KSENIJA WHO’S AFRAID OF PINK Č ER Č E COLOUR? KDO SE BOJI ROZA BARVE? 1 WHO’S AFRAID OF PINK COLOUR? KSENIJA ČERČE KDO SE BOJI ROZA BARVE? CONTENT / VSEBINA 4/5 ANTI / ANTI 41 ANTI / ANTI TEXT / BESEDILO 58/59 WHO’S AFRAID OF PINK COLOUR? / KDO SE BOJI ROZA BARVE? 96/97 BIOGRAPHY / ŽIVLJENJEPIS 98 INDEX OF ARTWORKS / SEZNAM DEL ANTI / ANTI DIGITAL NATIVE (Hybrid of Yunchul Kim’s work Chroma V, 2022), 2022–23 DIGITALNI DOMORODEC (Hibrid dela Yunchul Kima Chroma V, 2022), 2022–23 SONOREX (detail) SONOREX (detajl) SLIME, 2023 SLAJM, 2023 CRONENBERG’S SPIT CRONENBERGOV PLJUNEK 2022–23 YAGI UDA, 2021–23 PANZER, 2023 PANCER, 2023 »B«, 2011–23 PANZER, 2023 PANCER, 2023 30 30 31 31 NEVER AND NOT EVEN THEN, 2022–23 NIKOLI IN TUDI TAKRAT NE, 2022–23 KseNija Č er č e ANTI / ANTI KDO SE BOJI ROZA BARVE? Hibridni naslov razstave Kdo se boji roza barve? v UGM studio 2021 je z zametkom »provokata na potezi« naslavljal slikarski razmislek o položaju, v katerem se slikarstvo nahaja danes. WHO’S AFRAID OF Dejstvo je, da se je obstoj slikarstva, vključno z lastno PINK COLOUR? negacijo, v preteklosti konstituiral v različnih pojavnih oblikah in da so danes, v postdigitalni in postinternetni situaciji, v slikarstvu na preizkušnji ne le njegova The hybrid title of the exhibition Who’s Afraid of elastičnost, temveč predvsem mehanizmi in potenciali Pink Colour? at UGM Studio in 2021, with a hint of njegove absorbne transgresije. Retorika za slikarstvo “provocateur on the move”, addressed a painterly specifičnih in integracija njemu nelastnih pojavnosti reflection on the position of painting today. je v konstantni ekstenziji, zato razglašanje »konca slikarstva« ali »konca umetnosti« v preteklosti danes The reality is that the existence of painting, including lahko razumemo zgolj z distanco, kot ugotavlja Isabelle Photography by / Fotografija: Ksenija Čerče 1 its own negation, has been constituted in various forms Graw. Prav zato danes ne moremo več govoriti o in the past, while today, in the post-digital and post- povratku slikarstva (kot smo lahko v modernizmu ali internet situation, painting is not only being tested postmodernizmu). Slikarstvo se ne vrača, ampak je ves in its elasticity, but primarily in its mechanisms and čas tukaj. potentials of its absorptive transgression. The rhetoric of painting-specific and the integration of non-painting- specific elements is in constant expansion, thus the 1 GRAW Isabelle, The Economy of Painting – Notes on the Vitality of a Success-Medium, https://www.youtube.com/watch?v=1JDthDEcmAs, past declarations of the “end of painting” or the “end of 14. 7. 2021. art” can today only be understood from a distance, as Isabelle Graw points out.1 For this very reason we can no longer speak of the return of painting (as it was the case in modernism or postmodernism). Painting is not returning; it has always been here. 1 GRAW Isabelle, The Economy of Painting – Notes on the Vitality Who’s Afraid of Pink Colour? UGM Studio, Maribor 2021, photography by of a Success-Medium, https://www.youtube.com/watch?v=1JDthDEcmAs, Damjan Švarc @ archive of the author and the archive of UGM / 14 July 2021. Kdo se bolji roza barve?, UGM studio, Maribor 2021, fotografija: Damjan Švarc, @arhiv avtorice in arhiv UGM Besedilo z inficiranim naslovom bo pozornost udejanjalo v mreži besedila o razstavah ter delih, ki so se v polpreteklem obdobju manifestirala tako na področju slikarstva kot na področju zvoka. The text with the infected title will engage attention in a network inherent to the text, about exhibitions and works that have recently manifested in both the field of painting and sound. Zagotovo nismo več v situaciji, ko bi bilo slikarstvo ALI GNEZDENJE V KLINIKI ZA AMATERJE, UČBENIK prevladujoča ali vodilna disciplina v umetnosti. Hierarhije IN KLAVNICA, SOVRAŽIM ZELENO, AMUROZNO so se podrle. Meje slikarstva so postale premestljive. PREREKANJE, VIKING PLASTICON ali SPOJLER, pa Slikarstvo se v sedanjosti poraja z infekcijo in se se nanašajo na različne orkestracije emancipacije in nahaja v hibridnih oblikah, torej tako v zanj značilnih predelave, ki delujejo bodisi kot vitaliziran vokabular ali kot neznačilnih formah. Forme se vzpostavljajo skozi kot izločki. zgodovino. Vendar je slikarstvo podvrženo konstantni ekstenziji, ki ni izključno zgodovinska, še manj linearna ali zvedena na formo in zgosti pozornost v sliki, ne zgolj kot mediju. Vilém Flusser pravi, da moč evropske kulture temelji In the present situation painting certainly no longer masses, PVC mashes, smoking, urine, discarded copies, prav na nasprotju med podobo in jezikom. Še posebej holds the position of the dominant or leading art iridescent paints, mail art, body art*, etc. Moreover, the danes, ko je množičnost/komunikativnost vizualnega discipline. Hierarchies have collapsed. The boundaries prostheses’/paintings’ titles, such as PASSION FOR podobotvorja do te mere dominantna, da presega of painting have become shiftable. Today painting SWEETNESS – CHERRY WAR OR NESTING IN jezik, je morda prav slikarstvo tisto, ki v odnosu do emerges with INFECTION and exists in hybrid forms— THE AMATEURS’ CLINIC, THE TEXTBOOK AND THE formata, skozi katerega komunicirajo podobe, poseduje both characteristic and uncharacteristic of the medium. SLAUGHTERHOUSE, I HATE GREEN, AMOROUS relevanten glas. Forms come into existence throughout history; however, ARGUING, VIKING PLASTICON or THE SPOILER, painting is subject to constant extension that is not refer to different orchestrations of emancipation MATERIALNOST exclusively historical, nor is it linear or reduced to form, and adaptations, which function either as a vitalised and it accumulates attention in the painting itself—not vocabulary or excretions. only as a medium. Adaptacija slednjega je bila na razstavi aplicirana na material in njegovo distribucijio. V knjigi Neomaterializem Joshue Simona2 v sklopu novih ekonomij, ki pogojujejo Vilém Flusser states the strength of European culture is founded precisely on the opposition between image and aktualno materialnost, uvaja različne pojme dialektičnega materializma. Zagovarja ‚unreadymade‘ kot sentimentalno language. Especially today, when mass communication through visual images is dominant to the degree it vrednost in obljubo partikularnega/ločenega, kot besedni surpasses language, painting may be the very medium označevalec v distribuciji nove ekonomije pomena. Ksenija Čerče, Passion for Sweetness – Cherry War or Nesting in that, in relation to the format through which images Slike na razstavi v tem oziru emancipirajo materialnost the Amateurs’ Clinic, forbidden techniques, 2021, 203 × 187 cm, Photography by Arne Brejc, © archive of the author / communicate, holds a relevant voice. silikonskih mas, PVC-mrež, kajenja urina, zavrženih kopij, Ksenija Čerče, Sladostrastje – Češnjeva vojna ali gnezdenje v kliniki iridescentnih barv, mail arta, body arta ... Proteze/naslovi za amaterje, prepovedane tehnike, 2021, 203 x 187 cm, fotografija MATERIALITY Arne Brejc, © arhiv avtorice slik, kot so SLADOSTRASTJE − ČEŠNJEVA VOJNA In the exhibition the adaptation of the latter was 2 SIMON Joshua, Neomaterialism, Sternberg Press, London 2013. applied to the material and its distribution. In his book Neomaterialism, Joshua Simon 2 introduces various notions of dialectical materialism within the framework of new economies that condition contemporary materiality. He advocates for the unreadymade as a sentimental value and the promise of the particular/ separate, as a verbal signifier in the distribution of the new economy of meaning. In this respect, the paintings in the exhibition emancipate the materiality of silicone Ksenija Čerče, The Spoiler, forbidden techniques, 2021, 203 × 187 cm, Photography by Arne Brejc © archive of the author / Ksenija Čerče, Spojler, prepovedane tehnike, 2021, 203 x 187 cm, fotografija Arne Brejc, © arhiv avtorice 2 SIMON Joshua, Neomaterialism, Sternberg Press, London 2013. * Process for the painting Who’s Afraid of Pink Colour? The body art process for the painting titled Who’s Afraid of Pink Colour? employed a conceptual approach to an alternative understanding of colour. As part of this process, I ingested a chemical that caused my urine to turn pink. The coloured urine was then used for painting. / * Proces k sliki Kdo se boji roza barve? Body art proces za sliko z naslovom Kdo se boji roza barve? je s konceptualno zasnovo naslavljal drugačno pojmovanje slikarske barve. V sklopu procesa sem konzumirala kemikalijo, zaradi katere se je lasten urin obarval rožnato. Rožnato obarvan urin je bil nato uporabljen za nastanek slike. Who’s Afraid of Pink Colour? UGM Studio, Maribor 2021, photography by Damjan Švarc, © archive of the author and the archive of UGM / Kdo se bolji roza barve?, UGM studio, Body art proces za sliko z naslovom Kdo se boji roza AVANTGARDA Maribor 2021, fotografija Damjan Švarc, © arhiv avtorice in je s konceptualno zasnovo naslavljal drugačno barve? arhiv UGM pojmovanje slikarske barve. V sklopu procesa sem Če vzamemo pod drobnogled specifično rabo različnih konzumirala kemikalijo, zaradi katere se je lasten medijev v delih, je tako za aktualna kot pretekla dela urin obarval rožnato. Rožnato obarvan urin je bil nato značilno uvajanje drugih medijskih praks in specifično uporabljen za nastanek slike. The body art process for the painting titled Who’s Afraid in postmedijske situacije proti pričujoči postdigitalni an alternative understanding of colour. As part of this MEDIJ / DISTRIBUCIJA poimenovanje tehnik. Relevantna, za vidik medijske of Pink Colour? employed a conceptual approach to AVANT-GARDE situaciji, je uporaba drugih medijev v posameznem process, I ingested a chemical that caused my urine to mediju, njihova distribucija, premeščanje in vloga turn pink. The coloured urine was then used for painting. Medij je partikularen, vendar ni določujoč. Tako na primer njihovega posredovanja. Pri čemer je ključno, da ne gre vsebinsko razmerje zvok/glas/jezik kot izhodišče narekuje Upon examining the specific use of different media zgolj za prevajanje. druge pojavnosti. Bodisi kot nosilec, bodisi kot neko že v MEDIUM/DISTRIBUTION in artworks, for both recent work and works from the osnovi preobraženo izhodišče. Relevant, for the aspect of media and post-media tehnike (prepovedane tehnike, slišane tehnike, disciplin ustvarjanja. Torej s področja zvočnih video voice and language, which is therefore an object that situations in comparison to the current post-digital nobene tehnike, skrivnostne tehnike) izhajajo iz vrste ambientov, za katere velja, da so v Sloveniji predstavljali dictates other entities as a starting point—either as a situation, is the use of other media within a particular avantgardnih praks. Slednje velja tako za integracijo pionirske projekte ženskega uveljavljanja na tem carrier or as an inherently modified starting point. medium, their distribution, displacement, and the role of različnih “izvenslikarskih” medijskih praks (body art*, področju. Ideja zvočnih video ambientov je bila izvorno the specific naming of techniques is characteristic. zvočnega v delu Ksenije Čerče, specifično poimenovane Za ponazoritev slednjega si oglejmo primer iz drugih the case with the substantive relation between sound, 3 The medium is particular but not deterministic. Such is past, the introduction of other media practices and Kot ugotavlja Petra Kapš v besedilu Manifestacije their mediation. It is essential this is not only a matter of video, mail art, performance …), kot za vidik same zasnovana v obdobju bivanja v Združenih državah This can be illustrated by considering an example translation. tehnološke produkcije. Amerike. from other creative disciplines, namely from the field In this respect, Petra Kapš in her article of sound/video ambiences, considered pioneering Sonorous Prva postavitev je bila v manjšem obsegu izvedena v projects towards women’s establishment in this domain 3 Manifestations in the Work of Ksenija Čerče establishes New Yorku v Pelham Art centru (2005), kasneje pa in Slovenia. The idea of sound/video ambiences was that the variously named techniques (forbidden je prvi zvočni video ambient postavljen v Kazematah 3 KAPŠ Petra, Manifestacije zvočnega v delu Ksenije Čerče, Likovne originally conceived during a stay in the United States. techniques, heard techniques, no techniques, secretive besede 84, poletje 2008, str. 50. Ljubljanskega gradu ( Eter, 2007) in Sinagogi Maribor The first installation was realised on a smaller scale at techniques) derive from a range of avant-garde ( Sonic, 2008). Sledile so postavitve v Beogradu (Liquid, the Pelham Art Center in New York (2005), whereas practices. This applies both to the integration of various 2009) in v Sodnem stolpu – Maribor ( rec # 21, 2011) “non-painterly” media practices (such as body art*, video, the first sound/video ambience was later installed in the ter postavitev 16-kanalnega ambisoničnega ambienta v mail art, performance) and to the aspect of technological Casemates of Ljubljana Castle (Ether, 2007) and in the Gradcu (Ephemera, 2009-10) Kunsthaus Graz-MKL. production itself. Maribor Synagogue (Sonic, 2008). Further installations followed in Belgrade (Liquid, 2009) and the Judgement Tower in Maribor (rec #21, 2011), as well as the 3 KAPŠ Petra, Manifestacije zvočnega v delu Ksenije Čerče/ 16-channel ambisonic ambience in Graz (Ephemera, Sonorous Manifestations in the Work of Ksenija Čerče, Likovne besede/Art Words, summer 2008, no. 84, p 50. 2009/2010) at the Kunsthaus Graz—MKL. PROSOJNA MATERIALNOST / DIGITALNOST / SONIČNO “Prehod od statične do gibajoče se slike in k neposredni organizaciji zvoka v zvočnih delih je pri avtorici indiciran že v ciklusu Hortus Conclusus. Iz slikarstva, ki je njen temeljni medij, Ksenija Čerče prevzema in premešča metode v medij zvoka in videa, s katerima vzpostavlja ambient”,4 je zapisala Petra Kapš. Prav pri podobi Zaprtega vrta5 smo namreč priča prehajanju iz nevidnega TRANSLUCENT MATERIALITY / v vidno, nematerialnega v materialno in vzpostavitvam prosojne materialnosti kot tistega elementa, ki predstavlja DIGITALITY / SONIC prag prehajanja. Petra Kapš writes: “The transition from the static to the 4 Ibid. str. 52. moving image and to the direct organisation of sound 5 V slikarstvu se podoba Hortus conlusus pojavi v quattrocentu kot in audio works is already indicated in the artist’s Hortus predpodoba veliko bolj znanega Oznanjenja, ki nagovarja prehajanje med Conclusus series. From painting, which is her prevailing nematerialnim in materialnim ter trenutkom, ko “beseda meso postane”. Gre medium, Ksenija Čerče adopts methods, transposing torej za formo, ki pripomore k aktivaciji kraja, kjer se zgodi metamorfoza (telo metafore postane realno), ter tako naslavlja prehajanje, formiranje in ženski them to the medium of sound and video, which she arhetip, ki v dotični podobi predstavlja temeljni kraj inkarnacije, ki dialektizira uses to create ambience”. 4 razmerja med nevidnim in vidnim. The image of the Hortus Sonic, sound/video environment, 2008, Synagogue, Kibla, Maribor, Sonic, zvo Z vidika materialnosti lahko prosojnost opredelimo kot č photography by Damjan Švarc, © archive of ACE KIBLA / ni video ambient, 2008, Sinagoga Maribor in MMC Kibla, Maribor, fotografija Damjan Švarc, © arhiv KID KIBLA prehodno in prosojno površino kot tako poimenujemo EPHEMERA, 16-channel ambisonic ambience KUNSTHAUS GRAZ—MKL, Graz, PRAG. Zakaj prag? Ne glede na to, ali gledamo z vidika 4 Ibid. p. 52. photography by Damjan Švarc, © archive of the author / materialne funkcije ali z vidika materialne pojavnosti v EPHEMERA, 16-kanalni ambisoničen ambient, 2010, KUNSTHAUS GRAZ-MKL, prostoru, se prosojen material kaže kot nosilec vrednot, Gradec, fotografija Damjan Švarc, © arhiv avtorice 5 Conclusus (Enclosed Garden) reveals the transition kot so efemernost, spremenljivost, tranzicije … from the invisible to the visible, the non-material to the material, with translucent materiality establishing itself Vprašanja prosojnosti ne zagotavljajo in tudi ne as the element that constitutes the threshold of this obljubljajo preprostega razkritja enega samega pomena. transition. V nasprotju s tistim, kar se zdi samoumevno, fizična prosojnost ni niti nujen niti zadosten pogoj za dojemanje From the perspective of materiality, translucency can prosojnosti. be defined as a transient and translucent surface, and as such, a THRESHOLD. Why threshold? Prag ne označuje zgolj vizualne meje. Regardless of whether from the point of view of material . 5 In painting the image of Hortus conclusus appears during the quattrocento as a motif foreshadowing the much more recognised image of the Annunciation, which addresses the transition from the non-material to the material and the moment when “the word becomes flesh”. Hortus conclusus, therefore, serves as a form that contributes to the activation of the place where metamorphosis takes place (the body of the metaphor becomes real), referring thus to the transition, the formation and the female archetype, which in this image represents the fundamental locus of incarnation, rendering the relationship between the invisible and the visible dialectical. Tako tudi prosojna telesa meduz v zvočnih PROSOJNOST / IREDESCENCA / videoambientih Eter (2007) in Sonic (2008) niso ZASLEPITEV bila uporabljene z namenom, da bi vzbujala občutek nevarnosti ali izzvala sublimne občutke ob zavedanju, V sklopu razstave ANTI / ANTI je bila orkestracija da se telesa meduz človeka fizično dotikajo z bolečino, prosojnosti podvržena drugačni retoriki površin. ki jo prinaša opeklina. Na pomembno mesto odpovedi Prosojnost in iredescenca sta v delih agirali s čutno samemu sublimnemu elementu njihove pomenske zaslepitvijo. Teritorij zaslepitve se vzpostavi s fascinacijo interpretacije je postavljeno pomembnejše zavedanje, da in pomenotvorno razliko med tistim, kar se blešči in function or material appearance in space, translucent se namreč prav s pretvorbo v digitalni medij spremeni tistim, kar se sveti. Videz, vključno s fascinacijo, deluje material manifests itself as a carrier of values such as temeljna lastnost njihove telesnosti. kot zaslepitveni madež. Zaslepitev izzove transformacijo ephemerality, mutability, transibility, … pogleda, s katerim zaznamo stvari drugače, vključno z Na slednje v zapisih o delih opozarja nemški medijski nami samimi. Če pri sublimnem govorimo o tem, da gre Questions regarding transparency neither provide, teoretik Wolfgang Ernst: »Čeprav se zdi, da se za delovanje lepega in strašljivega, sta skozi materiale in nor do they promise, a simple revelation of a single avdiovizualni medijski ambienti navezujejo predvsem na dela na razstavi delovala privlačnost in toksičnost. meaning. In contrast to what seems self-evident, physical prostorske lastnosti arhitekturnega objekta, je resnično translucency is neither a necessary nor a sufficient sporočilo večmedijskih umetniških del njihova časovna Materiali, bleščanje in slepe pege svetlobnih madežev Details from the paintings Never and not even then dinamika. Bistvo ambientov ni semantična vsebina, condition for the perception of translucency. and Sonorex, photography by Damjan Š varc, © vzpostavljajo upor reprodukciji slik in s tem vseprisotni The threshold does not only mark a visual boundary. ampak strukturne poteze. Projekti dokazujejo, da so archive of the author and the archive of UL ALUO / samoumevnosti gledanja slik preko zaslonov in najpomembnejše lastnosti odnosa med vidnostjo in Detajla slik Nikoli in tudi takrat ne in Sonorex, avtor tehnoloških posrednikov. Pogled skozi tehnološke fotografij Damjan Š varc, © arhiv avtorice in arhiv Similarly, the transparent bodies of jellyfish in the sound/ slišnostjo njegove različne časovnosti: isto velja za UL ALUO vmesnike je posredovan in pogojen s specifiko medija, video environments prevajanje telesnih oblik v digitalno resničnost.«6 Ether (2007) and Sonic (2008) were not used to provoke a sense of danger or to evoke sublime feelings by realizing that the jellyfish physical TRANSLUCENCY / IRIDESCENCE / touch with humans’ results in the pain of a sting. It BLINDING might be naïve to give up the sublime quality of literal interpretation, but the awareness of their transformation into the digital medium holds supreme importance. Within the exhibition ANTI / ANTI, the orchestration of translucency was subjected to a different rhetoric of The latter is highlighted by the German media theorist surfaces. Translucency and iridescence in the works Wolfgang Ernst in his writings on the works: “Although acted through a sensory blinding. The territory of 6 ERNST Wolfgang, SOUNDS HUMAN/INHUMAN – ZVENI sound/video media environments seem to be primarily ČLOVEŠKO/NEČLOVEŠKO Medijsko-arheološki odmevi na zvočni-video blinding was established through a fascination and related to the spatial qualities of the architectural object, ambient Ksenije Čerče rec # 21, katalog: Dialog Čerče/Vučetić, Umetnostna the meaningful difference between what glimmers and galerija Maribor, Maribor 2012, str. 13. what shines. Appearance, including fascination, acts the actual message of multimedia artworks lies in their temporal dynamics. The essence of the environments as a blinding blemish. Blinding evokes a transformation resides not in the semantic content but in the structural of the gaze, provoking a different perception of things, features. The projects demonstrate that the most including ourselves. If the sublime refers to the tension important characteristics of the relationship between between the beautiful and the terrifying, in this exhibition, visibility and audibility lie in their different temporalities: the materials and artworks functioned as both alluring the same applies to the translation of bodily forms into and toxic. digital reality.” 6 The materials, shimmer and blind spots of light marks resist the reproduction of paintings and thus counteract 6 ERNST Wolfgang, SOUNDS HUMAN/INHUMAN – ZVENI the omnipresent self-evidence of viewing paintings ČLOVEŠKO/NEČLOVEŠKO. Media-Archaeological Echoes in Response to the Sound/Video Environment Rec # 21 by Ksenija Čerče / Medijsko- through screens and technological intermediaries. arheološki odmevi na zvočni-video ambient Ksenije Čerče rec # 21 , The gaze mediated through technological interfaces catalogue: Dialogue/Dialog Čerče/Vučetić, Maribor Art Gallery, Maribor 2012, p.13. is conditioned by the specificity of the medium that ki posreduje. Medij označuje; medij ni nikoli pasiven. Slike so se z retoriko materialov slednjemu uprle. Slik ni bilo mogoče opazovati zgolj statično z ene točke, s katero je pogojen “pogled” fotografskega aparata. Namen uporabe iridescentnih in prosojnih materialov je bil vzpostaviti različne poglede na sliko, ki so vpeljevali stisko in trenje različnih pogledov. Napram elementu klasičnega frontalnega pogleda na sliko je bila vzpostavljena zagata paralakse. HIBRIDNOST / SEKVENCE conveys it. The medium is never passive: it signifies. Umetnost danes požene v svoje drobovje/prebavni trakt The rhetoric of materials in these works resisted the vse, kar služi njenemu namenu: transplantirane organe, mediation. Consequently, the paintings could not genetiko, inteligibilne podaljške človeške eksistence, be observed statically from a single point of view generične odpadke, tehnološko in socialno protetiko predetermined by the “gaze” of the photographic vsakdana ... Formacije, ki jih iz slednjega zgradi in apparatus. The purpose of using iridescent and distribuira, pa niti ne uporablja kot dvojnik, ampak kar perspectives on the painting, introducing friction and Čerče, © archive of the author / translucent materials was to establish multiple kot prisvojeno identiteto, ki je sicer izgubila referenta, a Photography by Ksenija rekurzivno zadrži skupni negativen imenovalec. Fotografija: Ksenija Čerče, © arhiv avtorice tension between various viewpoints. Contrary to the classic element of a frontal gaze at the painting, the Kako se je torej slednje odraža na ravni uporabe exhibition engaged with the dilemma of parallax. materiala? Hibridnost deluje s križnim prepletanjem HYBRIDITY / SEQUENCES različnih entitet. Materialnost tukaj nastopa kot projektil, nosilec, prepleten z anonimnostjo in neizsledljivo Art today channels into its digestive system/gut anything predelavo. Hibridnost in nepovratnost ter pomen samih postanejo nosilke pomena tudi sekvence odstranitev, that serves its purpose: transplanted organs, genetics, sekvenc distribucije, ki se kažejo v zaporedjih in ne- izpraznjena mesta in ponovne označitve. Pri tem ne intelligible extensions of human existence, generic waste, zaporedjih, sta bila na razstavi izpostavljeni z retoriko in gre za po-uprizoritev odsotnosti, kot osredotočanje na the technological and social prosthetics of everyday life, izbiro materialov. Pri tem ne gre zgolj za odkritje. Temveč dejanje odstranitve. Temveč vzpostavitev konstitutivne etc. The formations it constructs and distributes from za interval – razliko, ki se razpre med odkritjem in odstranitve kot delujoče sekvence, ki predstavlja these are not used as duplicates but as appropriated korektivnim po-odkritjem ali trans-odkritjem materiala. V inherenten del hibridne verige. shared negative denominator recursively. removal—creates spaces and echoes within the network. prostorov in praznin znotraj kontingenc v zaporedjih organov, ki se osamosvojijo in udarijo nazaj. Ko se zgodi It implies the opening of spaces and voids within oziroma nezaporedjih dogodkov. Tako v hibridni verigi hibridna sekvenca, se namreč stvar ne more več vrniti v contingencies in the sequences or non-sequences of How did this manifest in the use of materials? svoje prvotno, enako stanje. identities, which, despite losing their referents, retain a I enter hybridity through erasure, which—through prostore in odmeve v mreži. To implicira razpiranje Soočamo se z vzpostavljanjem hibridov kot delujočih hibridnost vstopamo z izbrisom, ki z odstranitvijo ustvarja Hybridity operates through an entanglement of diverse events. Thus, in the hybrid chain, sequences of removal, entities. Materiality here functions as a projectile, a emptied spaces and reassignments also become carrier entangled with anonymity and untraceable carriers of meaning. This is not about focusing on the act transformation. Hybridity and irreversibility, along with of the removal itself but about establishing constitutive the significance of distribution sequences-manifested in removal as a functioning sequence, an inherent part of sequences and non-sequences were highlighted in the the hybrid chain. exhibition through the rhetoric and selection of materials. This is not about discovery only. It pertains to the We encounter hybrids as functioning organs that interval—the difference that opens between discovery become autonomous and strike back. When a hybrid and the corrective re-discovery or trans-discovery of the sequence occurs, the object or material can no longer material. return to its original, unchanged state. FADE OUT VIRI ČERČE Ksenija, Hortus Conclusus, Likovne besede, št. 61/62 zima 2002, Če se torej vrnemo k na začetku omenjenemu dejstvu, str. 93–97. da se je obstoj slikarstva v preteklosti konstituiral v ERNST Wolfgang, SOUNDS HUMAN / INHUMAN – ZVENI ČLOVEŠKO / različnih pojavnih oblikah, vključno z lastno negacijo, NEČLOVEŠKO Medijsko-arheološki odmevi na zvočni-video ambient Ksenije potem so v pričujoči situaciji skozi medijsko hibridnost Čerče rec # 21, katalog: Dialog Čerče / Vučetić, Umetnostna galerija Maribor, Maribor 2012, str. 8–19. in INFEKCIJO na delu tako vzpostavitve specifičnih objektov kot formacije novih materialnosti. GRAW Isabelle, The Economy of Painting – Notes on the Vitality of a Success-Medium, https://www.youtube.com/watch?v=1JDthDEcmAs, 14. 7. 2021. Ker zasičenost podob in vseprisotnih tehničnih podob oblikuje našo vsakodnevno realnost, je KAPŠ Petra, Manifestacije zvočnega v delu Ksenije Čerče, Likovne besede, poletje 2008, 84, str. 52–62. FADE-OUT ČERČE Ksenija, Hortus Conclusus, Likovne besede/Art Words, winter 2002, tehnično podobo in sliko. Za distribucijo slednjega je ZUPANČIČ Alenka, Po ”koncu umetnosti” ali Hegel s Francisom Baconom, no. 61/62 , pp. 93–97. v postdigitalni situaciji pomenljiva predvsem razlika za slikarstvo danes nujno razumevanje določenih SOURCES SIMON Joshua, Neomaterialism, Sternberg Press, London, 2013. medijsko-teoretičnih pojmov in predvsem razlike med https://www.youtube.com/watch?v=Lgt3rH5sHaw, 4. 3. 2022. Revisiting the essential idea mentioned in the beginning, med relacijo, korelacijo in avtokorelacijo. Tu se kaže ERNST Wolfgang, SOUNDS HUMAN/INHUMAN – ZVENI ČLOVEŠKO/ that the existence of painting in the past has been NEČLOVEŠKO. Media-Archaeological Echoes in Response to the Sound/ neizogibnost kontingence kot giljotinskega zamika, Video Environment Rec # 21 by Ksenija Čerče / Medijsko-arheološki odmevi constituted in various forms, including its own negation, ki z rezom in nepredvidljivostjo zareže v sekvenco, na zvočni-video ambient Ksenije Čerče rec # 21, catalogue: Dialog/Dialogue it becomes apparent that, in the present context, both Čerče/Vučetić, Maribor Art Gallery, Maribor 2012, pp. 8–19. konceptualno predhodno slikarski gesti. the creation of specific objects and the formation of new materialities are at play through media hybridity GRAW Isabelle, The Economy of Painting – Notes on the Vitality of a “Izguba se bo zgodila, ampak je treba to, kar se bo Success-Medium, https://www.youtube.com/watch?v=1JDthDEcmAs, and infection. izgubilo, šele pripraviti,” pravi Alenka Zupančič.7 14 July 2021. Režim lastnega slikarstva torej reduciram na iskanje KAPŠ Petra, Manifestacije zvočnega v delu Ksenije Čerče, Likovne besede/ Since the saturation of images and ubiquitous technical Art Words, summer 2008, no. 84, pp. 52–62. neizogibnega vezja. Negacija, katere odmev se premesti images shape our day-to-day reality, it is essential for v delujoče polje zunanjosti podobe, tako postane SIMON Joshua, Neomaterialism, Sternberg Press, 2013. the field of painting today to develop an understanding tisti gradnik, za katerega lahko rečemo, da je za sliko of certain media theoretical concepts and especially the ZUPANČIČ Alenka, Po ”koncu umetnosti” ali Hegel s Francisom Baconom, inherenten dejavnik. Negacija oziroma izdejanjenje pa https://www.youtube.com/watch?v=Lgt3rH5sHaw, March 2022. distinction between a technical image and a painting. se v tej zanki rekurzivno osmisli z ANTICIPACIJO In the post-digital circumstances, the difference stvarnega vidika. between relation, correlation and autocorrelation is of significance. Here, the inevitability of contingency appears as a guillotine sharp shift, unpredictably cutting into the sequence that conceptually precedes the painterly gesture. 7 ZUPANČIČ Alenka, Po ”koncu umetnosti” ali Hegel s Francisom Baconom, https://www.youtube.com/watch?v=Lgt3rH5sHaw, 4. 3. 2022. “A loss will happen, but what will be lost has yet to be prepared,” writes Alenka Zupančič.7 I thus reduce the regime of my painting to the search for the inevitable circuit. Negation, with its echo transitioning to the image’s exterior field of action, becomes the building block inherent to the painting. In this loop, negation or dematerialisation recursively acquires meaning through the ANTICIPATION of the factual aspect. 7 ZUPANČIČ Alenka, Po ”koncu umetnosti” ali Hegel s Francisom Baconom, https://www.youtube.com/watch?v=Lgt3rH5sHaw, 4 March 2022. WHO’S AFRAID OF PINK KDO SE COLOUR? BOJI ROZA 58 BARVE? 58 59 59 ABSORPTIVE TRANSGRESSION ABSORBNA TRANSGRESIJA 2011–21 TEXTBOOK AND SLAUGHTERHOUSE UČBENIK IN KLAVNICA 2021 Who’s Afraid of Pink Colour?, UGM Studio 2021 Kdo se boji roza barve?, UGM Studio 2021 THE SPOILER SPOJLER 2020–21 AMOROUS ARGUING AMUROZNO PREREKANJE 2021 PASSION FOR SWEETNESS: CHERRY WAR OR NESTING IN THE AMATEURS’ CLINIC SLADOSTRASTJE: ČEŠNJEVA VOJNA ALI GNEZDENJE V KLINIKI ZA AMATERJE 81 2021 I HATE GREEN SOVRAŽIM ZELENO 2020–21 »B« 2011–23 There lived a red-haired woman who had no eyes and no ŽIVLJENJEPIS ears. She also had no hair, so she was called a redhead only conditionally. She couldn’t speak because she didn’t have a mouth. She didn’t have a nose either. She didn’t even have arms or legs. She had no stomach, no back, no spine and no internal organs. She had nothing. So we don’t even know who we’re talking about. It’s better not to talk about her anymore.* * Adaptation of the text by Daniil Harms, Blue Volume No. 10. Živela je rdečelaska, ki ni imela oči in ušes. Tudi las ni imela, zato so jo imenovali rdečelaska le pogojno. Ni mogla govoriti, ker ni BIOGRAPHY imela ust. Tudi nosu ni imela. Niti rok in nog ni imela. Ni imela želodca, hrbta ni imela, hrbtenice in nobenih notranjih organov ni imela. Ničesar ni imela. Torej sploh ne vemo, o kom govorimo. Bolje je, da o njej ne govorimo več.* * Priredba besedila Daniila Harmsa, Sinji zvezek št.10. INDEX OF ARTWORKS / ANTI / ANTI 18/19 ANTI / ANTI, Gallery Equrna, 2023, exhibition view 6/7 ANTI / ANTI, Galerija Equrna, 2023, pogled na razstavo ANTI / ANTI, photo for the exhibition announcement Photography by Damjan Švarc © archive of the author and SEZNAM DEL ANTI / ANTI, fotografija za napoved razstave the archive of UL ALUO Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO Photography by Ksenija Čerče © archive of the author Fotografija Ksenija Čerče © arhiv avtorice 21 8/9 CRONENBERG’S SPIT DIGITAL NATIVE (Hybrid of Yunchul Kim’s work Chroma V, CRONENBERGOV PLJUNEK 2022) techniques in an extensiology clinic DIGITALNI DOMORODEC (Hibrid dela Yunchula Kima tehnike v kliniki za ekstenziologijo Chroma V, 2022) 203 × 187 cm, 2021–22 techniques in an extensiology clinic Photography by Damjan Švarc © archive of the author and tehnike v kliniki za ekstenziologijo the archive of UL ALUO 203 × 187 cm, 2022–23 Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO Photography by Damjan Švarc © archive of the author and the archive of UL ALUO 22/23 Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO WORK TITLES from ANTI / ANTI NASLOVI DEL iz ANTI / ANTI 10/11 SONOREX (detail) 24/25 SONOREX (detajl) ANTI / ANTI, Gallery Equrna, 2023, exhibition view techniques in an extensiology clinic ANTI / ANTI, Galerija Equrna, 2023, pogled na razstavo tehnike v kliniki za ekstenziologijo Photography by Damjan Švarc © archive of the author and 203 × 187 cm, 2022–23 the archive of UL ALUO Photography by Damjan Švarc © archive of the author and Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO the archive of UL ALUO Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO 26/27 YAGI UDA 12/13 techniques in an extensiology clinic ANTI / ANTI, announcement photo tehnike v kliniki za ekstenziologijo ANTI / ANTI, napovedna fotografija 203 × 374 cm, 2021–23 Photography by Ksenija Čerče © archive of the author Photography by Damjan Švarc © archive of the author and Fotografija Ksenija Čerče © arhiv avtorice the archive of UL ALUO Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO 14/15 SLIME 28/29 SLAJM PANZER techniques in an extensiology clinic PANCER tehnike v kliniki za ekstenziologijo techniques in an extensiology clinic 118 × 123 cm, 2023 tehnike v kliniki za ekstenziologijo Photography by Damjan Švarc © archive of the author and 163 × 82 cm, 2023 the archive of UL ALUO Photography by Damjan Švarc © archive of the author and Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO the archive of UL ALUO Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO 16/17 ANTI / ANTI, Gallery Equrna, 2023, exhibition view ANTI / ANTI, Galerija Equrna, 2023, pogled na razstavo Photography by Damjan Švarc © archive of the author and the archive of UL ALUO Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO 30/31 WHO’S AFRAID OF PINK COLOUR? / 73 85 »B«, 2011–23 THE SPOILER I HATE GREEN KDO SE BOJI ROZA BARVE? PANZER, 2023 SPOJLER SOVRAŽIM ZELENO PANCER, 2023 forbidden techniques / prepovedane tehnike forbidden techniques / prepovedane tehnike 60/61 techniques in an extensiology clinic 203 × 187 cm, 2020–21 203 × 187 cm, 2020–21 WHO’S AFRAID OF PINK COLOUR?, photo for the tehnike v kliniki za ekstenziologijo Photography by Arne Brejc © archive of the author Photography by Arne Brejc © archive of the author exhibition announcement 163 × 82 cm, 2023 Fotografija Arne Brejc © arhiv avtorice Fotografija Arne Brejc © arhiv avtorice KDO SE BOJI ROZA BARVE?, fotografija za napoved Photography by Damjan Švarc © archive of the author and the archive of UL ALUO 14/15 razstave 86/87 Photography by Ksenija Čerče © archive of the author Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO THE SPOILER (detail) Exhibition view: Paintings from the cycle Who’s Afraid of Fotografija Ksenija Čerče © arhiv avtorice SPOJLER (detajl) Pink Colour?, Gallery Murska Sobota, 2024 32/33 forbidden techniques / prepovedane tehnike Pogled na razstavo: Slike iz cikla Kdo se boji roza barve?, 62/63 ANTI / ANTI, exhibition view, Gallery Equrna, 2023 203 × 187 cm, 2020–21 Galerija Murska Sobota, 2024 Exhibition view: paintings from the cycle Who’s Afraid of ANTI / ANTI, pogled na razstavo, Galerija Equrna, 2023 Photography by Arne Brejc © archive of the author Photography by Damjan Švarc © archive of the author Pink Colour?, Gallery Murska Sobota, 2024 Photography by Damjan Švarc © archive of the author and Fotografija Arne Brejc © arhiv avtorice Fotografija Damjan Švarc © arhiv avtorice Pogled na razstavo: slike iz cikla Kdo se boji roza barve?, the archive of UL ALUO Galerija Murska Sobota, 2024 Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO 77 89 aNd/IN 90/91 Photography by Damjan Švarc © archive of the author and AMOROUS ARGUING »B« the archive of UGM 36/37 AMUROZNO PREREKANJE object Fotografija Damjan Švarc © arhiv avtorice in arhiv UGM NEVER AND NOT EVEN THEN prepovedane tehnike / forbidden techniques objekt NIKOLI IN TUDI TAKRAT NE 203 × 187 cm, 2021 53 × 94 cm, 2011–23 65 techniques in an extensiology clinic Photography by Arne Brejc © archive of the author techniques in an extensiology clinic ABSORPTIVE TRANSGRESSION tehnike v kliniki za ekstenziologijo Fotografija Arne Brejc © arhiv avtorice tehnike v kliniki za ekstenziologijo ABSORBNA TRANSGRESIJA 185 × 340 cm, 2022–23 Photography by Damjan Švarc © archive of the author Photography by Damjan Švarc © archive of the author and 78/79 object Fotografija Damjan Švarc © arhiv avtorice objekt the archive of UL ALUO Exhibition view: Paintings from the cycle Who’s Afraid of Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO Pink Colour?, Gallery Murska Sobota, 2024 92/93 techniques in an extensiology clinic tehnike v kliniki za ekstenziologijo Pogled na razstavo: Slike iz cikla Kdo se boji roza barve?, WORK TITLES from Who’s Afraid of Pink Colour? 38/39 53 × 94 cm, 2011–21 Galerija Murska Sobota, 2024 NASLOVI DEL iz Kdo se boji roza barve? Photography by Damjan Švarc © archive of the author and NEVER AND NOT EVEN THEN (detail) Photography by Damjan Švarc © archive of the author NIKOLI IN TUDI TAKRAT NE (detajl) Fotografija Damjan Švarc © arhiv avtorice 94/95 the archive of UGM Fotografija Damjan Švarc © arhiv avtorice in arhiv UGM techniques in an extensiology clinic NEVER AND NOT EVEN THEN (detail) tehnike v kliniki za ekstenziologijo 81 NIKOLI IN TUDI TAKRAT NE (detajl) 67 185 × 340 cm, 2022–23 PASSION FOR SWEETNESS – CHERRY WAR OR techniques in an extensiology clinic TEXTBOOK AND SLAUGHTERHOUSE Photography by Damjan Švarc © archive of the author and NESTING IN THE AMATEURS’ CLINIC tehnike v kliniki za ekstenziologijo UČBENIK IN KLAVNICA the archive of UL ALUO SLADOSTRASTJE – ČEŠNJEVA VOJNA ALI GNEZDENJE 185 × 340 cm, 2022–23 forbidden techniques / prepovedane tehnike Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO V KLINIKI ZA AMATERJE Photography by Damjan Švarc © archive of the author and 203 × 187 cm, 2021 forbidden techniques / prepovedane tehnike the archive of UL ALUO Photography by Arne Brejc © archive of the author 40 203 × 187 cm, 2021 Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO Fotografija Arne Brejc © arhiv avtorice NEVER AND NOT EVEN THEN Photography by Arne Brejc © archive of the author NIKOLI IN TUDI TAKRAT NE Fotografija Arne Brejc © arhiv avtorice 68/69 techniques in an extensiology clinic tehnike v kliniki za ekstenziologijo 83 Who’s Afraid of Pink Colour?, UGM Studio 2021 Kdo se boji roza barve?, UGM Studio 2021 185 × 340 cm, 2022–23 PASSION FOR SWEETNESS – CHERRY WAR OR Photography by Damjan Švarc © archive of the author and Photography by Damjan Švarc © archive of the author and NESTING IN THE AMATEURS’ CLINIC (detail) the archive of UGM the archive of UL ALUO SLADOSTRASTJE – ČEŠNJEVA VOJNA ALI GNEZDENJE Fotografija Damjan Švarc © arhiv avtorice in arhiv UGM Fotografija Damjan Švarc © arhiv avtorice in arhiv UL ALUO V KLINIKI ZA AMATERJE (detajl) forbidden techniques / prepovedane tehnike 57 203 × 187 cm, 2021 Bag with foils for the painting PASSION FOR Photography by Arne Brejc © archive of the author SWEETNESS – CHERRY WAR OR NESTING IN THE Fotografija Arne Brejc © arhiv avtorice AMATEURS’ CLINIC, Photography by Ksenija Čerče © archive of the author Vrečka s folijami za sliko SLADOSTRASTJE – ČEŠNJEVA VOJNA ALI GNEZDENJE V KLINIKI ZA AMATERJE Fotografija Ksenija Čerče © arhiv avtorice THANKS / ZAHVALA My sincere thanks goes to Wolfgang Ernst, Ana-Olja Čerče, Primož Premzl, Rafaela Dražić, Arne Brejc, Breda Kolar Sluga, Tjaša Podojstršek, UGM and ALUO UL for their invaluable support. Moja iskrena zahvala gre Wolfgangu Ernstu, Ani-Olji Čerče, Primožu Premzlu, Rafaeli Dražić, Arnetu Brejcu, Bredi Kolar Sluga, Damjanu Švarcu, Tjaši Podojstršek, UGM in ALUO UL za njihovo neprecenljivo podporo. Ksenija Čerče PROOFREADING / LEKTORIRANJE Who’s Afraid of Pink Colour? Jezikovna zadruga Soglasnik Kdo se boji roza barve? Ksenija Vidic GRAPHIC DESIGN / GRAFIČNO OBLIKOVANJE The book includes the essay along with a selection of Rafaela Dražić works from two cycles, ANTI / ANTI and Who’s Afraid of PRINT PREPARATION / PRIPRAVA TISKA Pink Colour?, which were exhibited in three exhibitions: Sanja Bračun Who’s Afraid of Pink Colour?, UGM Studio 2012, curator COVER / NASLOVNICA Andreja Borin ANTI / ANTI, photo for the exhibition announcement ANTI / ANTI, Gallery Equrna 2023, curator Arne Brejc ANTI / ANTI, fotografija za napoved razstave Gallery Equrna Presents Three Generations: Zmago Photography by Ksenija Čerče © archive of the author Lenárdič, Ksenija Čerče, Staš Kleindienst, Gašper Fotografija Ksenija Čerče © arhiv avtorice Capuder, Gallery Murska Sobota 2024, curator Arne Brejc / PRINT / TISK Knjiga vključuje objavo eseja ter izbor del iz dveh ciklov Florjančič tisk, Maribor ANTI / ANTI in Kdo se boji roza barve?, ki sta bila razstavljena na treh razstavah: PRINT RUN / NAKLADA Kdo se boji roza barve?, UGM Studio 2021, kustosinja 300 Andreja Borin ANTI / ANTI, Galerija Equrna 2023, kurator Arne Brejc First edition / Prva izdaja Galerija Equrna predstavlja štiri generacije: Zmago Lenárdič, Ksenija Čerče, Staš Kleindienst, Gašper THE PUBLICATION WAS MADE POSSIBLE BY / Capuder, Galerija Murska Sobota, 2024, kurator IZDAJO SO OMOGOČILI Arne Brejc UL ALUO, Ksenija Čerče and / in UGM TEXT / BESEDILO Ljubljana 2024 Ksenija Čerče The text ANTI / ANTI was first published in a shorter The publication is the result of a project funded under the and different form in: Returning the Gaze, ed. by Alenka Institutional Pillar of Funding Activities of the Academy of Trebušak and Mateja Podlesnik, published by the Museum Fine arts and Design, University of Ljubljana. / Publikacija and Galleries of Ljubljana, Cukrarna Gallery, Ljubljana je rezultat projekta, ki se financira v okviru dejavnosti 2022, pp. 98–99. Institucionalnega stebra financiranja Akademije za likovno umetnost in oblikovanje Univerze v Ljubljani. Besedilo ANTI / ANTI je bilo v krajši in drugačni obliki prvič objavljeno v: Vračanje pogleda, ur. Alenka Trebušak in This work is licensed under a Creative Commons Mateja Podlesnik, izdal Muzej in galerije mesta Ljubljane, Attribution-ShareAlike 4.0 International License (except Cukrarna, Ljubljana 2022, str. 98–99. photographs). / To delo je dostopno pod licenco Creative Commons Priznanje avtorstva-Deljenje pod enakimi pogoji EDITOR / UREDIL 4.0 Mednarodna licenca (izjema so fotografije). Primož Premzl PUBLISHED BY / ZALOŽILA University of Ljubljana Press / Založba Univerze v Ljubljani FOR THE PUBLISHER / ZANJO Gregor Majdič, Rector of the University of Ljubljana / First digital edition / Prva e-izdaja rektor Univerze v Ljubljani A digital copy of the publication is available at / Publikacija ISSUED BY / IZDALA je v digitalni obliki prosto dostopna na https://ebooks. Academy of Fine Arts and Design, University of Ljubljana / uni-lj.si/ in /and https://www.aluo.uni-lj.si/raziskovanje/ Akademija za likovno umetnost in oblikovanje, Univerza v zalozniska-dejavnost/ DOI: Ljubljani FOR THE ISSUER / ZANJO PRINTED BOOK / TISKANA KNJIGA Alen Ožbolt, Dean of the Academy of Fine Arts and Design, ISBN 978-961-297-508-1 University of Ljubljana / dekan Akademije za likovno COBISS.SI-ID 220030979 umetnost in oblikovanje, Univerza v Ljubljani CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana TRANSLATION / PREVOD 7.038.53(083.824) Jezikovna zadruga Soglasnik ČERČE, Ksenija Ksenija Vidic Who’s afraid of pink colour? = Kdo se boji roza barve? / Ksenija Čerče ; [translation Jezikovna zadruga Soglasnik ... [et al.] ; photographs Damjan Nastja Majerič Švarc, Arne Brejc, Ksenija Čerče]. - 1st ed. = 1 izd. - Ljubljana : University Ksenija Čerče of Ljubljana Press = Založba Univerze, 2024 PHOTOGRAPHS / FOTOGRAFIJE E-BOOK / E-KNJIGA Damjan Švarc COBISS ID: 220176131 Arne Brejc Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni Ksenija Čerče knjižnici v Ljubljani COBISS.SI-ID 220176131 Persons and institutions mentioned in the captions / ISBN 978-961-297-509-8 (PDF) Osebe in ustanove, navedene v seznamu del