Logaritmi ekspresije
27. januar - 17. marec 2023, Galerija Y, 18:00
Trubarjeva cesta 79, SI- 1000 Ljubljana, Slovenija
Trubarjeva cesta 79, SI- 1000 Ljubljana, Slovenija
Nebeške črvine / Wormholes of Heaven 20 / 2022 / računalniška monotipija, akril, olje na platnu /computer monotype, acrylic, oil on canvas / 40 x 55 cm
Samostojna razstava Logaritmi ekspresije združuje slikarska dela iz umetnikovih serij Podtaknjenci, Navzkrižja dilem in Nebeške črvine, katerih dela odlikuje enoten vizualni koncept dinamične igre računalniško koncipiranih vzorcev v kombinaciji s strupenimi fluorescentnimi barvami. Hipnotični učinek krepijo oblikovanje v programu za 3D-animacijo in izvirni tehnični postopki, računalniško dopolnjene ideje pa so nato v tehniki olja precizno preslikane na slikarsko platno. Umetnikova neomajna vnema po tehničnem razvijanju in vizualnem izpopolnjevanju je povzročila nastanek najnovejše serije v obliki manjših formatov, imenovane Nebeške črvine. Serija se od prejšnjih del razlikuje v uporabljeni tehniki, saj je Kobal zaradi želje po še izrazitejšem prikazu detajlov in močnejšem vizualnem učinku, svoje spretne slikarske poteze nadomestil z uporabo tehnike računalniške monotipije na platno. Avtorjeva unikatna tehnika potencira hipnotično valovanje mrežastih struktur v ozadju, ki jih kontrastno prekinjajo puhasti renesančni oblaki. Nebeške gmote oblakov v tej seriji, kakor tudi v prejšnjih, s svojo mehkobo umirjajo in harmonizirajo sicer močno ekspresivna dela.
Razstavljena dela lahko razumemo tudi kot zrcalo družbi, saj se dotikajo aktualnih politično-socioloških problematik. Srh vzbujajoči triptih Triglavski kiklopi, na primer, pretresa vprašanja svobode, demokratičnosti in zasebnosti slehernika v današnji družbi. Mitsko bitje Uroboros, kača, ki jé svoj rep, reflektira ujetost družbe v lastne ponavljajoče se vzorce, hkrati pa govori o konstantni ciklični naravi življenja, v kateri smrti vedno sledi ponovno rojstvo. Takšen preplet nasprotujočih si polov, tako vizualnih, kakor vsebinskih, je v umetnikovih delih vseskozi prisoten. Problematika tehnologije in virtualne resničnosti, ki prodira v človekov naravni prostor, je še izraziteje nagovorjena v najnovejši seriji, kjer nebo nadomešča računalniška matrika, izkustvo prave narave pa ostaja zgolj v bežnih oblakih lebdečih znotraj paralelnega sveta. Serija Nebeške črvine po eni strani preizprašuje vseprisotnost virtualnega, hkrati pa umetniku omogoča razvijanje nove likovne prakse in prostega eksperimentiranja.
Aleksij Kobal (1962) je akademski umetnik rojen v Kopru, ki je znan predvsem po svojem raznolikem slikarskem opusu. Njegovemu ustvarjanju v tradicionalnem vizualnem mediju se pridružujejo tudi animirane podobe v obliki videa, prav tako pa posega na področje glasbe in literature. Med leti 2004 in 2008 je sodeloval z glasbeno skupino The Stroj, pozneje pa je izdal tudi dve knjižni deli Glas (2009) in Topologija zlatoroga (2022). Slednjega so navdahnili pravljični deli Trente, nastal pa je kot dopolnitev h Kobalovi klavirski skladbi in k sliki z istim naslovom. Samostojno razstavlja od leta 1987 in je eden najvidnejših vizualnih umetnikov srednje generacije pri nas. Za svoje likovno delo je prejel vrsto priznanj in nagrad, med katerimi je tudi nagrada Prešernovega sklada (2016). Živi in ustvarja v Ljubljani.
The exhibition programme for 2023 starts with a solo exhibition by academic artist Aleksij Kobal titled Logarithms of Expression. This is the first in a series of exhibitions within the thematic project From Pixel to Canvas (Od piksla do platna) that will take place this year. The project includes presentations by painters whose work is primarily built from digital images.
The solo exhibition Logarithms of Expression brings together paintings from the artist's series The Planted, Dilemmas Crisscrossed and Wormholes of Heaven. These works are characterised by a unified visual concept of a dynamic play of computer-conceived patterns in combination with toxic fluorescent colours. The hypnotic effect is enhanced by 3D animation software and original technical processes, while the computerised ideas are then precisely mapped in oil onto the canvas. The artist's unwavering zeal for technical development and visual refinement has led to the creation of his latest series in the form of smaller formats, called Wormholes of Heaven. This series differs from his previous works in the technique used, as Kobal, in his desire to show even more detail and create a stronger visual impact, has replaced his deft painterly strokes with the use of computer monotype on canvas. The artist's unique technique potentiates the hypnotic ripples of grid-like structures in the background, which are contrastingly interrupted by fluffy Renaissance clouds. As the previous ones, the celestial cloud masses in this series use their softness to calm and harmonise the otherwise highly expressive works.
The works on display can also be seen as a mirror of society, as they address current political and sociological issues. For example, the chilling triptych, Cyclops of Triglav, addresses the issues of freedom, democracy and privacy of the individual in today's society. The mythical creature Uroboros, the snake that eats its own tail, reflects on society's entrapment in its own repetitive patterns, while at the same time speaking of the constant cyclical nature of life, in which death is always followed by rebirth. Such an interplay of opposing poles, both visual and substantive, is ever-present in the artist's work. The issue of technology and virtual reality penetrating man's natural space is addressed even more explicitly in the latest series, where the sky is replaced by a computer matrix and the experience
of true nature remains only in fleeting clouds floating within a parallel world. On the one hand, the Wormholes of Heaven series questions the omnipresence of the virtual, allowing the artist to develop a new artistic practice and free experimentation.
Pia Miklič
Razstavljena dela lahko razumemo tudi kot zrcalo družbi, saj se dotikajo aktualnih politično-socioloških problematik. Srh vzbujajoči triptih Triglavski kiklopi, na primer, pretresa vprašanja svobode, demokratičnosti in zasebnosti slehernika v današnji družbi. Mitsko bitje Uroboros, kača, ki jé svoj rep, reflektira ujetost družbe v lastne ponavljajoče se vzorce, hkrati pa govori o konstantni ciklični naravi življenja, v kateri smrti vedno sledi ponovno rojstvo. Takšen preplet nasprotujočih si polov, tako vizualnih, kakor vsebinskih, je v umetnikovih delih vseskozi prisoten. Problematika tehnologije in virtualne resničnosti, ki prodira v človekov naravni prostor, je še izraziteje nagovorjena v najnovejši seriji, kjer nebo nadomešča računalniška matrika, izkustvo prave narave pa ostaja zgolj v bežnih oblakih lebdečih znotraj paralelnega sveta. Serija Nebeške črvine po eni strani preizprašuje vseprisotnost virtualnega, hkrati pa umetniku omogoča razvijanje nove likovne prakse in prostega eksperimentiranja.
Aleksij Kobal (1962) je akademski umetnik rojen v Kopru, ki je znan predvsem po svojem raznolikem slikarskem opusu. Njegovemu ustvarjanju v tradicionalnem vizualnem mediju se pridružujejo tudi animirane podobe v obliki videa, prav tako pa posega na področje glasbe in literature. Med leti 2004 in 2008 je sodeloval z glasbeno skupino The Stroj, pozneje pa je izdal tudi dve knjižni deli Glas (2009) in Topologija zlatoroga (2022). Slednjega so navdahnili pravljični deli Trente, nastal pa je kot dopolnitev h Kobalovi klavirski skladbi in k sliki z istim naslovom. Samostojno razstavlja od leta 1987 in je eden najvidnejših vizualnih umetnikov srednje generacije pri nas. Za svoje likovno delo je prejel vrsto priznanj in nagrad, med katerimi je tudi nagrada Prešernovega sklada (2016). Živi in ustvarja v Ljubljani.
The exhibition programme for 2023 starts with a solo exhibition by academic artist Aleksij Kobal titled Logarithms of Expression. This is the first in a series of exhibitions within the thematic project From Pixel to Canvas (Od piksla do platna) that will take place this year. The project includes presentations by painters whose work is primarily built from digital images.
The solo exhibition Logarithms of Expression brings together paintings from the artist's series The Planted, Dilemmas Crisscrossed and Wormholes of Heaven. These works are characterised by a unified visual concept of a dynamic play of computer-conceived patterns in combination with toxic fluorescent colours. The hypnotic effect is enhanced by 3D animation software and original technical processes, while the computerised ideas are then precisely mapped in oil onto the canvas. The artist's unwavering zeal for technical development and visual refinement has led to the creation of his latest series in the form of smaller formats, called Wormholes of Heaven. This series differs from his previous works in the technique used, as Kobal, in his desire to show even more detail and create a stronger visual impact, has replaced his deft painterly strokes with the use of computer monotype on canvas. The artist's unique technique potentiates the hypnotic ripples of grid-like structures in the background, which are contrastingly interrupted by fluffy Renaissance clouds. As the previous ones, the celestial cloud masses in this series use their softness to calm and harmonise the otherwise highly expressive works.
The works on display can also be seen as a mirror of society, as they address current political and sociological issues. For example, the chilling triptych, Cyclops of Triglav, addresses the issues of freedom, democracy and privacy of the individual in today's society. The mythical creature Uroboros, the snake that eats its own tail, reflects on society's entrapment in its own repetitive patterns, while at the same time speaking of the constant cyclical nature of life, in which death is always followed by rebirth. Such an interplay of opposing poles, both visual and substantive, is ever-present in the artist's work. The issue of technology and virtual reality penetrating man's natural space is addressed even more explicitly in the latest series, where the sky is replaced by a computer matrix and the experience
of true nature remains only in fleeting clouds floating within a parallel world. On the one hand, the Wormholes of Heaven series questions the omnipresence of the virtual, allowing the artist to develop a new artistic practice and free experimentation.
Pia Miklič
Topologija Zlatoroga - video
Nebeške črvine / Wormholes of Heaven
Aleksij Kobal - Torus študija / Torus study / 2020 - 2022 / akril, olje na platnu / acrylic, oil on canvas / 70 x 50cm
Otvoritev razstave: sobota, 3. december 2022, ob 18.00
Galerija Salsaverde
Kulturno umetniško društvo in Galerija Salsaverde
Gramscijeva ulica 4, Izola
Galerija Salsaverde
Kulturno umetniško društvo in Galerija Salsaverde
Gramscijeva ulica 4, Izola
Nebeške črvine 2 / Wormholes of Heaven 2 / 2022 / računalniška monotipija, akril, olje na platnu /computer monotype, acrylic, oil on canvas / 25 x 40 cm
RE-WIND
TOPOLOGIJA ZLATOROGA
Po prvencu Glas je pri založbi Sanje izšla moja druga knjiga z naslovom TOPOLOGIJA ZLATOROGA.
Roman je plod dolgoletnega ustvarjanja. Ob tej priložnosti se zahvaljujem vsem, ki so kakor koli pripomogli k njenemu nastajanju.
Založba Sanje
Roman je plod dolgoletnega ustvarjanja. Ob tej priložnosti se zahvaljujem vsem, ki so kakor koli pripomogli k njenemu nastajanju.
Založba Sanje
Topologija zlatoroga je večplastno, slogovno zgoščeno pisanje, ki s sopostavitvijo slikovite podeželske skupnosti, polne vaških posebnosti, in individualiziranega urbanega okolja na več ravneh vzpostavi kontraste, ki pa so morda vendarle samo zrcalne podobe drug drugega, ter z vnašanjem lokalnih, ljudskih, tudi bajeslovnih prvin naslavlja univerzalna vprašanja človekovega iskanja.
A L A M U T
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Moje prehajanje iz slikarskega polja na glasbeno se je začelo, ko sva se s Primožem Oberžanom (The Stroj) spoznala na Metelkovi in med iskanjem odpadnih ali zavrženih predmetov našla skupno poetiko. Najin projekt KAKO ZVENI ŠIŠKA? med leti 2002 in 2006, ko sva po določenem predelu spodnje Šiške iskala zanimive odpadke, je bil zame eden najbolj raziskovalnih obdobij. Projekt se je nazadnje izoblikoval na kovičeni vagonski cisterni za vodo, ki nam jo je g. Mladen Bogić (bivši ravnatelj železniškega muzeja v Ljubljani) dal na voljo za glasbeni eksperiment. In tako sva ure in ure preurejala vagonski volumen v morda največji inštrument na svetu. Najprej sva odprla dodatno odprtino in jo izkoristila za resonator, potem pa prek nje napela osem dolgih jeklenic različnih debelin in jih tudi uglasila. Ko človek preživi veliko časa na takem mestu kot so železniške delavnice, ugotovi, zakaj železnici rečejo železnica; vse je namreč iz železa, še zavore. Začel sem se poigravati z železnimi cevmi in jih nazadnje predelal v flavto in dva saksofona, oboje je bila popolna improvizacija in brez uglasitve, saj je bil namen nekako uiti klasični glasbeni metriki. Prvi zvoki s palicami po strunah so bili res neverjetni, a nič kaj manj zanimivo ni bilo v trupu cisterne, kjer so ogromne jeklene vzmeti in ostali železni deli služili kot tolkala in ksilofon. Sprednji del, kjer so se strune spuščalu k dnu, je dobro služil kot godalni del in sem v ta namen izdelal poseben lok, ki je s pomočjo kolofonije znal izvabiti res dramatične zvoke. In tako sva se s Primožem sprva zabavala, improvizirala in kmalu ob ritmu tolkal in strun ustvarila tudi prve kompozicije. Pridružilo se je še nekaj ostalih članov in nastalo je veliko zvočnih posnetkov. Leta 2003 sem se še sam pridružil skupini The Stroj in njimi preigral štiri nepozabna leta. Svoj vrhunec je cisterna doživela prav na predstavitvi novega CD-ja The Stroj, ko smo tega železnega kolosa na roke privlekli v halo in potem na njem tudi igrali. Danes, ko sem spet zavezan svojem osnovnemu poklicu, pa me je spet pograbila tista "cisterjanska" mrzlica in sem se odločil, da naredim video z morda najbolj dovršeno glasbeno kompozicijo z naslovom ALAMUT, in jo dam na youtube. Glasba je sestavljena na računalniku, posnetki so posneti na cisterni ali pa so del vagonske ropotarnice. Ko sem bil leta 2017 v Iranu in med drugim obiskal tudi grad Alamut, se mi je porodila zamisel o naslovu skladbe, saj ima kovinska flavta res neverjeten orientalski zvok, izide pa se tudi vsebinsko in kompozicijsko ...
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My trip from painting to music began when Primož Oberžan (The Stroj) and I met on Metelkova and found a common poetics while searching for discarded objects. Our project HOW DOES ŠIŠKA SOUND? started with looking for interesting waste in a certain quarter of Šiška. Perhaps period between 2002 and 2006 was one of mine most creative one. Later this experiment formed in a riveted wagon water cistern, which Mr. Mladen Bogić (former director of the Railway Museum in Ljubljana)
made available for a musical experiment. We spent hours rearranging the wagon volume into perhaps the largest instrument in the world. First we opened an additional hatch and used it as a resonator, then eight long steel cables of different thicknesses were stretched through it and tuned. I started playing with iron pipes and finally converted them into a flute and two saxophones, both were complete improvisation and not tuned, as the intention was to somehow escape the classical musical metrics. The first sounds on the strings were really amazing, but nothing less interesting was in the hull of the cistern, where huge steel springs and other iron parts served as percussion and xylophone. The front part, where the steel cables went down to the bottom, served well as a strange cello, and I made a special bow for this purpose which with the help of rosin was able to make really dramatic sounds. Soon the improvisation created the first compositions with the rhythm of percussion and strings. After other members of The Stroj joined in and a lot of audio recordings were made. I joined The Stroj in 2003 and played with them four unforgettable years. On of the most exciting events was the concert of The Stroj, when this iron colossus was dragged by our hands into the hall and then played on it. After so many years I was again seized by that "Cistercian" fever and I decided to make a video with musical composition entitled ALAMUT, and share it worldwide through youtube. When I was in Iran in 2017 and among other things visited Alamut Castle, the idea of the title of the song came to me as the metal flute has a really amazing oriental sound and composition. The music is composed on a computer, the recordings are originally recorded on a cistern. |