RAZSTAVA | 𝐾𝑜𝑛𝑒𝑐 / EXHIBITION | 𝑇ℎ𝑒 𝐸𝑛𝑑

𝐑𝐀𝐙𝐒𝐓𝐀𝐕𝐀 | 𝑲𝒐𝒏𝒆𝒄
𝐌𝐮𝐳𝐞𝐣 𝐬𝐨𝐝𝐨𝐛𝐧𝐞 𝐮𝐦𝐞𝐭𝐧𝐨𝐬𝐭𝐢 𝐌𝐞𝐭𝐞𝐥𝐤𝐨𝐯𝐚 (+𝐌𝐒𝐔𝐌)
𝟐𝟒. 𝐬𝐞𝐩𝐭𝐞𝐦𝐛𝐞𝐫 𝟐𝟎𝟐𝟔–𝟕. 𝐦𝐚𝐫𝐞𝐜 𝟐𝟎𝟐𝟕
Kustos razstave: 𝐕𝐥𝐚𝐝𝐢𝐦𝐢𝐫 𝐕𝐢𝐝𝐦𝐚𝐫
Umetnice_ki: 𝐇𝐨𝐧𝐳𝐚 𝐙𝐚𝐦𝐨𝐣𝐬𝐤𝐢, 𝐌𝐢𝐜𝐡𝐚𝐞𝐥 𝐄. 𝐒𝐦𝐢𝐭𝐡, 𝐍𝐢𝐧𝐚 𝐊𝐨𝐳̌𝐞𝐥𝐣, 𝐌𝐚𝐭𝐞𝐣 𝐒𝐭𝐮𝐩𝐢𝐜𝐚, 𝐒𝐢𝐥𝐯𝐨 𝐒̌𝐚𝐫𝐢𝐜́, 𝐌𝐞𝐫𝐞𝐝𝐢𝐭𝐡 𝐌𝐨𝐧𝐤, 𝐏𝐚𝐦𝐞𝐥𝐚 𝐑𝐨𝐬𝐞𝐧𝐤𝐫𝐚𝐧𝐳, 𝐍𝐞𝐣𝐚 𝐙𝐨𝐫𝐳𝐮𝐭, 𝐉𝐨𝐧 𝐃𝐞𝐫𝐠𝐚𝐧𝐜, 𝐙𝐝𝐞𝐧𝐤𝐚 𝐏𝐚𝐧𝐝𝐳̌𝐢𝐜́, 𝐍𝐢𝐤𝐨𝐥𝐚 𝐔𝐤𝐢𝐜́, 𝐕𝐢𝐤𝐭𝐨𝐫 𝐁𝐞𝐫𝐧𝐢𝐤, 𝐍𝐢𝐤𝐚 𝐒̌𝐩𝐚𝐧, 𝐕𝐚𝐝𝐢𝐦 𝐅𝐢𝐬̌𝐤𝐢𝐧, 𝐒𝐚𝐬̌𝐚 𝐒𝐩𝐚𝐜̌𝐚𝐥, 𝐉𝐨𝐡𝐚𝐧𝐧𝐞𝐬 𝐄𝐬𝐩𝐞𝐫, 𝐌𝐚𝐤𝐬 𝐁𝐫𝐢𝐜𝐞𝐥𝐣, 𝐌𝐢𝐜𝐡𝐚𝐞𝐥 𝐒𝐚𝐢𝐥𝐬𝐭𝐨𝐫𝐟𝐞𝐫, 𝐒𝐭𝐚𝐬̌ 𝐊𝐥𝐞𝐢𝐧𝐝𝐢𝐞𝐧𝐬𝐭, 𝐀𝐝𝐚𝐦 𝐕𝐚𝐜̌𝐤𝐚𝐫, 𝐆𝐚𝐬̌𝐩𝐞𝐫 𝐊𝐮𝐧𝐬̌𝐢𝐜̌, 𝐌𝐥𝐚𝐝𝐞𝐧 𝐒𝐭𝐫𝐨𝐩𝐧𝐢𝐤
📍 Odprtje: 𝐜̌𝐞𝐭𝐫𝐭𝐞𝐤, 𝟐𝟒. 𝐬𝐞𝐩𝐭𝐞𝐦𝐛𝐞𝐫, 𝟏𝟗.𝟎𝟎
𝐊𝐨𝐧𝐞𝐜, 𝐤𝐢 𝐠𝐚 𝐫𝐚𝐳𝐬𝐭𝐚𝐯𝐚 𝐨𝐛𝐫𝐚𝐯𝐧𝐚𝐯𝐚, 𝐣𝐞 𝐭𝐢𝐬𝐭𝐢, 𝐤𝐢 𝐠𝐚 𝐳̌𝐞 𝐳̌𝐢𝐯𝐢𝐦𝐨. Čeprav sta tako postheglovska umetnost kot filozofija v zadnjih 200 letih napovedali svoj propad in konec, le da bi se nato ponovno iznašli kot antiumetnost in antifilozofija, imamo zdaj opravka z drugačno zadevo. Konec se zdi nekaj veliko oprijemljivejšega, resničnejšega in neizbežnejšega. To nikakor ni zaključek, ki bi odprl pot nekemu novemu začetku, temveč dolgotrajni konec. Ne gre za (le) eshatološki konec, torej za apokaliptični, enkratni dogodek gigantskih in (takoj) fatalnih razsežnosti. Zadnja desetletja so jasno pokazala, da bo naš konec veliko kompleksnejši, dolgotrajnejši in mučnejši. Razstava postavlja vprašanje, kako se soočiti in spopasti s koncem, ki ga že živimo in s katerim se bomo ukvarjali v dogledni prihodnosti, ne da bi zašla v utopično ali distopično, saj nam niti upanje niti obup ne ponujata resnične opore ali veliko prispevata. Spekulativni scenariji prihodnosti v soočenju z mankom prihodnosti ostajajo brez podlage. Potrebujemo torej ne le novo razumevanje konca, temveč povsem 𝐝𝐫𝐮𝐠𝐚𝐜̌𝐧𝐨 𝐩𝐚𝐥𝐞𝐭𝐨 𝐜̌𝐮𝐬𝐭𝐞𝐯 𝐳𝐚 𝐬𝐩𝐨𝐩𝐚𝐝𝐚𝐧𝐣𝐞 𝐳 𝐧𝐣𝐢𝐦. 𝐾𝑜𝑛𝑒𝑐 si zato prizadeva, da bi se konca lotili z nekakšnim treznim pesimizmom (Frank Ruda), ki bi nam pomagal pri soočanju z novo realnostjo in tudi pri raziskovanju njenega potencialnega novega psihološkega diapazona.
Razstava ne uprizarja sublimnega spektakla konca, saj se realnost, posebej v zadnjih mesecih, pri tem žal kaže precej iznajdljivejša od umetnosti. Namesto ilustracije ali kronike konca ga skuša miselno zapopasti in se nanj odzvati. Dela so ambivalentna in jih je hkrati možno brati na več ravneh: neposredno v smislu konca kot civilizacijskega propada, družbenega, ekološkega in kulturnega zloma, hkrati pa se to razmišljanje oplaja s tem, kako umetnost misli svoj konec in kako zelo sta njena brezkončna negacija in občutek ujetosti povezana ne samo s spodletelostjo, temveč z neko osupljivo produktivnostjo te spodletelosti. Razstava izhaja iz točk ujemanja med civilizacijskim kolapsom, s katerim smo soočeni danes, in tradicijo tega, kako umetnost misli svoj konec. Tako kot konec v umetnosti je tudi civilizacijski propad nekaj, kar ne pomeni čistega izginotja, vsaj hipnega ne. Gre za neki ostanek, neko kompleksno strukturo konca: 𝐯𝐳𝐭𝐫𝐚𝐣𝐚 𝐧𝐞𝐤𝐢 𝐬𝐤𝐨𝐫𝐚𝐣 𝐜̌𝐢𝐬𝐭𝐢 𝐧𝐢𝐜̌, 𝐚 𝐯𝐞𝐧𝐝𝐚𝐫 𝐧𝐞 𝐜̌𝐢𝐬𝐭𝐢 𝐧𝐢𝐜̌. Z besedami slovenske filozofinje Alenke Zupančič: s koncem ne bodo izginili problemi konca. Na koncu vztraja sam konec, ki se ga ne znebimo tako zlahka. Na koncu je konec tisti, ki vztraja.
🔗 𝐕𝐞𝐜̌: https://www.mg-lj.si/si/razstave/4450/razstava-konec

𝐄𝐗𝐇𝐈𝐁𝐈𝐓𝐈𝐎𝐍 | 𝑻𝒉𝒆 𝑬𝒏𝒅
𝐌𝐮𝐬𝐞𝐮𝐦 𝐨𝐟 𝐂𝐨𝐧𝐭𝐞𝐦𝐩𝐨𝐫𝐚𝐫𝐲 𝐀𝐫𝐭 𝐌𝐞𝐭𝐞𝐥𝐤𝐨𝐯𝐚 (+𝐌𝐒𝐔𝐌)
𝟐𝟒 𝐒𝐞𝐩𝐭𝐞𝐦𝐛𝐞𝐫 𝟐𝟎𝟐𝟔–𝟕 𝐌𝐚𝐫𝐜𝐡 𝟐𝟎𝟐𝟕
Exhibition curator: 𝐕𝐥𝐚𝐝𝐢𝐦𝐢𝐫 𝐕𝐢𝐝𝐦𝐚𝐫
Artists: 𝐇𝐨𝐧𝐳𝐚 𝐙𝐚𝐦𝐨𝐣𝐬𝐤𝐢, 𝐌𝐢𝐜𝐡𝐚𝐞𝐥 𝐄. 𝐒𝐦𝐢𝐭𝐡, 𝐍𝐢𝐧𝐚 𝐊𝐨𝐳̌𝐞𝐥𝐣, 𝐌𝐚𝐭𝐞𝐣 𝐒𝐭𝐮𝐩𝐢𝐜𝐚, 𝐒𝐢𝐥𝐯𝐨 𝐒̌𝐚𝐫𝐢𝐜́, 𝐌𝐞𝐫𝐞𝐝𝐢𝐭𝐡 𝐌𝐨𝐧𝐤, 𝐏𝐚𝐦𝐞𝐥𝐚 𝐑𝐨𝐬𝐞𝐧𝐤𝐫𝐚𝐧𝐳, 𝐍𝐞𝐣𝐚 𝐙𝐨𝐫𝐳𝐮𝐭, 𝐉𝐨𝐧 𝐃𝐞𝐫𝐠𝐚𝐧𝐜, 𝐙𝐝𝐞𝐧𝐤𝐚 𝐏𝐚𝐧𝐝𝐳̌𝐢𝐜́, 𝐍𝐢𝐤𝐨𝐥𝐚 𝐔𝐤𝐢𝐜́, 𝐕𝐢𝐤𝐭𝐨𝐫 𝐁𝐞𝐫𝐧𝐢𝐤, 𝐍𝐢𝐤𝐚 𝐒̌𝐩𝐚𝐧, 𝐕𝐚𝐝𝐢𝐦 𝐅𝐢𝐬̌𝐤𝐢𝐧, 𝐒𝐚𝐬̌𝐚 𝐒𝐩𝐚𝐜̌𝐚𝐥, 𝐉𝐨𝐡𝐚𝐧𝐧𝐞𝐬 𝐄𝐬𝐩𝐞𝐫, 𝐌𝐚𝐤𝐬 𝐁𝐫𝐢𝐜𝐞𝐥𝐣, 𝐌𝐢𝐜𝐡𝐚𝐞𝐥 𝐒𝐚𝐢𝐥𝐬𝐭𝐨𝐫𝐟𝐞𝐫, 𝐒𝐭𝐚𝐬̌ 𝐊𝐥𝐞𝐢𝐧𝐝𝐢𝐞𝐧𝐬𝐭, 𝐀𝐝𝐚𝐦 𝐕𝐚𝐜̌𝐤𝐚𝐫, 𝐆𝐚𝐬̌𝐩𝐞𝐫 𝐊𝐮𝐧𝐬̌𝐢𝐜̌, 𝐌𝐥𝐚𝐝𝐞𝐧 𝐒𝐭𝐫𝐨𝐩𝐧𝐢𝐤
📍 Exhibition opening: 𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲, 𝟐𝟒 𝐒𝐞𝐩𝐭𝐞𝐦𝐛𝐞𝐫, 𝟕 𝐩𝐦
𝐓𝐡𝐞 𝐞𝐧𝐝 𝐭𝐡𝐚𝐭 𝐢𝐬 𝐭𝐡𝐞 𝐟𝐨𝐜𝐮𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐢𝐬 𝐭𝐡𝐞 𝐞𝐧𝐝 𝐰𝐞 𝐚𝐫𝐞 𝐚𝐥𝐫𝐞𝐚𝐝𝐲 𝐥𝐢𝐯𝐢𝐧𝐠. Post-Hegelian art and philosophy have been proclaiming their decline and demise over the past 200 years, only to reinvent themselves as anti-art and anti-philosophy; what we are facing now, however, is a wholly different matter. This end seems far more tangible, real, and inevitable. It is not a conclusion that could make way for a new beginning, but a lasting end. It is not (just) an eschatological ending, either – that is, a single apocalyptic event of colossal and (immediately) fatal proportions. As these last decades have clearly shown, our end is far more complex, long-lasting and harrowing. The exhibition asks how to contend with the end that we are already living and will be dealing with for the foreseeable future, without veering into the utopian or dystopian, since neither hope nor despair provide a solid base or have much to contribute. Faced with the lack of a future, speculative scenarios of the future lose their foundation. What we need, then, is not just a new understanding of the end, but 𝐚 𝐜𝐨𝐦𝐩𝐥𝐞𝐭𝐞𝐥𝐲 𝐝𝐢𝐟𝐟𝐞𝐫𝐞𝐧𝐭 𝐫𝐚𝐧𝐠𝐞 𝐨𝐟 𝐞𝐦𝐨𝐭𝐢𝐨𝐧𝐬 𝐟𝐨𝐫 𝐠𝐫𝐚𝐩𝐩𝐥𝐢𝐧𝐠 𝐰𝐢𝐭𝐡 𝐢𝐭. 𝑇ℎ𝑒 𝐸𝑛𝑑 aims to address the end with a sober pessimism (Frank Ruda) to help us confront our new reality and explore its potentially new psychological range.
The exhibition does not stage a sublime spectacle of the end – reality has unfortunately proven considerably more inventive than art over the past months. Rather than illustrate or chronicle the end, the exhibition aims to reflect on and react to it. The artworks are ambivalent and can be read on several levels. One is the immediate sense of the end as the collapse of (our) civilization, a social, ecological, and cultural breakdown. Another level is the way that art thinks of its own end, and that its endless negation of itself and sense of being stuck are related not only to its failure, but the astonishing productivity of this failure. The exhibition is built around the correspondences between the collapse of civilization we are facing today and the tradition of art’s reflections on its own end. Like the end in art, the decline of civilization does not represent a complete disappearance, at least not an instant one…