ART FOR COLLECTIVE USE
Long-term programme organized in collaboration with Department of Art History of the Faculty of Arts, University of Ljubljana
This multiyear programme focuses on art that is created for communal use, acceptance, experience, or rituals and that is usually displayed in the public space. Such work is often marked by a specific “collective authorship”, as not only the artist, but also the ones who commissioned or initiated the work play a significant role in its creation; they may be the politicians or citizens who erect a memorial or symbolically important building, or the curator who prepares an exhibition based on their own concept. Such artwork must, as a rule, encompass and promote the interests of the various people involved in its making, which means that it often originates through a complex and at times quite painful process. Its creation/existence can be a source of long-term contention for the community in which it is located and can have a profound effect on questions of personal or communal identity; its unveiling or destruction can be an event laden with important symbolism. Such artwork can also play an active role in the life practice of a community (sometimes for centuries); it may be included in the community’s everyday life or holidays, in the development of the collective memory or the collective forgetting, and in debates about values, about what is right and what is wrong.
Within the programme we deal mainly with Slovene secular art – in the Central European and wider international context – from the 19th century to today. We try to determine when, where, how and why such forms of visual address occurred: Who are the groups or individuals who encourage and commission such artworks and whom are they addressing through these works? What kind of visual art is created in such circumstances and what messages does it convey? How does it enter into various life practices? Do the reception and function of such artworks remain constant over time or do they change? We closely examine the effects of such works and whether they are in fact able to fulfil the demands of their initiators and creators.
Beti Žerovc, head of the programme
ART EXHIBITING IN SLOVENIA, FROM THE EARLY 19TH CENTURY TO TODAY: 1919–1969
During this year’s seminar we will discuss the development of visual arts, the exhibition practices, and art institutions in Slovenia – as well as in the Central European and wider international context – in the years from 1969 to 1996.
EXHIBITING IN SLOVENIA: A SYMPOSIUM UPON THE 110TH ANNIVERSARY OF THE JAKOPIČ PAVILION
These important anniversaries are a good reason not only for celebration, but also for a more in-depth reflection on our over 100 years of practice in regularly exhibiting art, architecture, and design. The good response of the speakers and the variety of content related to exhibiting, recently researched and placed into an international context, prove the topicality of the symposium’s theme.
YUGOSLAV MONUMENTS ASSOCIATED WITH THE FIRST WORLD WAR (1918–1941)
The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as comprehensive as possible, outlining not only the common features of these works but also their differences, which to a large degree were conditioned by very diverse local traditions of commemoration and memorial creation.
ART EXHIBITING IN SLOVENIA, FROM THE EARLY 19TH CENTURY TO TODAY: 19TH CENTURY
In the series, over the course of the next few years, we will be examining the development of exhibition practices and art institutions in Slovenia and Central Europe, as well as in the wider international context. We will begin in the first half of the 19th century with the start of modern exhibition-making in the Slovene lands and then move through the evolution of exhibition-making and the institutionalization of the art field right up to the present day.
ART FOR COLLECTIVE USE: MONUMENT, PERFORMANCE, RITUAL, BODY
The seminar treats two distinctive art phenomena in Yugoslavia and its successor states: performance art and memorial monuments associated with World War II. Our discussion deals with the entire period from the end of the 19th century to the present, focusing on the 1960s and 1970s, when both practices were at their high point.