Igor Zabel Selected Bibliography 1985-2005

Essays in Anthologies/Collected Editions

 

  • “The Function of Subject in the Constitution of Picture after Modernism”, in: The Subject in Postmodernism, international colloquium 1989, Slovenian Society of Aesthetic, Ljubljana, 1989–1990, pp. 229–244.
  • “The tragic playfulness of Art”, in: Ljubljana–mesto kulture [Ljubljana – City of Culture], Mestna občina Ljubljana, Evropski mesec kulture, Ljubljana, 1997, pp. 114–119.
  • "Exhibitions strategies in the nineties: a few examples from Slovenia", in: Theories of Display, The World of Art – Curatorial Course for Contemporary Arts, Soros Center for Contemporary Art, Ljubljana, 1998, pp. 58–71.
  • "Art and State: From Modernism to the Retroavantgarde", contribution at the Conference Art and Ideology. The Nineteen-Fifties in a Divided Europe, Filozofski fakultet Sveučillišta Zagreb; Društvo povjesničara umjetnosti, Zagreb, 1999, pp. 59–60.
  • "Making Art Visible", in: Words of Wisdom. A Curator's Vade Mecum on Contemporary Art, Independent Curators International (ICI), New York, 2001, pp. 175–176.
  • "Vladimir Dubossarsky & Aleksander Vinogradov", p. 96; "IRWIN", p. 154; "Žiga Kariž", p. 166; "Wilhelm Sasnal", p. 288; "Miha Štrukelj", p. 314, in: Vitamin P. New Perspectives in Painting, Phaidon Press, London, 2002.
  • “Stane Kregar, Janez Bernik, Gabrijel Stupica; Marij Pregelj, Zoran Mušić, OHO, Tugo Šušnik; Marko Peljhan, VSSD; Marjetica Potrč, IRWIN, NSK”, in: East Art Map – A (Re)Construction of the History of Art in Eastern Europe, New Moment, 2002, p. 16; 34; 60; 62.
  • "Icons by Irwin", in: IRWIN. Retroprincip 1983–2003, Künstlerhaus Bethanien, Berlin; Karl Ernst Osthaus-Museum, Hagen; Museum of Contemporary Art, Belgrade, Revolver–Archiv für Aktuelle Kunst, Frankfurt am Main, 2003, pp. 77–83.
  • “10 Curators in Conversation”, in: Cream 3. Contemporary Art in Culture. 10 Curators. 100 Contemporary Artists. 10 Source Artists, Contemporary Art in Culture, Phaidon Press, London, 2003, p. 9; 14–15; 16–17.
  • “100 Contemporary Artists": "Pavel Althamer", pp. 36–38; "Valery Koshljakov", pp. 168–171; "Katarzyna Kozyra", pp. 172–175; "Luisa Lambri", pp. 176–179; "Dorit Margreiter", pp. 216–219; "Olaf Nicolai", pp. 252–255; "Roman Ondák", pp. 264–267; "Tadej Pogačar", pp. 296–300; "Ene-Liis Semper", pp. 352–355; "Slaven Tolj", pp. 376–379, ibid.
  • “10 Source Artists: OHO Group”, ibid., pp. 434–435.
  • “Like to Like: IRWIN and OHO”, in: 45. Oktobarski salon – International Conference Continental Breakfast – Symbolic and Personal Geographies of Contemporary Art, Kulturni centar, Belgrade, 2004.
  • “Safety and Peace! Order and Freedom / Episode 5”, in: Who if not we should at least try to imagine the future of all this? 7 Episodes on (ex)changing Europe, Artimo/Gijs Stork, Amsterdam, 2004, pp. 92–109.
  • “The former East and Its Identity”, ibid., pp. 283–288.
  • “Intimität und Gesellschaft. Die slowenische Kunst und der Osten”, in: Zurück aus der Zukunft. Osteuropäische Kulturen im Zeitalter des Postkommunismus, Suhrkamp, Frankfurt am Main, 2005, pp. 472–507.
  • Individual Systems. A transcript of the lecture,” Ready 2 Change, Maska; Zavod P.A.R.A.S.I.T.E., Ljubljana, 2005, pp. 173–194.

 

 

Articles in Exhibition Catalogs

 

1985–1990

  • “Collage and Palimpsest in the Work of Emerik Bernard”, Emerik Bernard: dela [Works] 1968–1988, Moderna galerija, Ljubljana; Obalne galerije, Piran, 1988, pp. 9–42.
  • “The Disappointed Look. Some Thoughts on 'Trebuh' (Belly), a sculpture by Marjetica Potrč”, Marjetica Potrč: Sculptures, Moderna galerija, Ljubljana, 1988, s. p.
  • “Zwischen 'Realismus' und Modernismus. Die Situation in der slowenischen Kunst 1945–1960. Stane Kregar – Marij Pregelj – Gabrijel Stupica”, Alpen Adria. Jenseits des Realismus. Figuration Abstraktion Informel 1945–1960, Neue Galerie am Landesmuseum Joanneum, Graz, 1988, pp. 335–358.
  • “Art as Reality”, Marko Pogačnik. Landscape sculpture: 1986–1989, Moderna galerija, Ljubljana, 1989, s. p.
  • “The Young Slovene Art of the Seventies and the Eighties. Selected Slovene Works of Art of the Eighties”, Disclosed Images, Moderna galerija, Ljubljana, 1989, s. p.
  • “On Tadej Pogačar's painting or On cartography”, Tadej Pogačar, Slike/Paintings, Umetnostna galerija, Maribor; Kulturna skupnost/Galerija Miklova hiša, Ribnica; ZDSLU–Zveza društev slovenskih likovnih umetnikov, Ljubljana, 1990, pp. 3–4.
  • “Work-in-Progress”, Rene Rusjan, Zveza društev slovenskih likovnih umetnikov, Ljubljana, 1990, s. p.
  • “Aspects of the Minimalism in Slovene Art 1968–1980”, English summary, Aspects of the Minimalism in Slovene Art 1968–1980, Moderna galerija, Ljubljana, 1990, 47–49.

 

1991-1995

  • “Über Holografie”, Neue Tendenzen in der Deutschen Holografie, Moderna galerija, Ljubljana; Deutsche Gesellschaft für Holografie e.v., Bergkamen, 1991, pp. 16–20.
  • “Opalka 1965/1 – ∞”, Roman Opalka, Moderna galerija, Ljubljana, 1991, s. p.
  • “'Date paintings' in 'Détails': k vprašanju pisave in časa v slikarstvu Romana Opalke in Ona Kaware”, M’ars, vol. 3, no. 2–3, 1991, Moderna galerija, Ljubljana, pp. 65–71.
  • “The Silence of Things”, Silence: Contradictory Shapes of Truth, Moderna galerija, Ljubljana, 1992, pp. 98–102.
  • “The Visual Messages of Zdravko Papič. Only a Million”, Euphonies, Zdravko Papič: Retrospective Exhibition of Graphic Design, Film Art Direction and Animated Film, Moderna galerija, Ljubljana, 1992, pp. 4–11; 12–15.
  • “Konstruktivistische, minimalistische und konzeptualistische Tendenzen in der slowenischen Kunst”, Identität: Differenz. Tribüne Trigon 1940–1990. Eine Topografie der Moderne. Steirischer Herbst 92, Böhlau Verlag, Wien, Köln, Weimar, 1992, pp. 455–464.
  • “Models. An Essay on Kirkeby's Art”, Per Kirkeby, Moderna galerija, Ljubljana, 1993, pp. 9–14.
  • “On Slak’s Painting”, Jože Slak–Đoka. I do it my way, Moderna galerija, Ljubljana, 1993, pp. 3–7.
  • Art in Slovenia in the Eighties”, La coesistenza dell'arte. Un modelo espositivo, La Bienale di Venezia, Venice; Museum Moderner Kunst Stiftung Ludwig, Wien, 1993, pp. 80–85; 91–93.
  • “Pictures and places”, Places: Lewis Baltz, Jean-Marc Bustamante, Willie Doherty, Jochen Gerz, Angela Grauerholz, Moderna galerija. Ljubljana, 1994, s. p.
  • “OHO–From Reism to Conceptual Art”, OHO: A Retrospective, Moderna galerija, Ljubljana, 1994, pp. 10–28.
  • “Notes on Lenárdič's installation 2x2, 98280 kW; Das Bild Braucht den Rollstuhl”, Zmago Lenardič, Moderna galerija, Ljubljana, 1994, s. p.
  • “1. Die Mauer; 2. Der Garten; 3. Die Stadt”, Architektur–Skulptur. Jože Barši, Marjetica Potrč, IFA-Institut für Auslandsbeziehungen, Stuttgart, 1995, s. p.
  • “Zur slowenische Kunst der 80er und 90er Jahre”, Tadej Pogačar, Slowenien, IFA-Institut für Auslandsbeziehungen, Berlin, 1995, pp. 6–11.
  • “Slovene Art of the Nineties – Some Remarks”, P.A.R.A.S.I.T.E. Museum, Moderna galerija, Ljubljana, 1995, s. p.
  • “Specus spec(tac)ulorum”, V.S.S.D. Slovene Pavilion, XLVI Esposizione Internazionale d'arte La Biennale di Venezia, Moderna galerija, Ljubljana, 1995, pp. 15–36.
  • Zdenko Huzjan: A Retrospective, Moderna galerija, Ljubljana 1995.
  • “On Pictures. Combinations. Interpretations and Nothing”, John Baldessari. This not That, Cornerhouse, Manchester, 1995, pp. 28–34.
  • “Landscapes, or A Shift of Perspective”, Jean–Marc Bustamante, Moderna galerija, Ljubljana, 1995, s. p.
  • “The Displaced Places”, House in Time, Moderna galerija, Ljubljana, 1995, pp. 9–22.

 

1996-2000

  • “Interiors of Planit: Synopsis for a Guided Tour”, IRWIN. Interior of the Planit, Museum of Modern Art, Ljubljana; Ludwig Museum, Budapest, 1996, s. p.
  • “Sets, Stories and the Unexperienced. Notes on Still Non-Existent Sculptural Work”, Mirko Bratuša, Obalne galerije, Piran, 1996, s. p.
  • “A Dialectic of the Material and the Sublime”, Tugo Šušnik: A Retrospective, Moderna galerija, Ljubljana, 1996, pp. 23–26.
  • “Museum for Sarajevo. Statement”, For the Museum of Contemporary Art Sarajevo 2000, Moderna galerija, Ljubljana, 1996, s. p.
  • “Actualization of the Premodern Art in the work of Bogoslav Kalaš”, Bogoslav Kalaš, Mestna galerija, Ljubljana, 1996, s. p.
  • “The Gardener, or a Question With Many Answers”, There are Many Answers to the Question About Why to Grow Vegetables, Jože Barši, Biennale di Venezia, 47. Esposizione internazionale d'arte, Slovene Pavilion, Moderna galerija, Ljubljana, 1997, pp. 23–24; 43–45; 63–65.
  • “Introductory Note”, Rene Rusjan. Yesterday, for Example, Moderna galerija, Ljubljana, 1997, s. p.
  • “An Attempt on Music’s Art”, Zoran Music Works Drawn From the Moderna Galerija Collections, Moderna galerija, Ljubljana, 1997, pp. 9–14.
  • “Signs of Divided World”, Shirin Neshat, City of Women–Festival of Contemporary Arts; Moderna galerija, Ljubljana, 1997, s. p.
  • “Production of Nature. Olaf Nicolai. Nature is a Workshop”, Annual Catalogue of the Škuc Gallery 1997, Galerija Škuc, Ljubljana, 1997, pp. 68–74.
  • “Gradski krajolik”, 33. Zagrebački salon [“City Scape”, 33rd Zagreb Salon], Zagreb, 1998, pp. 8–19.
  • “Poljaki” [“Poles – People from Poland”], Poljaki – visual communication, IDCO –  GZS, Ljubljana, 1998, pp. 18–23.
  • “(Re)presenting the Difference”, Dimitry Orlac. The Only Door, Moderna galerija, Ljubljana, 1998, s. p.
  • “Dear Guest, Dear Friends of Contemporary Art! Janja Žvegelj: Squash”, Annual Catalogue of the Škuc Gallery 1998, Galerija Škuc, Ljubljana, 1998, pp. 20–25.
  • “Found And Lost Again…”, Róza El–Hassan, Moderna galerija, Ljubljana, 1998, s. p.
  • “Sold Works”, Nika Špan, Moderna galerija, Ljubljana, 1998, s. p.
  • "Body Art in Slovene Art: 60s to 80s", Body and the East. From the 1960s to the Present, Moderna galerija, Ljubljana, 1998, pp. 167–169.
  • “Slowenische Kunst seit 1945”, Aspekte/Positionen: 50 Jahre Kunst aus Mitteleuropa 1929–1999, Museum Moderner Kunst, Wien, 1999, vol. I, pp. 149–156.
  • “Marko Peljhan, ‘Sky Area’. The Immaterial World of Signals”, Connected Cities–Processes of Art in the Urban Network, Hatje Cantz Verlag, 1999, pp. 154–162.

 

2000-2005

  • “[without title]”, Dušan Kirbiš: Retrospective, Zavod za kulturne prireditve, Galerija sodobnih umetnosti, Celje, 2000, pp. 5–11.
  • "L'art dans les rivalités Est-Ouest”, L'autre moitié de l'Europe, Galerie national du Jeu de Paume, Paris, 2000, pp. 33–47.
  • “[without title]”, 2000+ Arteast Collection. The Art of Eastern Europe in Dialogue with the West. From the 1960s to the Present. Exhibition of Works for an Emerging Collection, Moderna galerija, Ljubljana, 2000, pp. 27–32.
  • “Detail und Wirklichkeit”, Vito Oražem, Fotoessay in Fünf Akten. Erster Akt 2000-2001, Pokrajinski muzej Kočevje, 2001, pp. 18–21.
  • “The Eye and Its Truth”, The Eye and Its Truth. Spectacle and Reality in Slovene Art 1984–2001, Moderna galerija, Ljubljana, 2001, s. p.
  • “Dialogue”, 2000+ Arteast Collection. The Art of Eastern Europe. A Selection of Works for the International and National Collections of Moderna galerija, Ljubljana, Folio Verlag, Wien/Bozen, 2001, pp. 28–33; reprinted in Primary Documents: a sourcebook for Eastern and Central European Art since the 1950s, by Museum of Modern Art, New York; MIT Press, Cambridge/Mass., London, 2002, pp. 354–361.
  • “As If You Would Shoot a Marble”, Jože Barši. House, Moderna galerija, Ljubljana, 2001, s. p.
  • "The Para-Mirror of the New Parasitism", Absolute One. Vuk Čosić, Tadej Pogačar, 010010110101101.org., 49. International Art Exhibition. La Biennale di Venezia, The Slovenian Pavilion, Mednarodni grafični likovni center, Ljubljana, 2001, pp. 142–153.
  • “The Development of Modernism after 1945”, Selected works of Slovene Artists from the Museum of Modern Art Collections: 1950–2000. Permanent Display, Moderna galerija, Ljubljana, 2002, pp. 12–15.
  • “Abstract Art, Modernist Figurative Art and Art Informel”, ibid., pp. 33–38.
  • “From the Mid-1960s to the Mid-1980s: From the Neo Avant-Garde to the New Image”, ibid., pp. 68–73.
  • “Contemporary Slovene Art Since the 1990s”, ibid., pp. 102–105.
  • “Slovene Art in the 1990's”, The Art of the Balkan Countries, State Museum of Contemporary Art Thessaloniki, 2002, pp. 175–187.
  • “Tadej Pogačar”, Život umjetnosti, no. 67–68, 2002, Zagreb, pp. 44–63.
  • “Edges and Thickening of Emptyness”, Alen Ožbolt. Rob, igra solz, dvoje še, Moderna galerija, Ljubljana, 2002. s. p.
  • “Unclear Aspects of the Visual”, Sergej Kapus. Paintings, Moderna galerija, Ljubljana, 2002, pp. 4–14.
  • “Individual Systems”, La Biennale di Venezia: 50th International Art Exhibition. Dreams and Conflicts. The Dictatorship of the Viewer, Marsilio Editori s.p.a., Edizione La Biennale di Venzia, Venice, 2003, pp. 149–153.
  • “The Bomb in the Painting”, Žiga Kariž Terror = Décor. Art Now. La bienale di Venezia: 50esima esposizione internazionale d'arte. The Slovenian Pavilion, Zavod K6/4, Galerija Kapelica, Ljubljana, 2003, pp. 30–37.
  • “General Equivalent”, Mladen Stilinović: Pain, Museum of Contemporary Art, Zagreb, 2003, pp. 5–8.
  • “Borders and Limits”, Dušan Kirbiš. Borders and Limits, Moderna galerija, Ljubljana; Galerija Miklova hiša, Ribnica, 2004, s. p. 
  • “[untitled]”, Ivo Mršnik, 1000 & 1, Moderna galerija, Ljubljana, 2004, s. p.
  • “Seven Sins: Ljubljana–Moscow”, Moderna galerija, Ljubljana, 2004, pp. 5–10 (with Zdenka Badovinac, Viktor Misiano).
  • “OHO”, Collective Creativity, Kunsthalle Fridericianum, Kassel; Siemens Arts Program, München; Revolver–Archiv für aktuelle Kunst, Frankfurt, 2005, pp. 62–63.
  • "The Case", Alenka Pirman—Biserka Debeljak. The Case. Art and Crime: A Methodological Exhibition, Moderna galerija, Ljubljana, 2005, s. p.
  • "Dabernig's Buildings", Dabernig Josef, Film, Foto, Text, Objekt, Bau, Stiftung Galerie für Zeitgenössische Kunst Leipzig für Experimentale e. V., Leipzig; Verlag der Buchahndlung Walther König, Köln, 2005, pp. 205–211.
  • "A Short Walk Trough Mladen Stilinović's Four Rooms", Mladen Stilinović. Umetnik na delu: 1973–1983, Galerija ŠKUC, Ljubljana, 2005, pp. 8–25.
  • "Another Speedy Day", Vadim Fiškin. Another Speedy Day, The Slovenian Pavilion, 51. International Art Exhibition. La Biennale di Venezia, Moderna galerija, Ljubljana, 2005, pp. 3–7.
  • “Towards Zero Gravity. The Meaning of Gravity and Dematerialisation in Modern and Contemporary Slovene Art”, Towards Zero Gravity: Gravity in Slovene Fine Art in the 20th and 21st Centuries, Moderna galerija, Ljubljana, 2005, pp. 50–100.

 

 

Essays, Reviews and Articles in Magazines, Journals and Periodicals

 

  • “City panoramas. Interview with Marjetica Potrč”, M'ars, vol. 5, no. 3–4, 1993, Ljubljana, pp. 32–33.
  • "Ground and its Loss: Landscape in Slovene Modern and Contemporary Art (Four Examples)", Slovene studies, vol. 15, no. 1–2, 1993, pp. 35–50.
  • “U3: 2nd Triennale of Contemporary Slovene Art”, M'ars, vol. 9, no. 2, 1997, Ljubljana, pp. 23–38 (with Peter Weibel).
  • “Those who are able to quickly change concepts survive: a conversation with Jože Barši”, ibid., pp. 2–22.
  • "'Dialog' est-ouest. East is East?", Art Press, no. 226, July–August 1997, Paris, pp. 37–42.
  • "Art, Power and the Public. Makrolab Model", M’ars, vol. 9, no. 3–4, 1997, Moderna galerija, Ljubljana, pp. 1–8.
  • "'We and the 'Others'", Moscow Art Magazine, no. 22, 1998, Moscow, pp. 27–35.
  • “The Immaterial World of Signals”, Index, 2.98, no. 22, 1998, Stockholm, pp. 23–29.
  • “An animal which loves interpretations: interview with Oleg Kulik”, M’ars, vol. 10, no. 1–2, 1998, Ljubljana, pp. 3–13.
  • “Art and the war in Bosnia: call for papers”, M’ars, vol. 11, no. 1–2, 1999, Ljubljana, pp. 23–28 (with Borut Vogelnik).
  • “Living with Genocide: Art and the War in Bosnia”, panel discussion with Igor Zabel, Marina Abramović, Zdenka Badovinac, Dunja Blažević, David Elliott, Jürgen Harten, Miran Mohar, Borut Vogelnik, Tomaž Mastnak, Alexandre Melo, Silva Mežnarić, Viktor Misiano, Edin Numankadić, Michelangelo Pistoletto, Peter Weibel, Denys Zacharopoulos, M’ars, vol. 11, no. 1–2, 1999, Ljubljana, pp. 29–83.
  • “Manifesta 3”, [part of: “Beyond Boundaries: Rethinking Contemporary Exhibitions” thematic block], Art Journal, vol. 59, no. 1, 2000, New York, pp. 19–21.
  • “Women in Black”, Art Journal, vol. 60, no. 4, 2001, New York, pp. 16–25.
  • "The Field, the Map, and the Eye. The Eye and its truth. Spectacle and Reality in Slovene Art 1984– 2001", M'ars, vol. 13, no. 3–4, 2001, Moderna galerija, Ljubljana, pp. 12–20.
  • “Marko Peljhan's theatre of resistance”, Maska, vol. 17, no. 3–4, Spring 2002, Ljubljana, pp. 29–32; 91–93.
  • "The Return of the White Cube", MJ–Manifesta Journal: journal of contemporary curatorship, no. 1, Spring/Summer 2003, Moderna galerija, Ljubljana; International Foundation Manifesta, Amsterdam, pp. 12–21.
  • “From the editors: Biennials”, MJ–Manifesta Journal, no. 2, Winter 2003/Spring 2004, Ljubljana; Amsterdam, pp. 4–5.
  • “The power of proposing things, of taking risks: a conversation with Francesco Bonami”, MJ–Manifesta Journal, no. 2, Winter 2003/Spring 2004, Ljubljana; Amsterdam, pp. 88–99.
  • “Exhibition as a dream: from the editors”, MJ–Manifesta Journal, no. 3, Spring/Summer 2004, Ljubljana; Amsterdam, pp. 4–7 (with Viktor Misiano).
  • “The Strangeness of Home. Dressing and Redressing in Public Squares. Marija Mojca Pungerčar interviewed by Igor Zabel”, PAJ:A Journal of Performance & Art 76, vol. 26, no. 1, Jan 2004, pp. 40–50.
  • Haven't we had enough?, BAK, Basis voor actuelle kunst newsletter, no. 3, 2004, Utrecht, p. 17; 19.

 

 

Interviews with Igor Zabel

 

  • “Perhaps it's the destiny of utopia that they are no longer where we expect them: an interview with Kathrin Rhomberg”, MJ–Manifesta Journal: journal of contemporary curatorship, no. 3, Spring/Summer 2004, Ljubljana, pp. 58–63.
  • "What Is to Be Done with the 'Balkan Art': Interview with Igor Zabel”, PlatformaSCCA, no. 4, 2005, Ljubljana, pp. 26–30.

 

 

* This selected bibliography includes texts which were either originally written in English or later translated into English or other languages. We thank Zoja Skušek and Jana Intihar Ferjan for their permission to put together this selected bibliography based on their complete bibliography published in the Slovene collection of Igor Zabel's Esseys II (2008).