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Razstavni projekt Atelje 69. Sodelovanje Tomaža Šalamuna s Skupino OHO in Moderno galerijo v Ljubljani
Barut, Urška (Author), Žerovc, Beti (Mentor) More about this mentor... This link opens in a new window

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Abstract
V magistrskem delu obravnavam razstavni projekt Atelje 69. Zamislil si ga je znani slovenski pesnik in umetnostni zgodovinar Tomaž Šalamun, izvedel pa ga je med marcem in majem 1969 v ljubljanski Moderni galeriji v sodelovanju s Skupino OHO ter v Kranju, kjer je bila Šalamunova samostojna razstava. Začetki razstavnega projekta Atelje, katerega del je tudi Atelje 69, segajo v leto 1967, ko je Tomaž Šalamun Zorana Kržišnika prepričal, naj Skupini OHO omogoči uporabo razstavnih prostorov v kleti Moderne galerije. Kržišnik je priložnost izkoristil za uresničitev ideje o razstavljanju mladih, neuveljavljenih umetnikov, kar je vodilo v prve razstave Ateljeja leta 1968. V magistrskem delu se osredotočam na to, kako je prišlo do razstav Ateljeja 69 in idejnega načrta zanje, ter kakšno vlogo so pri tem igrali Tomaž Šalamun, Skupina OHO ter Moderna galerija. Skozi raziskavo arhivskega in hemerotečnega gradiva rekonstruiram potek razstav Ateljeja 68 in Ateljeja 69 ter odziv nanje. Razstave postavljam v kontekst sočasnega neoavantgardnega dogajanja v svetu. Pri tem se najbolj osredotočam na razstave umetnikov revne umetnosti, saj je Tomaž Šalamun del leta 1968 preživel v Italiji, kjer se je srečal tudi z revno umetnostjo. Omenjam tudi vplive konceptualne umetnosti in neodade ter potegnem paralele s sočasnim razvojem avantgardnega gledališča. Z magistrsko nalogo zapolnjujem vrzel v raziskovanju sodelovanja med Tomažem Šalamunom in Skupino OHO ter vpliv, ki ga je imela revna umetnost na njihovo delo ter na Šalamunov idejni načrt za Atelje 69. Nakazujem tudi pozitiven odnos, ki ga je Tomaž Šalamun imel z Zoranom Kržišnikom in Moderno galerijo ter raziskujem večinoma dobre odzive, ki sta ga na umetniško raziskovanje Tomaža Šalamuna in Skupine OHO imeli javnost in stroka.

Language:Slovenian
Keywords:OHO, Tomaž Šalamun, Moderna galerija, revna umetnost, neoavantgarde
Work type:Master's thesis/paper (mb22)
Organization:FF - Faculty of Arts
Year:2019
Views:319
Downloads:170
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Secondary language

Language:English
Title:Exhibition project Atelier 69. Tomaž Šalamun's cooperation with the OHO Group and the Modern Gallery in Ljubljana
Abstract:
In my master's thesis, I examine the exhibition project Atelier 69. Conceptualised by the renowned Slovenian poet and art historian Tomaž Šalamun, it took place between March and May 1969 at the Modern Gallery in Ljubljana in collaboration with the OHO Group and in Kranj, where Šalamun had his solo exhibition. The beginnings of the Atelier exhibition project that Atelier 69 is a part of date back to 1967 when Tomaž Šalamun convinced Zoran Kržišnik, the director of the Modern Gallery, to allow the OHO Group the use of the exhibition space in the gallery's basement. Kržišnik used the opportunity to realise his idea of exhibiting young, unestablished artists, leading to the first Atelier exhibitions in 1968. I focus on how the Atelier 69 exhibitions and the conceptual plan for them came to be and the role that Tomaž Šalamun, OHO Group and the Modern Gallery played in it. Through the examination of the archival and newspaper records, I show how the exhibitions of the Atelier 68 and Atelier 69 developed and how the public reacted to them. I place the exhibitions in the context of the contemporary neo-avant-garde movements. I place the most focus on the exhibitions of Arte Povera artists since Tomaž Šalamun spent a part of the year in 1968 in Italy, where he came into contact with Arte Povera. I also mention the influence of conceptual art and neo-dada and draw parallels with the contemporary development of avant-garde theatre. Master's thesis fills the gap in the exploration of the collaboration between Tomaž Šalamun and the OHO Group and the impact that Arte Povera has had on their work. I also point to the positive relationship Tomaž Šalamun had with Zoran Kržišnik and the Modern Gallery as well as exploring the generally positive response that the public and critics had to Tomaž Šalamun's and OHO Group's work.

Keywords:OHO, Tomaž Šalamun, Museum of Modern Art Ljubljana, Arte Povera, neo-avant-gardes

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