Past event
16 June - 6 Sept 2020

Ajna Zlatar

An exhibition of jazz posters
Within the framework of the 61st Jazz Festival Ljubljana

An exhibition of jazz posters by graphic designer Ajna Zlatar is on view within the framework of the 61st Jazz Festival Ljubljana.

Over the past several years, Zlatar has developed a successful creative partnership with the international music festival Jazz Fest Sarajevo and the Gramofon label. The exhibition gives an overview of Zlatar’s graphic solutions for festival posters and design concepts for album covers by Amira Medunjanin (“Zumra” and “Amira Live”), Sikter and Validna Legitimacija, to name but a few.
“Music evokes special feelings that I seek to visualise by creating occasionally somewhat romantic and other times multifaceted designs that must at the same time correspond to the festival’s or album’s programme concept, but their common denominator is invariably – the joy of great music,” explains Ajna.

The Jazz Fest Sarajevo posters – designed mostly by Ajna – have been attracting public attention for over two decades. Several of these works have won prestigious international awards recognizing professional achievement.

Ajna Zlatar obtained education in Sarajevo and Milan. Since the 1990s she has made a name for herself as an art director and freelance graphic designer. She is recipient of numerous awards for her advertising campaigns and an Epica Award for design – Europe's prize rewarding outstanding creativity. Zlatar has exhibited in Italy and Bosnia and Herzegovina. She lives in Sarajevo.

Ajna Zlatar

16 June - 6 Sept 2020
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Admisson free

10 Sept - 1 Nov 2020

Marina Peran Lekič: An Ode to Stone

Capturing light changes in a stony environment

Izbor motiva je v fotografiji nemalokrat indikator nezavednih vzgibov, ki usmerjajo fotografov modus operandi, zlasti takrat ko imamo opravka z odstopanjem od konvencionalnih ikonografskih zvrsti (portreta, akta, krajine, tihožitja, žanra ...). Kljub avtorjevi načeloma namerni, racionalni odločitvi, da se posveti tematiki, ki ga zaradi svojih vsebinskih in oblikovnih posebnosti estetsko vznemirja, v ozadju konkretnega motivnega sklopa vselej biva še pomenska podstat, ki jo je sproducirala določena kultura in je onstran vidnega prisotna kot simbolna vrednost oziroma pomen.

Marina Lekić si je za tokrat razstavljeni cikel fotografij iz zelo osebnih razlogov za vir navdiha izbrala kamen kot snov, ki s svojo strukturiranostjo in različnimi konfiguracijami sestavlja zanimive sintagmatske nize bodisi povsem abstraktnega bodisi asociativnega reda (slednjega seveda precej redkeje). Na pogosto težko določljivi razmejitvi med ploskovitostjo in plastičnostjo se pred gledalčevim pogledom porajajo podobe, ki zaradi kompozicijskih rezov svojo materialno predlogo pretvarjajo v avtonomne vizualne entitete z dvojnim učinkom: na senzorni ravni so to konstrukti s subtilnimi alternacijami svetlih in temnih površin, ki jih včasih dinamizirajo substituti grafičnih intervencij, kot sprožilci miselnih asociacij pa povzemajo vse tisto, kar se je skozi kulturo akumuliralo v semantičnih razsežnostih empirične naravne danosti. Izkušnja kamna ni le fizična, pri Marini Lekić je tudi čustvena, povezana s spomini in z doživetji, vtkanimi v kontemplacije o bivanjskem okolju, o času in prostoru, ki sta drugačna od tistega tukaj in zdaj, ki jo trenutno določa. Ustvarjanje podob je priložnost za poglabljanje v intimo, v spraševanje o lastni identiteti, o njenem formiranju in razvoju, a tudi o neizrekljivem, ki biva onstran čutnih zaznav.

Neobdelan kamen je simbol svobode, prvinskosti in stabilnosti, skozi zgodovino so mu različna ljudstva in kulture običajno zoperstavljali obdelan kamen ter ju soočali kot dihotomijo neba in zemlje, pasivnega in aktivnega načela. Tako v grškem kot v judovskem izročilu kamni simbolizirajo božjo navzočnost, ponekod v jugovzhodni Aziji jih povezujejo z zaščito pred zli silami. Aluzija na trajnost in trdnost je med najpogostejšimi lastnostmi, ki jih ljudje pripisujejo kamnu, zato med drugim pooseblja duhovno moč in postane predmet čaščenja. Različne barve kamna so nekatera ljudstva v predantični dobi dojemala kot mistična znamenja, zlasti takrat ko so bile kamnite plošče na eni strani svetle, na drugi pa temnejše, so to razlagali kot možnost vstopa v območje spoznanja, ki ima svoj antipod v mraku nevednosti. Simbolno vez med kamnom in modrostjo (tudi v navezavi na vodo) ne nazadnje omenja Druga Mojzesova knjiga (Exodus), antropologi in kulturologi navajajo še vrsto drugih interpretacij simbolnih funkcij kamna, a obseg tega zapisa nam omejuje daljše naštevanje.

Fotografskemu pogledu Marine Lekić se belina kamna kaže kot ekran, na katerega se lovijo sence, ki sestavljajo nepredvidljive kompozicijske sheme, svojevrstne svetlobne zapise, ki jih neprestano spreminjajoči se kót osvetlitve sproti briše in hkrati ustvarja nova zaznavna razmerja. In tako smo spet pri najosnovnejši, najznačilnejši lastnosti fotografije, namreč pri njeni zmožnosti, da v delčku sekunde »zamrzne« in ohrani tisto, česar ni mogoče nikdar več ponoviti. Vizualne izjave, kodirane v fotografski govorici, sicer zaznamo z vidom, mentalno sliko si ustvarimo z mišljenjem, ki ga vzdrami čutni impulz.

Brane Kovič, umetnostni zgodovinar in likovni kritik

 


 

Marina Peran Lekić, rojena v Splitu, je diplomirala iz arhitekture v Ljubljani. Med študijem je poletne počitnice preživljala na Dunaju, kjer je delala kot študentka arhitekture pri prof. Lippertu in prof. Wickenburgu. Po diplomi se je udejstvovala kot arhitektka za visoke gradnje v Industrijskem biroju in kot urbanistka na Mestni občini Ljubljana. V tem obdobju je preživela dve leti v ZDA, kjer je delovala kot arhitektka v Crom Corporation in je opravila več tečajev na Univerzi v Floridi, Gainsville, umetniška akademija, smer fotografija. Po vrnitvi iz ZDA leta 1979 se je pridružila takrat že znani foto sekciji Delo.
Sodelovala je na sto petdesetih skupinskih razstavah (med drugimi Akt na Slovenskem in Arhitektura-Inventura, obe v produkciji CD) ter pripravila več kot dvajset samostojnih predstavitev. Prejela je 27 nagrad in priznanj.
Živi in ustvarja med Ljubljano in Dalmacijo, natančneje med Splitom in Bolom na Braču, od koder izvirajo tudi fotografije na razstavi v Cankarjevem domu.

Marina Peran Lekič: An Ode to Stone

10 Sept - 1 Nov 2020
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Admission free

Past event
8 January – 23 February 2020

Ana Kučan: L’Espace Infini

Pictures of the Garden of Versailles, taken at the intersection of nature and culture


 

 

 

Ana Kučan: L’Espace Infini

8 January – 23 February 2020
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Admission free

Past event
13 November 2019 – 5 January 2020

Gregor Radonjič: Meta Landscapes – Parallel Realities

Selection of large format photography

In collaboration with the Stolp Photo Gallery Maribor

Gregor Radonjič: Meta Landscapes – Parallel Realities

13 November 2019 – 5 January 2020
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Admission free

Past event
26 February – 14 June 2020

Aleš Bravničar: Goddesses

A series of sensual pictures in some of the most private corners of the world

Cankarjev dom exhibitions are open Monday through Saturday between 12.00 and 19.00. Sundays closed.

The CD Gallery and other exhibition areas can be accessed through the employee entrance from Prešernova Street (Council of Europe Park).

In compliance with the guidelines of the National Institute of Public Health (NIJZ) on the gradual re-opening of museums, galleries and other exhibition areas visitors are required to observe the following instructions>>

 

The beauty of the scene lies in the eye of the beholder, who treats it with respect and accords nudity a sacred dimension.
From Dr. Manca Košir's interview with the artist featured in Cankarjev dom's programme booklet.

 

 Aleš Bravničar – photographer, cameraman and filmmaker, as well as Slovenia Press Photo laureate whose resume lists numerous international exhibitions – embarked on his journey into the wonderful world of boudoir and eroticism two decades ago. His cinematic approach and an eye trained to capture even the infinitesimal amount of light, gave birth to a series of extremely sensual pictures, which were taken the a course of several years in intimate corners of the world, regularly published in some of the globe’s most prominent men’s magazines and exhibited at world-famous galleries – from the Milan Triennial to London’s Mall Galleries and Miami within the context of Art Basel. He is currently showcasing his extensive Goddesses series at the CD Gallery.

Aleš Bravničar: Goddesses

26 February – 14 June 2020
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Admission free

Past event
10. Okt. 2018 - 18. nov. 2018

SRDJAN ŽIVUL0VIČ: Black Gold

Photo exhibition

A photographic narrative shot in Tuzla (Bosnia and Herzegovina) in February 2014 during the workers protests against economic stagnation caused by rampant privatisation and corrup-tion. According to art historian Iztok Premrov, Živulović’s is “an impressive photo series, cre-ated in the spirit of journalism and making instant and hasty decisions, yet conveying power-ful moral messages.” Srdjan Živulović, co-founder of the Bobo Photo Agency, is the first Slo-venian photojournalist to win the Pulitzer Prize – the world’s most important photography award. 

The Black Gold series was the offshoot of photojournalist Srdjan Živulović’s assignment in Tuzla, taken when covering the wave of violent demonstrations in Bosnia and Herzegovina. In February 2014, thousands of workers protested against economic stagnation caused by rampant privatisation and corruption. More than ten thousand people were made redundant in the course of several years. This was the photojournalist’s main task or subject. However, the photographer found another subject a few kilometres away, a story of human plight that he perhaps found event more telling, provocative and disquieting. Živulović captured the grim realities of the local unemployed and impoverished people searching for the remaining lumps of coal in refuse tailings – transporting the waste to spoil heaps from the Djurdjevik brown coal mine on a conveyor belt –, toiling to gather scraps and hoping to thus eke out a meagre existence. The phenomenon of a coal picker is not new. Having emerged in parallel with the coalmining industry, it is also commonly found in the history of Slovenian mines, e.g. in Zasavje and elsewhere. From this seemingly commonplace subject Živulović created an extraordinary, empathic photographic record of human suffering.

Živulović’s is an impressive photo series, created in the spirit of journalism and making in-stant and hasty decisions, yet conveying powerful moral messages. These are stories lived on the margins of society, stories about the struggle for a chunk of bread and survival of the redundant miners and their relatives, women and children. These are stories about the hu-miliated and their fight for the right to survival. Živulović related these stories in a dynamic, deeply expressive black-and-white series – shots taken offhandedly, using his equipment at a moment’s notice. With a trained artistic eye, the photographer took advantage of the ad hoc dramaturgy, incorporating it dexterously into his unique pictorial narrative.


Živulović’s Black Gold is a photo series exhibiting both rich visual expressiveness and unique journalistic articulateness. His pictures are artistically convincing, outspoken ‘photographic statements’. These sincere records of people and events are full of vividly expressive nuanc-es that can be spotted only by a seasoned and engaged photojournalist with a subtle feel for mankind – an interest in human life and all the mysteries it contains.

 Accompanying essay by art historian and critic Iztok Premrov

 

SRDJAN ŽIVUL0VIČ: Black Gold

10. Okt. 2018 - 18. nov. 2018
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Admission free

Past event
24. Apr. - 16. Jul. 2019

Peter Gedei: Subterranean Worlds

Small Gallery will be closed to the general public on 10 June. Thank you for your understanding.

A keen explorer of the underground world, Gedei has pursued cave photography since the early 1990s, achieving world-renown as a major cave photographer. Involving absence of light, cave photography is a challenging pursuit. Photographers must thus think creatively about ways to illuminate the dark caverns. Artworks of great power, Gedei’s photographs reveal the artist’s extensive experience and a heightened sense of space, light and aesthetic. A blank canvas on which one paints with light, cave photography requires a full application of one’s abilities and resources but is well worth the effort. 
 

“Explorers of new caves like to communicate the beauties of subterranean worlds to the broader public, people who will never have the opportunity to descend into unknown depths after a new crevice has widened. But we know what it means to take photos in complete darkness.” (jospdtrst.org)

Peter Gedei: Subterranean Worlds

24. Apr. - 16. Jul. 2019
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Admission free

Past event
17 Jul 2019 19:30

Žiga Koritnik: Cloud 9

Photo exhibition marking the 60th Jazz festival Ljubljana
“Koritnik’s music photo impressions” (zigakoritnikphotography.com)

Photo exhibition marking the 60th Jazz festival Ljubljana


For a decade and a half Žiga Koritnik has curated photo exhibitions at Cankarjev dom, especially showcases accompanying the Ljubljana Jazz Festival. To mark the special anniversary of the festival, this brilliant photographer will hold a one-man exhibition. Recently published to enthusiastic praise, Koritnik’s extensive monograph includes a plaudit from American multi-instrumentalist, Joe McPhee: Žiga is a ‘Muse-ician,’ one who makes magic with the muses. With his mind’s eye, he has the ability to move faster than the speed of light, to capture moments in time and share them with the world through his photographs. The camera in his hands transforms shadow and light from commonplace into truly extraordinary human experiences. He is an improviser, a chronicler of life in real time, a poet, a philosopher, a free spirit, a song in anticipation of being sung.”


 

Žiga Koritnik: Cloud 9

17 Jul 2019 19:30
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Admission free

Past event
13. Mar. - 21. Apr. 2019

Janez Bogataj: Limits of Freedom – Surmountable Walls

Photo exhibition

An artist who has held several national and international exhibitions and whose series of photos is kept at the celebrated National Library of France in Paris, Bogataj has a wealth of experience in photography. On a commission from PEN International, Bogataj covered the 50th International Writers’ Meeting in Bled, attended by eighty international guests. As an accomplished portrait artist, he surpassed mere documentariness and captured the true spirit of the conference: friendship, longing, hope, as well as the importance of addressing major challenges that our world is facing today. 

Janez Bogataj: Limits of Freedom – Surmountable Walls

13. Mar. - 21. Apr. 2019
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Admission free

Small Gallery

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