Vesna Bukovec

Video Kaj je nevarnost?

Organizacija FemLink-Art me je ponovno povabila k sodelovanju. Tokrat za nov mednarodni video kolaž na temo nevarnosti (Danger).

Kako govoriti o nevarnosti v neslavnem letu 2020? Sestavila sem dvominutni video v obliki intenzivnega vizualnega dnevnika različnih nevarnosti od pandemije koronavirusa do izkoriščanja, nasilja, podnebnih sprememb in lažnih novic.

Vesna Bukovec: In vendar me briga / And yet I do bother

Vesna Bukovec: In vendar me briga / And yet I do bother
Samostojna razstava
Galerija GONG, Nova Gorica
1. 12. 2020 – 12. 2. 2021

Kuratorka: Nataša Kovšca

Zaradi trenutnih razmer v zvezi z epidemijo Covid-19 in zaprtju kulturnih ustanov, je razstava risb v prilagojeni video obliki predstavljena na zaslonu v izložbenem oknu pod galerijskim prostorom na Kidričevi ulici 20 in na spletu.

O razstavi
Vesna Bukovec sodi med umetnike, ki se kritično odzivajo na pereče problematike sodobnega časa. V svojih vsebinsko zaključenih projektih se ukvarja predvsem s posledicami neoliberalne ideologije, potrošniško naravnano družbo, družbenopolitično realnostjo v slovenski državi, vlogo ženske v sodobni družbi in begunsko krizo.

Projekcija vključuje več serij risb, ki vsebinsko povzemajo velik del avtoričinega opusa. V ciklu Ali me nočete, ker sem kritična (2012) izpostavi stereotipne vloge ženske v današnji družbi. Sklop risb Na čigav račun (2015) odpira vprašanja potrošnje kot osrednje kulturne prakse sodobnega časa in njenih negativnih posledic za živa bitja in okolje. V triptihu koloriranih risb z naslovom Ne v mojem imenu (2016) se je poglobila v ksenofobičen odnos širše slovenske javnosti in politike do migrantov, ki so množično prečkali slovenske meje. Za njen zadnji risarski cikel In vendar me briga (2019) pa se zdi, da je nekakšen odgovor na pasivnost in brezčutnost širše javnosti do trpljenja drugega. Osrednja tema risb so namreč podobe pogumnih žensk iz zgodovine 20. stoletja in sodobnega časa, ki so se in se še vedno borijo za družbene spremembe ter proti socialnim, političnim in spolnim neenakostim, od sufražetke Emmeline Pankhurst do švedske aktivistke za podnebne spremembe Grete Thunberg. Podobe protestnic, ki so postale po avtoričinih besedah simbol boja proti opresiji, vzbujajo upanje, da je svet vendarle mogoče spremeniti. Enako velja tudi za risbo Kolesarke prihajajo (2020) z upodobitvijo kolesark na letošnjih vladnih protestih, ki predstavlja hommage skulpturi motoristke Ženske prihajajo Dube Sambolec iz leta 1976 in velja za prvo slovensko feministično umetniško delo.

Nataša Kovšca

Katalog (pdf)
Kuratorsko besedilo

Napoved na spletni strani Galerije GONG

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Dela na razstavi:

• Kolesarke prihajajo, 2020
• In vendar me briga / And yet I do bother, 2019
• Ne v mojem imenu, 2016
• Na čigav račun, 2015
• Kot da / As if, 2014
• Ali me nočete, ker sem kritična, 2012

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Medijski odzivi:

• Ali me nočete, ker sem kritična?, Vesna Teržan, Mladina, 23. 12. 2020
• Ženske prihajajo in pravijo: ne v mojem imenu!, Kultura, Primorske novice, 18. 12. 2020
• Utrip, RTV SLO, 12. 12. 2020
• Mojca Domančič, Kultura, RTV SLO, 7. 12. 2020

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Galerija GONG
Kidričeva ulica 20
5000 Nova Gorica (SI)

Urnik galerije
torek – petek: 16.00 – 19.00
sobota: 10.00 – 13.00
prazniki: zaprto

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Foto: arhiv Galerije GONG

Another Artworld: Manifestations and Conditions of Equity in Visual Arts

Umetnica in neodvisna raziskovalka Mirjana Batinić je predstavila moje delo, skupaj z delom Evelin Stermitz, Aleksandre Gruden in Neli Ružić, na mednarodni konferenci Another Artworld: Manifestations and Conditions of Equity in Visual Arts, ki je potekala na spletu 3. in 4. decembra 2020.

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The conference was organized by the UNESCO Chair for Cultural Policy and Management of the University of the Arts in Belgrade in cooperation with the Association of Fine Artists of Serbia. The aim of the conference was to initiate discussion on principles of democratic governance and decision-making models in the field of visual arts, as a topic that has been neglected in the public and scientific discourse, with the desire to broaden knowledge and consider possibilities of its implementation.

The conference program is designed to open a discussion on the questions: what are the features of the essentially democratic functioning of the contemporary visual arts system? What would be the definition of art in such a system, and what would be the position of the artist? What would be principles to organize production, ie. what would be the decision-making methods and how would the division of labour be organized? What existing examples (historical and current) are contributing to the comprehensive decentralization and democratization of the visual arts field? How do the systems of contemporary visual arts vary within different socio-politically organized societies or smaller communities? What models of organization and management at the micro and macro levels (which will develop a horizontal, substantive democratic approach) could be applied in the future?

More:
anotherartworld.org
facebook.com/anotherartworldconference

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Predstavitev Mirjane Batinić: Artistic and cultural practice: Q&A

Artistic and cultural practice: Q&A (abstract)

This paper addresses the theoretical and methodological questions related to artistic and cultural practice and will focus on case studies of several contemporary artists from Slovenia, Croatia and Austria who run art institutes, creative factories, art galleries, online television programming, or are also active as part of an art collective. These are: Lenka Đorojević (Montenegro/Slovenia); team Lenka Đorojević and Matej Stupica (Slovenia); Vesna Bukovec (Slovenia); art group KOLEKTIVA (Vesna Bukovec, Lada Cerar, Metka Zupanič) and Zavod Kolektiva (Kolektiva Institute; an NGO curating and producing international video exhibitions) (Slovenia); Neli Ružić (Croatia) who established Gallery Škola in Split and was its first leader; Andrea Knezović (Croatia) who is founder and creative director at Cultured Attitudes – a creative factory that curates ideas; Aleksandra Gruden (Slovenia) who run Video Evenings in Maribor; and Evelin Stermitz (Austria) who runs an online television programming presenting Art and Feminism – ArtFem.TV. These artists will be asked about the impact that different organizational models can have on the position of the artist, the value and function of the work of art, the development of artistic production, collective work, and self-organization in artistic and cultural practice.

Keywords: case study, artistic, cultural practice

Mirjana Batinić is engaged in post-media art, theory and philosophy of art. She studied at academies of fine arts in Split (Croatia) and Ljubljana (Slovenia). She gained a PhD from the field of philosophy and theory of visual culture. Her research interests are post-media art, film and video, aesthetics, theory of arts, and philosophy. She exhibited internationally at 22 solo and numerous group exhibitions and festivals, such as Ars Electronica, Gallery Kapelica Ljubljana, Prima Center Berlin, etc. She is an author of peer-reviewed scientific publications in the field of theory, philosophy and art history, and has participated at internationally established academic conferences (Slovenian Academy of Science and Arts Ljubljana; Sorbonne University Paris; University of Malta; University of Wroclaw; Mamuta Art & Media Center Jerusalem), and gave numerous theoreticallyreflective lectures and invited presentations (UMAS Arts Academy Split, Croatia; MCAST Art-Science-Technology College Malta).
cargocollective.com/mirjanabatinic

Projekt “Begunec_ka sem” vključen v knjigo Peripheral Europe

Begunec_ka sem je serija 12 zgodb in ilustracij, ki sva jih v obdobju 2015/2016 ustvarili s pisateljico Widad Tamimi. Namen najinega sodelovanja je bilo pokazati in približati človeško stisko ljudi na begunski poti, ki poteka tudi čez našo državo, in se na tak način spopasti z negativno podobo in strahom pred tujci, ki se v družbi širi preko politike, medijev in družbenih omrežij. Zgodbe in risbe so bile od januarja do aprila 2016 tedensko objavljene v tiskanem in spletnem Delu s skupnim naslovom ‘Begunec sem’.

Peripheral Europe: On Transitology and Post-Crisis Discourses in Southeast Europe avtorice Ksenije Vidmar Horvat je izšla pri založbi Cambridge Scholars Publishing, 2020. Knjiga vsebuje angleški prevod sociološke študije Evropski spomin in vizualizacija travme: vloga umetniške reprezentacije v medijskem projektu »Begunec_ka sem«, ki je izšla v Arts & Humanitas, Revija za umetnost in humanistiko, Migracije, L. 10, Št. 2, Filozofska fakulteta, Univerza v Ljubljani, 2016.

About the book
This book looks at the financial (2007-2008) and the refugee (2015-present) crises and post-crisis development in the EU. The key argument here is that the (mis)management of these crises has been in part conditioned by the specific course of the Europeanisation which occurred during the integration of the post-socialist East. The enlargement processes ran on the premises of a shared European identity, in effect turning the social contract of the new Europe into a cultural contract. This has resulted in betraying the commitment to core values of democratic development, both East and West. The book specifically studies the impact of the “cultural turn” through the discourse of the transition in the Balkan periphery of the ex-Yugoslavian region. Based on rich theoretical and regionally specific empirical research, it will be of interest to scholars in the fields of EU integration, Eastern European studies, cultural studies, studies of post-socialism, and border studies.

O avtorici
Dr. Ksenija Vidmar Horvat je redna profesorica za sociologijo kulture in docentka za občo sociologijo na Filozofski fakulteti Univerze v Ljubljani. Njeno področje raziskovanja vključuje evropske študije, študije spomina in feministično postkolonialno teorijo. Je vodja interdisciplinarne programske skupine Družbena pogodba v 21. stoletju.

Peticija Ustavimo sprejem in uveljavitev Novele zakona o tujcih!

Vesna Bukovec, Valjar strukturnega rasizma melje migrantske delavke in delavce, 2020

Po podatkih Delovne skupine za azil in Delavske svetovalnice iz Ljubljane želi slovensko notranje ministrstvo v kratkem v Zakon o tujcih vnesti nove spremembe, ki bodo omejile vrsto človekovih pravic v zvezi s tujimi delavci in njihovimi družinami, otroci in mladoletniki ter begunci.

Ob začetni podpori Delavske svetovalnice in Delovne skupine za azil smo skupaj z Dr. Marino Gržinić, Dr. Šefikom Tatlićem in Dr. Jovito Pristovšek pripravili peticijo proti ponovnemu zagonu strukturnega rasizma v Sloveniji.

Podpišite peticijo!

Vizualna podoba 26. festivala Mesto žensk

Peto leto sodelovanja z Mestom žensk (2016, 2017, 2018, 2019).
Zasnova vizualne podobe 26. edicije festivala, oblikovanje festivalske spletne strani in tiskovin.

2020.cityofwomen.org