EDVARD. Celebrating the Year of Edvard Ravnikar: Nina 膶elhar, Meta Dr膷ar, Tadej Vaukman
The art exhibition is dedicated to the great architect, all-round visionary and humanist who adopted a multidisciplinary approach to designing his works and understood architecture in the context of visual culture. Three artistic considerations celebrate the invaluable legacy of a leading modernist of the geographic area formerly known as Yugoslavia, as well as beyond its borders: through the prism of the dimension of living, Nina 膶elhar, Meta Dr膷ar and Tadej Vaukman present their own understanding, interpretation and actualization of Ravnikar's legacy, as well as the architect as a private individual.
Vaukman primarily works in the medium of photography, frequently combining it with collage and drawing. The artist, whose work is grounded in (self-)portraiture, based his research on Ravnikar's drawings and self-portraits.
Nina 膶elhar, whose painting practice focuses on depicting idealized minimalist interiors and questions the complex relationship between architecture and its users, will tap directly into Ravnikar's architectural legacy.
The dialogue is complemented by the spatial installations by Meta Dr膷ar, who explores the connections between the observer's moving body, sculpture and architecture, and the performative effects that arise from this process.
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The art exhibition is dedicated to the great architect, all-round visionary and humanist who adopted a multidisciplinary approach to designing his works and understood architecture in the context of visual culture. Three artistic considerations celebrate the invaluable legacy of a leading modernist of the geographic area formerly known as Yugoslavia, as well as beyond its borders: through the prism of the dimension of living, Nina 膶elhar, Meta Dr膷ar and Tadej Vaukman present their own understanding, interpretation and actualization of Ravnikar's legacy, as well as the architect as a private individual.
Vaukman primarily works in the medium of photography, frequently combining it with collage and drawing. The artist, whose work is grounded in (self-)portraiture, based his research on Ravnikar's drawings and self-portraits.
Nina 膶elhar, whose painting practice focuses on depicting idealized minimalist interiors and questions the complex relationship between architecture and its users, will tap directly into Ravnikar's architectural legacy.
The dialogue is complemented by the spatial installations by Meta Dr膷ar, who explores the connections between the observer's moving body, sculpture and architecture, and the performative effects that arise from this process.
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