{"id":1247,"date":"2013-10-15T15:22:46","date_gmt":"2013-10-15T14:22:46","guid":{"rendered":"http:\/\/www.zavod-parasite.si\/eng\/?p=1247"},"modified":"2013-11-06T20:08:41","modified_gmt":"2013-11-06T19:08:41","slug":"klemen-zupanc-from-the-conveyor-belt-to-a-crashmeeting","status":"publish","type":"post","link":"https:\/\/arhiv.zavod-parasite.si\/eng\/archives\/1247","title":{"rendered":"Klemen Zupanc: From the Conveyor Belt to a Crash\/Meeting"},"content":{"rendered":"

17 October \u2013 4 November 2013
\nP74 Gallery, Trg Prekomorskih brigad 1, Ljubljana<\/p>\n

You are kindly invited to the opening of the exhibition by Klemen Zupanc at P74 Gallery on Thursday, 17 October at 19h.<\/strong><\/p>\n

Announcing in conjunction with the opening:
\nThursday, 17 October 2013, please join us for a pre-opening discussion with Klemen Zupanc at 18:30h.<\/strong><\/p>\n

\"\"<\/p>\n

\u201cAt the beginning there was a crash. A car crash.\u201d
\n\u2013 n.n.<\/p>\n

From the beginning, we\u2019re immediately reminded of the film by Canadian director David Cronenberg. The film narrates the story of a group of people who are sexually aroused by car accidents \u2013 in short, a type of paraphilia. The protagonists of his film Crash (1996), who have been injured in a car accident, experience it as a stimulatory event. The director intertwines the physical transformation of the body with the psychological and prevents the viewer\u2019s usual identification with the film characters. Instead of the indirect enjoyment in sex and injuries, the viewer finds oneself in the role of a passive voyeur. The wound is \u201ca condition of our psychical and social life\u201d remarks Parveen Adams, but in Cronenberg\u2019s film it\u2019s \u201cnot traumatizing\u201d and this is what fills the viewer with frustration. <\/p>\n

We can therefore understand destruction as a productive action and not only as something devastating. Even Klemen Zupanc\u2019s current project From the Conveyor Belt to a Crash\/Meeting begins the artistic act with destruction, understood here as a new beginning. That which we\u2019re offered at first glance as a natural situation has been precisely constructed through multiple phases of work. The photographs on the canvases are not shots of actual wreckages from car accidents; rather they are created situations and enlarged images of crushed children’s toys. When the images of the crashes spread across the gallery space, we get a chain collision. <\/p>\n

Several elements make Zupanc\u2019s painting installation specific and atypical: the staged realisation, the made-up event, the principle of editing, as well as multiplication and cinematic effect. In the space of expanded painting he successfully unmasks and reveals the post-media construction of the event and of the processes in which \u201cAmarillo Texas\u201d, \u201cBonifika\u201d, \u201cHofer\u201d and the automobile industry dance the same vicious dance.
\nThe exhibition From the Conveyor Belt to a Crash\/Meeting has arisen in the production of P.A.R.A.S.I.T.E. Institute and presents the first solo exhibition of the 24-year-old artist in Ljubljana. <\/p>\n

Klemen Zupanc<\/strong> (Celje, 1989) is a student of painting at the Academy of Fine Arts and Design in Ljubljana. He has participated in numerous group exhibitions at Coastal Galleries Piran (2009, 2010), at the International Center for Graphic Arts and Gallery Alkatraz in Ljubljana (2012), at Media Nox Gallery in Maribor (2013) and in Arrezzo, Italy as well as in Thessalonika-Solun, Greece. He also had a solo exhibition at Gallery Herman Pe\u010dari\u010d in Piran (2011). Klemen Zupanc is the recipient of the 2012 Pre\u0161eren Award for Student Work. <\/p>\n

\u2014<\/p>\n

The programme of the P.A.R.A.S.I.T.E. Institute is supported by the Ministry of Culture of the Republic of Slovenia and by the Municipality of Ljubljana, Department for Culture. <\/em> <\/p>\n

The exhibition is sponsored by:<\/p>\n

\"\"<\/a>    \"\"<\/a>    \"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

17 October \u2013 4 November 2013
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