Razstavna sezona 2023/24
Razstava: 8.–29. december 2023
Otvoritev: petek, 8. december 2023, ob 19.00
Umetnika bo predstavila umetnostna zgodovinarka dr. Vesna Krmelj.
Decembrski razstavni projekt Od daleč, od blizu odstira vpogled v ustvarjalnost zadnjih nekaj let kiparjev Katje Oblak in Julija Boršnika, ki sicer ne delujeta kot kiparski tandem, čeprav je njuno življenje in delo tesno prepleteno. Že v času študija kiparstva na ALUO sta oba nakazala smer, v katero ju bo vodilo njuno raziskovanje, ki je do danes ostalo tako kritično kot občutljivo do okolja in sodobnih družbenih vprašanj. Izhodišče kiparstva Katje Oblak je telo; največkrat kar njeno lastno, bodisi v plesu, performansu, glini ali papirju, s katerim raziskuje notranje vzgibe v sebi, kot tudi medsebojne in družbene odnose. Njeno kiparsko telo živi na več ravneh: kot družinsko drevo, kot čustvo, kot sanje, kot telo živali … Julij Borštnik svoje teoretske raziskave družbenih sprememb zlasti na področju politične ekonomije, ki niso prav pogosto predmet likovnih objektov in razstav, vizualizira z likovnim jezikom. Objekti, po formi najbližji minimalizmu, so v resnici nasičeni s pomeni; vsaka točka njihove površine je informacija o spremembi, ekonomskem prelomu ali družbenemu zamiku. Vendar, ne gre le za ilustracijo družbenih problemov, saj je kiparjevo delo samo, hkrati že izhod v nov proces. »Seči preko sočasnih norm koristnega početja. Čez ustaljene samoumevnosti dojemanja. Onkraj horizonta svoje dobe …”, je zapisal v intervjuju ob razstavi.
O sodelujočih umetnikih
Julij Borštnik (1977, Ljubljana) je leta 2001 vpisal kiparstvo na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Leta 2005 je prejel mednarodno nagrado za umetnike ESSL Award. Leta 2006 je prejel Prešernovo nagrado za študente ter sodeloval na Trienalu sodobne slovenske umetnosti U3. Študij kiparstva je zaključil leta 2007. Leta 2008 je vpisal podiplomski študij filozofije, ki ga v sodelovanju z Univerzo v Novi Gorici izvaja Znanstvenoraziskovalni center SAZU. Deluje skozi medije kiparstva, postavitve v prostor, vizualnih 2D in 3D konceptualnih shem, dokumentarnega filma, videa, animacije in ilustriranega performansa. V letih od 2003 do 2011 se je aktivno pridružil pionirskemu projektu ustanavljanja mednarodnega rezidenčnega umetniškega centra Art središče na Goričkem. Leta 2016 je skupaj s kiparkama Katjo Oblak in Anjo Kranjc ter v sodelovanju s Kulturnim domom Nova Gorica ustanovil Likovno šolo v Mestni galeriji Nova Gorica, v kateri deluje kot mentor. Od leta 2011 poučuje tudi v LICE Galerije Miklova hiša v Ribnici.
Katja Oblak (1975, Ljubljana) je leta 2008 diplomirala na Akademiji za likovno umetnost in oblikovanje v Ljubljani, smer kiparstvo, pri prof. Matjažu Počivavšku in docentu Jiřiju Kočici. Raziskovanje v polju kiparstva posveča telesu in percepciji le-tega v sodobnem prostoru, odnosu do drugih (teles) in odnosu do narave. Posveča se tudi učenju na področju kiparstva in vizualnih umetnosti. Med drugim je nosilka predmeta Visual arts na mednarodni srednji šoli Vector International Academy v Ljubljani. Za svoje delo je prejela več priznanj. Od leta 2009 deluje kot samozaposlena na področju kulture. Razstavlja in izvaja performanse doma in v tujini.
Mestna galerija Nova Gorica
Trg E. Kardelja 5
5000 Nova Gorica
Urnik v času razstave
Ponedeljek – petek: 9.00 – 13.00 in 15.00 – 19.00
Sobota: 9.00 – 12.00
Ob nedeljah in praznikih zaprto.
Informacije in kontakt
T: 05 335 40 15
E: mestnagalerija@kulturnidom-ng.si
Mogoče vas zanima tudi …
Fotoutrinki dogodka
Razstavna sezona 2023/24
PIXXELPOINT, 24. mednarodni festival sodobnih umetniških praks
ŽIVLJENJE V (O)MREŽJU
Nova Gorica – Gorica
16.–30. 11. 2023
Kuratorka: Nina Jeza
Festival Pixxelpoint, ki izhaja iz vizualne kulture elektronskih medijev, se osredotoča tako na razvijanje in boljše razumevanje razsežnosti digitalnih svetov ter digitaliziranja stvarnega sveta okoli nas, skupaj z njegovo predstavitvijo in popularizacijo, kot na vzpodbujanje teoretskega, kritičnega diskurza in refleksije o intermedijski umetnosti. Prvotni namen festivala, ki si je za cilj zadal približati sodobne informacijske tehnologije širšemu občinstvu in obenem seznaniti predvsem mlajše generacije z drugačnimi možnostmi uporabe novih medijev, je tako daleč presegel svoje okvire in prerasel v festival sodobnih umetniških praks, ki deluje na presečišču umetnosti, znanosti in tehnologije. Predvsem v zadnjih letih se je zato festival pogumno lotil zahtevnega predstavljanja vrhunskih intermedijskih umetnikov, ki s svojimi deli premikajo meje in razumevanje vloge sodobnih umetniških praks, zaradi česar se Nova Gorica že umešča na mednarodni zemljevid najsodobnejšega dogajanja na tem dinamičnem, vedno svežem in vznemirljivem, a zahtevnem umetnostnem področju. Svojo podobo festival kontinuirano gradi že 23 let in jo bo tudi v naslednjem obdobju, ki bo doseglo vrhunec leta 2025, ko bo Nova Gorica skupaj s sosednjo Gorico Evropska prestolnice kulture 2025 in Pixxelpoint bo del tega pomembnega projekta.
»Dihotomija sodobnega življenja, prepletenega z električno energijo, se ob konstantni skrbi za ,zeleni preboj‘ vse bolj zapleta v lastno energetsko zanko: neznosna lahkost zelenega bivanja se pogreza vse globlje v živi pesek lastne pogube, saj postaja očitno, da zelena, ki jo ljubimo zeleno, v svojem bistvu (še) ne zmore najti ustreznega odgovora na tisto, kar nas resnično lahko skrbi: kam z vsemi odpadnimi zbirniki elektrike, kam torej z akumulatorji in litijevimi baterijami, ko se njihov življenjski cikel – ki seveda ni neskončen – enkrat zaključi.
Življenja si brez elektrike gotovo ne moremo več predstavljati. Lahko sicer sanjamo o ,življenju izven omrežja‘, o populističnem ,life off the grid‘, vendar nas realnost uči, da se daleč v gozdove naravnega stanja vrnejo lahko pravzaprav le izjemno redki izbranci. Vse preveč je namreč odvisno od ,štroma‘, da bi ga lahko z zamahom roke kar izločili, hkrati pa njegova vse večja poraba terja razmislek o načinih proizvodnje in predvsem shranjevanja električne energije. Bit in ne-bit sta tako dihotomično spojena v prekrivajočo se celoto, za katero ne vemo več točno, kje se prva začne in druga konča; še predobro pa vemo, ko katera izmed njiju umanjka. Bit žene ne-bit, da bi jo slednja recipročno napajala s svežo energijo, a le do stopnje, v kateri jo je treba nadomestiti z novo, še čistejšo in še bolj zeleno, da bi nazadnje samovznikle črne lise v obliki težkega ogljičnega odtisa iztrošenih baterijskih produktov morebiti romale v vesolje. Space-X program je – z malo domišljije – moč preoblikovati tudi v Space-Off dirko; ali nam Muskova ,osvoboditev Ptice‘, torej velenakup Twitterja, ne kaže v smeri, ko bo treba začeti opravičevati vse večjo zalogo elektro odpadkov z njihovo orbitizacijo? Ali verjamemo, da gigantov ne zanima enormna prostranost vesoljskega prostora za futuristično megasmetišče? Če smo se iz zgodovine naučili karkoli, je to prav dejstvo, da se človeštvo ne zaustavi tam, kjer bi bilo potrebno, temveč šele tam, kjer ni več možnosti povratka. Altruizem na vekov veke premaguje empatijo.
In potem stvari in ljudje odhajajo – ali v neskončnost ali v ,maloro‘ – je prepuščeno očem, ki opazujejo. Ker izbira ni naša, ampak njihova. Mi bi radi le ,uporabljali zeleno‘, vesolje je pa tako ali tako – črno. Umažimo ga, da bo ,tu spodaj‘ čisto,« je o temi zapisala kuratorka Nina Jeza.
V sklopu festivala bo velik poudarek na izobraževanju, saj bodo potekale številne delavnice, performansi, predavanja ter predstavitve sodelujočih umetnikov in intermedijskih festivalov.
Razstavni katalog
www.pixxelpoint.org
Mestna galerija Nova Gorica
Trg E. Kardelja 5
5000 Nova Gorica
Informacije in kontakt
T: 05 335 40 15
E: mestnagalerija@kulturnidom-ng.si
Mogoče vas zanima tudi …
Exhibition Season 2023/24
Exhibition: October 6-26, 2023
Opening: Friday, October 6, 2023, at 7:00 PM
Participating authors:
- Azad Karim, installation, paintings
- Tomo Križnar & Bojana Pivk Križnar, photographs
The October exhibition project is a collaboration of three authors, each responding in their own way to the issues of the contemporary world. First is Azad Karim, a visual artist from two lands, who for decades intertwines experiences of European modernism with Eastern mysticism in his works. Over the past decade, he has focused on issues of refugees, war, and the horrors experienced by people due to wars, poverty, climate change, or all three combined. Their works will be placed side by side at the exhibition, in dialogue, in a shared space.
The other two are Tomo Križnar and his wife Bojana Pivk Križnar, who with supporters, produce documentary films and books aiming to raise humanity’s awareness of the importance of protecting indigenous peoples in areas where foreign interests wage wars for control of natural resources. Since 2013, they have been advocating for the establishment of supra-national natural cultural parks to protect indigenous people in the Nuba Mountains, Blue Nile, and Darfur from the descendants of slave hunters, and are seeking international support in this regard. Their decade-long involvement in extreme humanitarian actions, media contributions, lectures, photographic exhibitions, and documentary films focuses on bearing witness to the destruction of the tribe in the Nuba Mountains.
“Philosopher Jean-Jacques Rousseau wrote in his Essay on the Origin of Languages: ‘Whether we inquire into the origin of the various arts, or observe the first habits, in both cases we find that everything at its beginning relates to means of subsistence.’ If in this context, art – like the paintings, installations, photographs, videos, and documentaries of Azad Karim, Tomo Križnar, and Bojana Pivk Križnar – can change the world and stealthily impart knowledge, awareness, and hope to the heart, then the exhibition ‘This World in My Eyes’ has achieved its purpose,” says Tatjana Pregl Kobe.
About the participating artists
Azad Karim is a Kurdish painter and graphic designer. The paths of all three authors have creatively intertwined in raising awareness about the horrific images of tragic destruction of cultural monuments and heritage in countries outside Europe. Karim, originally from Kurdistan in Iraq, draws inspiration for his artistic creations from his roots. Although he has been living and working in Slovenia for decades, he is aware of socio-political conditions and the vulnerability of cultural heritage in his homeland. All this has often prompted him to artistic reactions in the past. Each of his artistic projects is an assembly of fragments where ancient civilizations symbolically meet his personal experience of contemporary trends in visual arts.
Tomo Križnar is a traveler, an outstanding humanist, a long-time human rights activist, and a fighter for the truth.
Bojana Pivk Križnar, a teacher, activist, and humanitarian, has been accompanying her husband Tomo Križnar on his missions since 2013.
Nova Gorica City Art Gallery
Trg E. Kardelja 5
5000 Nova Gorica
Opening Hours
Monday – Friday: 9.00 – 13.00 in 15.00 – 19.00
Saturday: 9.00 – 12.00
Sundays and holidays closed.
Contact and Information
T: 05 335 40 15
E: mestnagalerija@kulturnidom-ng.si
All You Need Is Love
Tatjana Pregl Kobe
In 1967, British photographer David Magnus documented one of the milestones in the history of the Beatles – and telecommunications. The peace anthem “All You Need Is Love”, written by John Lennon specifically for this occasion, was broadcasted from EMI’s music studio on London’s Abbey Road via satellite in the first global television transmission. The song was the United Kingdom’s contribution to the “Our World” show, which was viewed by more than four hundred million people in 25 countries. Activists at that time resisted in various ways, with many loudly protesting through music. John Lennon was one of the few musicians and political activists who presented the ideas of peace in a radical, revolutionary, and unique way. Many of his songs became anthems for anti-war movements. The 1960s and 1970s, remembered for their ideology, political activism, and government repression. Social movements worldwide morphed into diverse organizations with shared ideas: advocating for citizens’ rights, fighting against racism, against censorship, and for freedom of speech and thought. The consequences of the bloody Vietnam War were catastrophic. By 1975, fifty thousand American soldiers and two million Vietnamese had died. During this time, Azad Karim departed from his world to another, where he would remain, while Tomo Križnar hitchhiked around the world, constantly returning. Both students would, in their own ways, change the face of the world over the next few decades, but by Tomo Križnar’s side for the last decade, there was also his wife, Bojana Pivk Križnar.
Azad Karim, a visual artist of two lands, has for decades intertwined experiences of European modernism with Eastern mysticism. Recently, he’s been focusing on the plight of refugees and the horrors faced by people due to wars, poverty, climate change, or all combined. He is also aware that in times of war, the suffering of the world’s cultural heritage is often overlooked. In 2003, when the Americans occupied Baghdad, museums were open for three days, leading to theft and destruction. He was also affected by the destruction of the two Bamiyan Buddha statues in Afghanistan, the looting of the Bardo Museum in Tunisia, and the Egyptian Museum in Cairo during the Arab Spring. Uprisings, occupations, revolutions, disturbances, and extreme ideologies always demand civilian casualties, but works of art, which testify about the past and are the heritage of humanity, are also victims. Only when peace is restored does it become clear what has been lost and what remains. Karim’s works speak of people wandering amidst the ruins, writing on walls about their pain. Therefore, he also portrays walls that have carried various messages with socially and politically engaged themes for millennia, silently witnessing tragic events that have sharply marked human history. He is an artist whose visual images also testify to today’s tragically colored testimonies of people scattered around the world, living in the heart of other cultures. That’s why in 2003, he collaborated with the National Museum in Krakow in preparing the exhibition “Outlook”, the only comprehensive presentation of contemporary Kurdish art by artists scattered across Europe.
The second part of the project – the collaboration of three authors, who each in their own way respond to some issues of the modern world in the exhibition “This World in My Eyes” – also includes photographs by Tomo Križnar and Bojana Pivk Križnar. Since 2013, they have been advocating for the establishment of supranational natural cultural parks to protect the indigenous people in the Nuba Mountains, Blue Nile, and Darfur from the descendants of slave hunters, seeking international support in this regard. Their decade-long collaboration in extreme humanitarian actions, media contributions, lectures, photographic exhibitions, and documentary films focuses on the destruction of a tribe in the Nuba Mountains and its gradual extinction. This area is at war for control of natural resources. Their long-term goal is to protect these people: here are their roots, their history, so they strive for them to develop at their own primitive pace and peace. Since December 2017, they have also been trying to help the most marginalized people – lepers in the Nuba Mountains, who suffer without any medical aid from the international or local community. They are working on establishing the distribution of leprosy drugs even to the most remote places. Among their humanitarian actions, the most moving is the latest film “Decay 2022” (2022), which was in the making for ten years: about leprosy among the Nubas, about the forgotten indigenous people, and their life in the remote Sudanese mountains. But the Sudanese mountains are in a war zone where the indigenous people are surrounded and besieged from all sides! They are at the center of attention of all geostrategic interests – only the world media is not there, because global powers, which control people precisely with the help of the media, don’t like it when we find out what is happening to the most innocent people on Earth from our comfort zones.
Media! Lennon’s timeless peace song “All You Need Is Love” against the war in Vietnam was viewed by nearly half a billion people half a century ago! Picasso’s Guernica, soon after its creation in 1937, became a symbol of the absurdity of war. In the painting, filled with symbolism, there’s also the Minotaur, a monster with a human body and a bull’s head, which is a modern symbol of tyranny, as enacted by Franco, Hitler, Mussolini… How to resist today’s war horrors, which flare up again and again? The battle of superpowers for control over the Arctic, the role of America on the world map, China’s entry into the international scene, the significance of Africa in today’s world, and the increasingly threatening climate crisis? How drastically should modern media depict the horrors that lepers in today’s world experience for the world to hear them? To be moved by them. To be touched by them. Is it enough to show their disease-destroyed faces from which the kindness of eyes shines? When the effects of the disease in a photo or film are so drastic that they repel, they don’t evoke pity, just revulsion. Media – these need a master. How else to reach hearts than through empathy?
For Marx, music was a “mirror of reality,” Nietzsche understood it as the “word of truth.” If art, of any kind, is committed to truth, let this truth touch all the remnants of humanity that we still carry within us with piety, solidarity, and compassion. The philosopher Jean-Jacques Rousseau wrote in his “Essay on the Origin of Languages” (Krtina, 1999, p. 30): “Let us then investigate the origin of various arts or observe the first natures; in both cases, we see that from the beginning, everything relates to the means of survival.” If art in this context – such as paintings, installations, photographs, videos, and documentary films by Azad Karim, Tomo Križnar, and Bojana Pivk Križnar – can change the world and stealthily instill knowledge, awareness, and hope into hearts, then the exhibition “This World in My Eyes” has also achieved its purpose.
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Razstavna sezona 2022/23
Vabljeni na javno vodstvo po pregledni razstavi Rojstvo slikarstva po kateri nas bo popeljal njen avtor Arjan Pregl. Razstavo si lahko ogledate do 5. maja 2023.
Več o razstavi TUKAJ.
Mestna galerija Nova Gorica
Trg E. Kardelja 5
5000 Nova Gorica
Urnik v času razstave
Ponedeljek – petek: 9.00 – 13.00 in 15.00 – 19.00
Sobota: 9.00 – 12.00
Ob nedeljah in praznikih zaprto.
Informacije in kontakt
T: 05 335 40 15
E: mestnagalerija@kulturnidom-ng.si
Mogoče vas zanima tudi …
Exhibition Season 2022/23
PIXXELPOINT, 23rd International Festival of Contemporary Art Practices :
TRUST AND RISK
Festival Events: 10. 11. – 13. 11. 2022
Festival Exhibition: 10. 11. – 26.11. 2022
Curator: Nina Jeza
Trust and risk are closely intertwined concepts. We build interpersonal and intersocietal relationships through trust, we establish an equilibrium between what we believe and what we find alien, but most of all we enter a civilisational discourse, which connects both aforementioned concepts. Art is undoubtedly the ‘means’, which with its aesthetic value and impartial communication addresses the individual as well as society. Changing human attitude to nature, art or people means to have a critical, favourable or unfavourable, i.e. positive or negative attitude. The curator Nina Jeza believes that because every change demands time, we have to address the question how ‘to neutralise the risk for trust or how to come up with a new world order, within which the relationships within society have changed as a result of the pandemic so that they can no longer be recognised’.
The organisers will also place trust and take a risk with this year’s transformed Pixxelpoint. Within the frame of the festival, which will take place over four days, great emphasis will be placed on education through lectures, presentations of cooperating artists, intermedia festivals, the MCRU network, all of which will be joined by performances in the evening hours. The exhibition itself, which will show installations, objects and other exhibition pieces, will be on display for two weeks. The festival will focus predominantly on young Slovenian intermedia artists, who are at the beginning of their creative careers, as well as a few established names from the intermedia scene. At the end of the festival, we will award the Pixxelpoint Award for the best exhibition project.
Curator: Nina Jeza
Nina Jeza graduated from the Department of History of Art at the Faculty of Art in Ljubljana in 2007. Today she is an independent cultural worker, curator and art teacher. She also works as a pedagogue, she had prepared and organised the intermedia festival KIBLIX (2013–2018), within the frame of which various workshops in the field of intermedia and connecting technologies take place. Between 2013 and 2015 she was the artistic director of the International Festival of Computer Art (MFRU). She signed her name under successfully executed events and articles in various electronic and printed media, including television and radio contributions. She was behind the idea and organiser of the Maribor Art Fair art-MUS (2015–2021). She recently initiated the project ARTSTORAGE, which presents an innovative business idea for storing, archiving, digitalising and selling artworks by Slovenian artists. She is the cofounder and co-owner of Artists & Poor’s.
Exhibition Catalogue
Mestna galerija Nova Gorica
Trg E. Kardelja 5
5000 Nova Gorica
You may also be interested in…
Exhibition Season 2022/23
PIXXELPOINT, 23rd International Festival of Contemporary Art Practices :
TRUST AND RISK
Festival Events: 10. 11. – 13. 11. 2022
Festival Exhibition: 10. 11. – 26.11. 2022
Curator: Nina Jeza
Trust and risk are closely intertwined concepts. We build interpersonal and intersocietal relationships through trust, we establish an equilibrium between what we believe and what we find alien, but most of all we enter a civilisational discourse, which connects both aforementioned concepts. Art is undoubtedly the ‘means’, which with its aesthetic value and impartial communication addresses the individual as well as society. Changing human attitude to nature, art or people means to have a critical, favourable or unfavourable, i.e. positive or negative attitude. The curator Nina Jeza believes that because every change demands time, we have to address the question how ‘to neutralise the risk for trust or how to come up with a new world order, within which the relationships within society have changed as a result of the pandemic so that they can no longer be recognised’.
The organisers will also place trust and take a risk with this year’s transformed Pixxelpoint. Within the frame of the festival, which will take place over four days, great emphasis will be placed on education through lectures, presentations of cooperating artists, intermedia festivals, the MCRU network, all of which will be joined by performances in the evening hours. The exhibition itself, which will show installations, objects and other exhibition pieces, will be on display for two weeks. The festival will focus predominantly on young Slovenian intermedia artists, who are at the beginning of their creative careers, as well as a few established names from the intermedia scene. At the end of the festival, we will award the Pixxelpoint Award for the best exhibition project.
Curator: Nina Jeza
Nina Jeza graduated from the Department of History of Art at the Faculty of Art in Ljubljana in 2007. Today she is an independent cultural worker, curator and art teacher. She also works as a pedagogue, she had prepared and organised the intermedia festival KIBLIX (2013–2018), within the frame of which various workshops in the field of intermedia and connecting technologies take place. Between 2013 and 2015 she was the artistic director of the International Festival of Computer Art (MFRU). She signed her name under successfully executed events and articles in various electronic and printed media, including television and radio contributions. She was behind the idea and organiser of the Maribor Art Fair art-MUS (2015–2021). She recently initiated the project ARTSTORAGE, which presents an innovative business idea for storing, archiving, digitalising and selling artworks by Slovenian artists. She is the cofounder and co-owner of Artists & Poor’s.
Exhibition Catalogue
Mestna galerija Nova Gorica
Trg E. Kardelja 5
5000 Nova Gorica
You may also be interested in…
Exhibition Season 2022/23
PIXXELPOINT, 23rd International Festival of Contemporary Art Practices :
TRUST AND RISK
Festival Events: 10. 11. – 13. 11. 2022
Festival Exhibition: 10. 11. – 26.11. 2022
Curator: Nina Jeza
Trust and risk are closely intertwined concepts. We build interpersonal and intersocietal relationships through trust, we establish an equilibrium between what we believe and what we find alien, but most of all we enter a civilisational discourse, which connects both aforementioned concepts. Art is undoubtedly the ‘means’, which with its aesthetic value and impartial communication addresses the individual as well as society. Changing human attitude to nature, art or people means to have a critical, favourable or unfavourable, i.e. positive or negative attitude. The curator Nina Jeza believes that because every change demands time, we have to address the question how ‘to neutralise the risk for trust or how to come up with a new world order, within which the relationships within society have changed as a result of the pandemic so that they can no longer be recognised’.
The organisers will also place trust and take a risk with this year’s transformed Pixxelpoint. Within the frame of the festival, which will take place over four days, great emphasis will be placed on education through lectures, presentations of cooperating artists, intermedia festivals, the MCRU network, all of which will be joined by performances in the evening hours. The exhibition itself, which will show installations, objects and other exhibition pieces, will be on display for two weeks. The festival will focus predominantly on young Slovenian intermedia artists, who are at the beginning of their creative careers, as well as a few established names from the intermedia scene. At the end of the festival, we will award the Pixxelpoint Award for the best exhibition project.
Curator: Nina Jeza
Nina Jeza graduated from the Department of History of Art at the Faculty of Art in Ljubljana in 2007. Today she is an independent cultural worker, curator and art teacher. She also works as a pedagogue, she had prepared and organised the intermedia festival KIBLIX (2013–2018), within the frame of which various workshops in the field of intermedia and connecting technologies take place. Between 2013 and 2015 she was the artistic director of the International Festival of Computer Art (MFRU). She signed her name under successfully executed events and articles in various electronic and printed media, including television and radio contributions. She was behind the idea and organiser of the Maribor Art Fair art-MUS (2015–2021). She recently initiated the project ARTSTORAGE, which presents an innovative business idea for storing, archiving, digitalising and selling artworks by Slovenian artists. She is the cofounder and co-owner of Artists & Poor’s.
Exhibition Catalogue
Mestna galerija Nova Gorica
Trg E. Kardelja 5
5000 Nova Gorica
