\nLana Sokli\u010d: Distortion<\/strong>
\nPetja Kocet: Freightline 1.1<\/strong><\/p>\n
You are cordially invited to attend the opening of the exhibitions Ironic ending of a common language by Lana Po\u017elep, Distortion by Lana Sokli\u010d and Freightline 1.1 by Petja Kocet on Thursday, 12 January 2023, between 7pm and 9pm at the P74 Gallery in Ljubljana. <\/p>\n
The exhibitions will be on view till 7 February 2023 at the usual opening hours of the Gallery (monday to friday, 12.00 to 18.00, extra viewings upon individual arrangement).<\/p>\n
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<\/p>\n
Lana Po\u017elep works mostly within the medium of video and photography, often expanding the latter into fresh and innovative spatial layouts. She is interested in different spaces and non-spaces \u2013 in their multifacetedness, characteristics, laws, and meanings created within them. Several of her projects focus on the construction site as a repeatable and temporary space of transformation.<\/p>\n Lana Po\u017elep\u2019s new project,\u00a0Ironic ending of a common language<\/em>\u00a0(2022), created for the exhibition at P74 Gallery, explores her relationship to the medium, which began to be reflected in her irritation with her own photographs \u2013 as a result, she repeatedly tried to translate them into the physical form of a construct. In that process, the photos gradually began to disappear, recede into the background, and give way to objects made of plaster, silicone, and soap. Their shape, material, colour, and size, assumed the role of photography. They build a new interpretation, a new world, and represent all the flaws that the author noticed in the original images captured by the camera. The spatial layout of the exhibition thus primarily represents the process of exhibiting and building new images and the new relationships. Some of the objects return back to their original form (a photograph), while others stop before the end of their beginning and attempt to be more than they were \u2013 they try to be a physical upgrade of the visual as a new experience. This process allows us to observe how the author moves from one image and medium to new ones, which also enables a new perspective. Switching between media highlights their different properties, which also dictates the viewer\u2019s observation and experiences. We could say that for the artist, the camera is no longer that which opens the door of the chosen space; instead, it is the process, the search for the possibility for the desired representation, that makes this possible. Experimentation plays an important role in all of this.<\/p>\n The exhibition is part of the \u201cYouth\u201d series \u2013 a professional presentation of artists of the younger generation, which is one of the important program orientations of the P.A.R.A.S.I.T.E. Institute.<\/p>\n ______<\/p>\n Lana Po\u017elep<\/strong>\u00a0(2000, Celje) is currently completing her undergraduate studies at the Academy of Fine Arts and Design, with a major in visual communication design \u2013 photography. She spent the last few months on a student exchange program at Umprum \u2013 Vysok\u00e1 \u0161kola umeleskoprumyslov\u00e1 in Prague. Her work mostly features the media of photography, video, and installation. She presented her work at several student group exhibitions and participated in the exhibition\u00a0Appointment 6.0.\u00a0<\/em>(DobraVaga), as well as in the exhibition\u00a0Premiere<\/em>\u00a0(Centre for Contemporary Arts, Celje, 2022). She has also collaborated with the performance group IvAnKe (2020). She is the recipient of the University of Ljubljana \/ Faculty of Social Sciences Award for outstanding achievements and cooperation in the field of extracurricular activities 2021 for the project\u00a0Dojeti AT Rog<\/em>\u00a0(To Understand the Autonomous Factory Rog<\/em>, 2006-2021). As a photographer, she participated in the photo documentation of the Trigger Festival (2021) and Soteska Open (2021), in collaboration with Hana Vodeb in the field of video production for the Spider Festival (2022), and in the Young Lions Festival (2021, 2022). She has also participated with the Glej theatre and Siti theatre in the performance documentation processes and has worked on the photo documentation of the preparations for the exhibition\u00a0Always & Forever<\/em>\u00a0(2020) at the Centre for Contemporary Arts in Celje.<\/p>\n <\/p>\n Lana Sokli\u010d, a photographer of the youngest generation, is interested in analogue photography as it allows for a wide range of experiments and the inclusion of coincidences in the final image. She manipulates photographic materials through various film-developing techniques, the addition of chemicals, heating, and mechanical alterations to provoke irregularities, distortions, and colour anomalies in the original photographic images. She is interested in the traces that manipulations leave on film material. She draws content from her own memories and experiences and devotes herself to the research of psychological states. The latter is at the core of the series, after which the exhibition bears its title.<\/p>\n The\u00a0Distortion<\/em>\u00a0series was created as a practical part of the artist\u2019s diploma thesis,\u00a0Depiction of mental disorders in photography<\/em>\u00a0(mentor associate professor Peter Ko\u0161trun, 2021), in which she dealt with how to depict a type of mental state or mental disorder with the help of photography. The basis for the series is six self-portraits (there are twenty-one final photographs) which she modifies through errors in the photographic process and manipulation of film negatives \u2013 specifically through experiments called \u201cfilm soups\u201d. These are instructions for home experimentation with film negatives which are processed with various substances, such as bleach, salt water, acids, and thinners. The artist then reproduced the resulting black-and-white negatives with an optical scanner as if they were made in colour, which gave the photos different undertones. The processing itself, however, creates fragile images that are distorted and covered with unrecognizable elements. She scanned some of the negatives one over the other, thus creating the impression of layering, overlapping, and obscuring, a kind of parallel to the division of the human psyche.<\/p>\n Lana Sokli\u010d\u2019s works contain a distinctly emphasized atmosphere and present the viewer with an interpretation of feelings of anxiety, loneliness, numbness, and melancholy. The decision to use a small format additionally creates a feeling of intimacy. In places where the contours of the body are more recognizable, we can draw parallels with historical references of \u201ctraditional\u201d depictions of emotional states. At the same time, we experience almost abstract images through the effects created in photographs by the manipulation of film negatives \u2013 from soft, rounded lines to sharp, saturated strokes and elements. The series was created during the time of isolation caused by the outbreak of the epidemic when the presence and width of mental health issues became apparent.<\/p>\n The exhibition is part of the \u201cYouth\u201d series \u2013 a professional presentation of artists of the younger generation, which is one of the important program orientations of the P.A.R.A.S.I.T.E. Institute.<\/p>\n ______<\/p>\n Lana Sokli\u010d<\/strong>\u00a0(1998, Ljubljana) graduated from the Academy of Fine Arts and Design in Ljubljana in 2021, majoring in photography, under the mentorship of prof. Petar Ko\u0161trun, where she continues her Master\u2019s degree. In recent years, she participated in the exhibitions\u00a0Odboj<\/em>\u00a0(Banka Slovenije\u2019s Mala Galerija),\u00a0Nasledstvo: Dialog z grafiko<\/em>\u00a0(Banka Slovenije\u2019s Mala galerija),\u00a0Different Worlds<\/em>\u00a0(Photon Gallery),\u00a0Odtujenost<\/em>\u00a0(AQ Gallery, Celje, 2022),\u00a0Slovanski tarot<\/em>\u00a0(Jalla Jalla, AKC Metelkova, Ljubljana),\u00a0Ponjava II<\/em>\u00a0(Toba\u010dna, Ljubljana, 2022),\u00a0Dialogue<\/em>\u00a0(Libertas Warehouse, Koper, 2021),\u00a0Ponjava<\/em>\u00a0(Toba\u010dna, Ljubljana, 2020).<\/p>\n <\/p>\n Petja Kocet, one of the artists of the youngest generation, works mostly within the medium of painting, while also using graphics, collage techniques, and drawing. The combined presentation of these approaches creates a varied layout and a coherent whole. All the works selected for the exhibition were created in the series\u00a0Freightline 1<\/em>\u00a0(2021\u20132022) in which the artist deals with his own immediate environment of growing up, Port of Koper, while also expressing interest in the contemporary state of globalization and the society in which we live. He understands a port as a window to the world, even though the age of the Internet makes us witnesses of a different transport of information.<\/p>\n The title of this series appeals to the dynamics in painting as an art form, which can be understood in the sense of mixing styles and the diversity of transitions between media and the use of different techniques within a single one. Furthermore, the artist is interested in what painting can be today and how to present contemporary themes within the selected medium. The previous presentations of this series show skill and imagination in juxtaposing the pieces, their placement in space, and the use of specifics to emphasize individual elements and create dynamics. We can observe the repetition of the crane motif which can be seen in variations on the series of graphics\u00a0Luft Lift (2, 4)<\/em>\u00a0and which is also depicted monumentally and in a reduced colour scale in the painting\u00a0Untitled<\/em>\u00a0(2022). The night scene, the lines, illuminated in orange tones and emphasized on the dark background, and the structure of the crane all build the dynamics and the atmosphere of the larger-format picture. As a contrast or counterweight to easily recognizable images, there are works that are an approximate cut-out of the selected element. Such is, for example,\u00a0KKTU<\/em>\u00a0(2022), where only individual strokes of colour can be seen on a grey background, while the image is only separated from total abstraction by an inscription \u2013 a label made of letters and numbers which make it appear as a selected of framed part of the shipping container\u2019s wall. The piece\u00a01600<\/em>\u00a0(2022), again showing as the inscription, has a similar effect, but the individual brightly coloured and varied details in the picture present us with a dilemma as to what we are actually looking at, while the use of crayons on the canvas creates a visually specific effect.<\/p>\n The graphics, entitled\u00a0Stowaway<\/em>\u00a0(2022), the basis for which were X-ray photographs showing human figures during cargo inspection, are more semantically unambiguous. They present the artist\u2019s step forward from the very motif of fascination, as he directly points to the reality of the ubiquitous refugee theme.<\/p>\n The exhibition is part of the \u201cYouth\u201d series \u2013 a professional presentation of artists of the younger generation, which is one of the important program orientations of the P.A.R.A.S.I.T.E. Institute.<\/p>\n ______<\/p>\n Petja Kocet<\/strong>\u00a0(1998, Koper) graduated from the Academy of Fine Arts and Design in Ljubljana in 2021, majoring in painting, with the mentorship of assoc. prof. M.Sc. Ksenija \u010cer\u010de. He is a recipient of the Academy of Fine Arts and Design Award. In 2022, he had his first solo exhibition,\u00a0Freightline 1<\/em>, in the cultural centre Libertas, in Koper. He is currently doing his master\u2019s studies in painting at the Academy of Fine Arts and Design. He lives and works in Ljubljana.<\/p>\n","protected":false},"excerpt":{"rendered":"![\"\"](\"http:\/\/arhiv.zavod-parasite.si\/eng\/wp-content\/uploads\/2022\/12\/Lana-Pozlep-2_press_P74-683x1024.jpg\")
\nLana Po\u017elep, Ironic ending of a common language<\/em><\/span><\/p>\n
\n![\"\"](\"http:\/\/arhiv.zavod-parasite.si\/eng\/wp-content\/uploads\/2022\/12\/Lana-Soklic-768x1024.jpg\")
\nLana Sokli\u010d, Distortion<\/em><\/span><\/p>\n
\n![\"\"](\"http:\/\/arhiv.zavod-parasite.si\/eng\/wp-content\/uploads\/2022\/12\/Petja-Kocet-776x1024.jpg\")
\nPetja Kocet, Freightline 1.1<\/em><\/span><\/p>\n
![\"\"](\"http:\/\/arhiv.zavod-parasite.si\/eng\/wp-content\/uploads\/2022\/12\/mladi_pozlep-soklic-kocet-150x150.jpg\")
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