. Recent group exhibitions include Aureola nelle cose, curated by Guido Molinari, Premio Michetti, Brain-tooling in Pieve di Cadore with Dolomiti Contemporanee, Artissima ArtFair in Turin, Pogled 8 at the Božidar Jakac Gallery (2016) and the 31st International Graphic Biennial Over You, MGLC in Ljubljana (2015). ). He is a member of the Society of Fine Artists of North Primorska and the Fondazione Malutta, with which he has recently exhibited at the Giudecca Art District in Venice, the Monitor Gallery in Rome and the Santa Maria della Scala Museum in Siena.

INSTRUCTIONS FOR VISITORS TO REDUCE THE POSSIBILITY OF TRANSMISSION OF COVID-19 INFECTION
• Only healthy people who do not show signs of acute respiratory disease can enter the Nova Gorica City Gallery.
• The number of visitors is limited, so it is necessary to follow the instructions of the organizer at the entrance.
• Upon entering the gallery, it is necessary to disinfect your hands and take care of proper hand hygiene and coughing throughout the visit.
• The use of your own protective mask in the gallery premises is MANDATORY.
• During the visit, the prescribed mutual distance of at least 2 m must be observed.
• You may not browse publications or touch other products.

Podrobnosti

Začetek:
pet, 4. septembra, @ 19:00
Konec:
pet, 18. septembra, @ 19:00
Dogodek Category:
Spletna stran:
https://www.facebook.com/events/322494469012317

Prizorišče

Mestna Galerija Nova Gorica
Trg Edvarda Kardelija 5
Nova Gorica, 5000 SI
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