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В Центральном музее связи имени А.С.Попова подготовлен курс лекций на тему: «Всемирный почтовый дизайн», рассказывающий об основных художественных стилях, таких как неоклассицизм, эклектика, модерн, Ар деко, функционализм-конструктивизм и других, повлиявших на оформление почтовых документов. Курс рассчитан на широкий круг посетителей. Лекции читает искусствовед, переводчик, член Международной ассоциации искусствоведов - Дьяченко Андрей Петрович.

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Главная >> Выставки и впечатления >> Чересчур современное искусство из Словении

Чересчур современное искусство из Словении


The main participants of Too Modern Art are: Boštjan Plesničar, Oliver Marčeta, Grega Mastnak, Vladimir Leben and Ervin Potočnik. In 1989 they met at the Savo Sovre's Painting School and their understanding of art has already been different from dominant one, but they didn't name it yet. Later four young Slovene artists got acquainted with Josip Rochus Pongrac from Croatia and Filip Gregorowitz from Poland, who also became followers of too modern art idea.

When eminent gallery in 1998 returned pictures to Oliver Marčeta, with explanation that his work is too modern, was the right moment for action. Marčeta informed Boštjan Plesničar about the unpleasant event. Both were disappointed and the idea of too modern art was born.

Gradually the idea has grown in an autonomous theoretical concept. The characteristic idiom of this concept would be:"PUT TOGETHER INCOMPATIBLE ELEMENTS IN THE MANNER OF SHOCKING".
In so doing, the young artists want to open new dimensions in art and also change social relations to it. Enthusiastic and impatient they surch for their own manner of expression, their prime interest is to innovate a creative process, in general or on personal level. Therefore too modern art is declared as open one. Too modern art first of all resulted from a theme, which is an endless source and leads the young artists to use various techniques, styles and materials.


The most important is first impression of a picture - how picture catch artist and spectator. All their art pieces are made in a short time, in a rush of creativity, because this is a special way how they realize the idea and reach eager optical expression. The choice of mostly realistic motifs makes possible that artist can tell us definite story through their work. Motifs are realistic, but not boring, because the story of too modern artist always includes just right qantity of bizarre, irony, sarcasm and humour.

The formal definition of too modern art can't exist, because every artist participates in his own manner and contributes to variety of the movement.
Plesničar and Marčeta also connected the idea of too modern art with a game Monopoly and made a symbolic division of the world. The Western hemisphere with Eastern Islands has belonged to Marčeta and the Eastern hemisphere with Ural and Japan to Plesničar. Carinthia is a border between these two areas.

In 1999 Plesničar and Marčeta invited other too modern artists to join them. Although the number of too modern artists increased, they have stil declared themselves more as a movement then a formal group with a manifest.

Only too modern artist can recognize if there is any sign of too modern art in work of another artist. This is the way how The Museum of Too Modern Art acquires new art pieces and new followers. Every member has his own territory and his membership cart. We already know what parts of the world own Plesničar and Marčeta. Austria is assigned to Filip Gregorowitz, who tells funny stories about frogs. Josip Rockus Pongrac got Vatikan as a reward for the most colourful painting of crucifixion. At first Grega Mastnak got Afrika, but after he had had discipline problems, other members took Afrika away and gave him Kanada. He also won Kilimanjaro. Vladimir Leben, a master for plush toys and precise work, got all luna parks" and license to sell a sugar foam.
The year 1999 was very successful for too modern artist. Pongrac prepared the first too modern exhibition in Croatia, Plesničar in Macedonia, Marčeta in Vienna. Some people supported them in their efort. Such as Tomaľ Drnovąek- Vinči, who sold his cows and offered them a place for a museum. The adaptation of the barn began, when one important problem appeared. Vinči's barn was a natural home for swallows and he didn't want to displace them. Therefore the adaptation of the barn temporary stopped.

Sankt Petersburg was a next station for too modern art, in year 2000. In September 2001 a leadership of Too Modern Art Museum made a decision about the first common appearance of too modern artists in Gallery Alcatraz in Ljubljana. On 1April 2002 the museum members made pact with swallows and museum could start with further activities.
The title - The Museum of Too Modern Art means not only a building, where artists exhibit their paintings and other work. As Vinči's swallows too modern artists finaly finded a place, where they can present their work without limitations and constant feeling of beeing disregarded.
Followed a solemn opening of the exhibition, where Gregor Nemec, who lived on Karst with dogs Mo and Sara, was accepted as a new member. The leadership of too modern artists showed its generosity and gave him all ZOO-s on the world.

Too modern artists are already planning new exhibition, which will be a following event during Check Olimpiade in October 2002. The common point won't be only a check, too modern artists and check players will also play golf together.

Too modern young artist claim their place in art and fine arts profession will have to recognize and accept their uniqe existence and contribution to art.

LOCATION: Spodnji Hotič 19, (Litija), Slovenia

Odpro: sreda, sobota, nedelja od 10.00 do 20.00 /
Opening Hours: Wednesday, Saturday, Sunday from 10.00 am to 8.00 pm.

Kontakt / Contact:
Tomaž Drnovšek-Vinči tel: 031 570 052


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