Galerija Obrat

Minulo

29.7.2025

14.8.2025

19.9.2025

Kulturnik video

V zadnjih treh desetletjih, zaznamovanih s prehodom iz socializma v kapitalizem, vojnami na Balkanu, kulturno kolonizacijo Vzhoda ter nedavno z resnimi učinki globalnega segrevanja, prične sodobna umetnost tudi skozi seksualnost obravnavati dimenzije političnega v osebnem in vsakdanjem življenju. Pri umetnosti, ki se ukvarja s seksualnostjo, ne gre več za upodobitve golega telesa in spolnega akta, niti se ne razpravlja o razliki in meji med erotično umetnostjo in pornografijo, kar je bila prej v slovenskem prostoru prevladujoča oblika naslavljanja spolnosti. Umetniška dela izhajajo iz razumevanja seksualnosti kot družbene konstrukcije ter skozi performativne prakse in reprezentacijo telesnosti raziskujejo (sodobne) oblike intimnosti in (nove) prostore užitka, pogoje seksualnega dela in poti do sprememb, kulturne vpise v dojemanju in mehanizme objektivizacije telesa, represivnost hetero patriarhalne paradigme in procese osvobajanja od binarne družbene ureditve. Od devetdesetih dalje se umetnost, ki obravnava področje seksualnosti, navezuje na feministično teoretsko polje ter kvir študije in postane z namenom emancipacije najrazličnejših oblik seksualnosti in izrazov spola prostor reprezentacije množičnosti identitet in dejavna platforma za doseganje sprememb, še zlasti v pogledu dekonstrukcije patriarhalnih pojmovanj ženskosti in hetero normativnih razumevanj spolnosti. V tem oziru sta pomembna festivala Mesto žensk in Rdeče zore, ustanovljena sredi in konec devetdesetih, ki se zavzemata tudi za večjo zastopanost žensk v kulturi. Drugo polovico devetdesetih na Slovenskem zaznamuje obrat k telesu in prodor umetniških del, ki kritično in pogosto radikalno naslavljajo vprašanja telesnosti in seksualnosti, pomemben prostor predstavljanja tovrstnih praks postane Galerija Kapelica, ki je z neposrednostjo dogodkov, kot npr. v okviru mednarodnega festivala performansa Eksplicitne seksualne prakse kot umetniški izraz, stopnjevala izkušnjo gledalca. Uveljavita se body art performans in z njim uporaba lastnega telesa v naslavljanju seksualnosti ter brisanje meje med umetnostjo in pornografijo z vključevanjem pornografskih elementov, da bi se razmišljalo o komodifikaciji spolnosti in potrošnji telesa ter širših družbenih vprašanjih.In the last three decades, marked by the transition from socialism to capitalism, the wars in the Balkans, the cultural colonisation of the East and, more recently, the severe effects of global warming, contemporary art is beginning to address political dimensions in personal and everyday life, also through sexuality. Art that deals with sexuality is no longer just a representation of the naked body and sexual intercourse, nor is there any discussion about the difference and boundary between erotic art and pornography, which used to be the predominant form of dealing with sexuality in the Slovenian arena. The artworks derive from the understanding of sexuality as a social construct and explore, through performative practices and the representation of corporeality, (contemporary) forms of intimacy and (new) spaces of pleasure, conditions of sex work and ways to change, cultural inscriptions and mechanisms of body objectification, the repressiveness of the hetero-patriarchal paradigm and the processes of liberation from the binary social order. Since the 1990s, the art of sexuality has been linked to feminist theory and queer studies and, with the aim of emancipating a wide variety of sexuality and gender expression, has become a space for the representation of a multiplicity of identities and an active platform for change, especially with regard to the deconstruction of patriarchal notions of femininity and heteronormative concepts of sexuality. In this context, the City of Women and Red Dawns festivals should be mentioned, which were launched in the mid and late 1990s and also advocate for greater representation of women in culture. The second half of the 1990s in Slovenia was marked by a turn to the body and the penetration of artworks that critically and often radically address issues of corporeality and sexuality. An important venue for the presentation of such practices was the Kapelica Gallery, which intensified the viewer's experience through the immediacy of its events, such as in the international performance festival Explicit Sexual Practice as Artistic Expression. Body art performances and the use of one's own body in addressing sexuality, as well as the blurring of the line between art and pornography by incorporating pornographic elements to reflect on sex as a commodity and the consumption of the body, as well as broader social issues, were established. The last decade, as the culture of contemporary relationships, when intimate relationships and concepts of sexuality have changed drastically due to the proliferation of technology and atomisation of society and we are witnessing growing insecurity in sexuality that the growing therapeutic discourse seeks to resolve, has been

Risk Change / Tvegaj sprememboInternational conference / Mednarodna spletna konferenca:Finding a Language of Hospitality / Iskanje jezika gostoljubnostiMerve Bedir, Vidha Saumya, Tanja Lažetić, Clare Butcher, KUD OBRAT (Polonca Lovšin).Friday/Petek, 14. 8. 2020----- Tanja Lažetić: All colors of black-white tastesThe whole world can be found in our stores. This is clearer to us now than it was ten years ago when Tanja Lažetić worked on the Migrants project. She photographed food that came from distant countries and she was surprised that not only exotic fruits and fresh vegetables in the middle of cold winter that definitely had to grow somewhere else, but also most of the food that could be grown somewhere closeby, is produced in countries with cheap labor. And like all migrants, these foods enter our lives quietly, they are all around us, and although we do not want to admit it, we cannot imagine our lives without them. It’s pretty simple, on our dining tables we bring the world together every day.Tanja Lažetić graduated in Architecture from the University of Ljubljana. Herfields of interest include photography, video, ceramic art, performance art, and artists’ books. She has received a number of awards, including the first prize at the Trieste Contemporanea international design competition (1995), the bronze prize at Nanjing Festival, China, the third prize at the International Ceramics Triennial UNICUM (both 2015), and the Rihard Jakopič Recognition (2017). Lažetić has participated in artist residencies in New York, Berlin, London, Israel, Lithuania, Shanghai, Vienna. Lažetić has exhibited her work internationally, including the Neuer Berliner Kunstverein, Berlin; Real Academia de Bellas Artes de San Fernando, Madrid; Museum Brandhorst, Munich; the Art Gallery of Kosovo, Pristina; the PM Gallery and Klovićevi Dvori Gallery, Zagreb; the 25th of May Museum, Belgrade; Brighton Photo Biennial, UK; the Festival of Regions, Austria; and Gagosian Galleries in Paris, Beverly Hills, and NY. www.lazetic.si Tanja Lažetić: Vse barve črno-belih okusovV naših trgovinah je mogoče najti ves svet. To nam je zdaj še bolj jasno, kot je bilo pred desetimi leti, ko je Tanja Lažetić delala na projektu Migranti. Fotografirala je hrano, ki je bila pripeljana iz daljnih dežel. Presenečena je bila, da ne le eksotično sadje in svežo zelenjavo sredi hladne zime, ampak tudi večino hrane, ki bi jo lahko gojili nekje v zaprtem prostoru, proizvajajo v državah s poceni delovno silo in bi zagotovo morala zrasti nekje drugje. In tako kot vsi migranti, tudi ta hrana mirno vstopi v naše življenje, je vsepovsod okoli nas. Čeprav si tega ne želimo priznati, si svojega življenja brez nje ne moremo predstavljati. Na naših jedilnih mizah je vsak dan zbran ves svet. Tanja Lažetić je diplomirala iz arhitekture na Univerzi v Ljubljani. Njena področja zanimanja vključujejo fotografijo, video, keramično umetnost, uprizoritveno umetnost in knjige umetnikov. Prejela je vrsto nagrad, med drugim prvo nagrado na mednarodnem oblikovalskem natečaju Trst Contemporanea (1995), bronasto nagrado na festivalu Nanjing na Kitajskem, tretjo nagrado na mednarodnem trienalu keramike UNICUM (obe 2015) in priznanje Riharda Jakopiča (2017). Tanja Lažetić je sodelovala na umetniških rezidencah v New Yorku, Berlinu, Londonu, Izraelu, Litvi, Šanghaju, na Dunaju. Tanja Lažetić je svoja dela razstavljala namednarodni ravni, vključno z Neuer Berliner Kunstverein, Berlin; Real Academia de Bellas Artes de San Fernando, Madrid; Muzej Brandhorst, München; umetniška galerija Kosova, Priština; Galerija PM in Galerija Klovićevi dvori, Zagreb; Muzej 25. maja, Beograd; Fotografski bienale v Brightonu, Velika Britanija; festival regij, Avstrija; in Gagosian Galleries v Parizu, Beverly Hillsu in New Yorku.www.lazetic.si-----The conference is part of the Risk Change (2016—2020) project co-financed by the Creative Europe program of the European Union and Ministry of Public Administration of RS. / Konferenca je del projekta Risk Change (2016–2020), ki ga sofinancirata program Ustvarjalna Evropa Evropske unije in Ministrstvo za javno upravo RS.-----

Minulo

29.7.2025

Predstavitev dela in umetniških praks Moe Yoshida in Eneja Gale / predstavitev

14.8.2025

Enej Gala in Moe Yoshida: Oblakov gleženj / samostojna razstava

19.9.2025

Maribor Art Walk / festival