Ustvarjalni nemir,

ki ne pojema

Endless

Creative Passion

Stojan Batič

Vladimir Makuc

Štefan Planinc

Karel Zelenko



Razstavo posvečamo visokim jubilantom

mesta Ljubljane in praznovanju

konca druge svetovne vojne.

The exhibition is dedicated to four

major Ljubljana artists on the occasion

of their anniversaries and the celebration

of the end of World War II.

CIP - Kataložni zapis o publikaciji

Narodna in univerzitetna knjižnica, Ljubljana

73/76(497.4)(083.824)

USTVARJALNI nemir, ki ne pojema = Endless creative

passion / Stojan Batič ... [et al.] ; [besedila Aleksander

Bassin ; prevajalka v angleščino Tina Škoberne ; fotografije

Janez Vlachy, Matevž Paternoster]. - Ljubljana : Društvo

likovnih umetnikov, 2015

ISBN 978-961-93333-3-4

1. Vzp. stv. nasl. 2. Batič, Stojan

281050368

Ustvarjalni nemir,

ki ne pojema

Endless

Creative Passion

Stojan Batič

Vladimir Makuc

Štefan Planinc

Karel Zelenko

Stojan Batič

Ob več kot pol stoletja trajajoči kiparski

As Stojan Batič’s career has lasted over

ustvarjalnosti Stojana Batiča se naš po-

half a century, it allows us to inspect a re-

gled upira v historično polpreteklost slo-

cent period of art history that was the

venskega modernizma. V obdobje, v ka-

heyday of Slovenian modernism. This is a

terem se je sodobno slovensko kiparstvo

period where Slovenian sculpture was

takorekoč kalilo, iskalo in presegalo Hilde-

shaped, sought to define its position, over-

brandov formalizem ter sledilo rodinov-

coming Hildebrand’s formalism and fol-

skim načelom v plastičnem oblikovanju.

lowing Rodinesque approach to sculptur-

al design.

Stojan Batič je kot študent prve, v Ljublja-

ni diplomirane generacije, vzpostavil stik

Stojan Batič was among the first genera-

najprej z Borisom Kalinom, predvsem pa z

tion of students that graduated from the

lahkotno modelacijo in visoko estetiko dru-

Ljubljana academy. He first established

gega profesorja Frančiška Smerduja. Hkra-

links with Boris Kalin, and then particular-

ti pa je v monumentalni spomeniški pla-

ly with the light shapes and high aesthet-

stiki, že uvodoma najprej v Logatcu (Spo-

ics of another professor at the academy,

menik padlim borcem NOB, 1958), zarezal

Frančišek Smerdu. At the same time, he

v kompakten monolitni kubus z željo, da

cut into compact monolith cube, first in

ostaja ideja vsej novodobni modernistični

Logatec (a monument to the fighters in

analizi mase, prostora in strukture nav-

WWII in 1958) to preserve the notion of

kljub še vedno vodilna rdeča nit.

idea in monumental memorial sculpture

as the main theme in the period governed

V takem ustvarjalnem dualizmu, če le-te-

by modernist analysis of mass, space and

ga označuje razpetost avtorja med malo,

structure.

intimno in monumentalno spomeniško pla-

stiko, se pravzaprav odvija celotno Bati-

This creative dualism, i.e. the artist’s works

čevo delo. Delo, ki doseže ob koncu pet-

both as small and intimate, and monu-

desetih let prvi, tako kot se kaže tudi da-

mental memorial sculptures, underlines

nes, pa verjetno tudi svoj najznačilnejši vrh

practically all of Batič’s work. Within the

– sintezo stopnje na prej omenjeni ustvar-

scope of his work, his first, and probably

jalni poti: v rudarskem ciklusu, za katere-

most typical peak was in the late 1950s,

ga genius loci je v avtorjevi biografiji in

when in a series of mining-theme works

duhovni navezanosti na revirski prostor

that were inspired by the artist’s life and

več kot dovolj upravičenih vzrokov. Vitali-

his spiritual connection to the mining towns

stična svežina modernega naturalizma, kot

he achieved a synthesis of previously

je to stopnjo označil italijanski umetno-

mentioned facets. The vitalist freshness

stni zgodovinar in kritik Franco Solmi,

of modern naturalism, as it was described

oziroma realizem s eksistencialno duhov-

by the Italian art historian and critic Fran-

no nadgradnjo, vezanostjo na primarnost

co Solmi, or realism upgraded with exis-

4

materiala, ki se bo neizbrisno zapisal v nje-

tential spiritualism that relied on primary

gov formalni jezik – se pravi v drobnikavo,

material, became an integral part of his

kamnoseško obdelavo površinske struk-

formal approach: the tiny carving into the

ture, v členaste elemente, ki tvorijo pravo

surface structure, into serial elements that

mrežasto satovje, v likovno igrivost, v ka-

form a dense grid, an artistic playfulness

teri je masa vizualno kot izničena v korist

where mass is visually overtaken by play-

te igrivosti, učinkuje pa še vedno kot volu-

fulness and includes a grandiose drawing

minozni risarski poseg v prostor.

intervention into space.

Če smo posebej naglasili idejo, motiv kot

After we have determined that the idea,

nosilni element, potem je na le-tega treba

the motif is the main element in Batič’s

seveda opozoriti v vseh, drug za drugim

works, we should also mention which are

nastajajočih Batičevih ciklusih: od erotične

the main motifs in other Batič’s series:

Satiriade preko Tragosa, Aure Slovenicae

they span from erotic Satyrs via Tragos to

do Slovenskih mitov in legend. Ciklusi, ki

Aura Slovenicae and Slovenian myths and

so nam takorekoč še vsi prezentni, tako

legends. These are still very much present

zaradi večne teme, trdnosti, izročilne vre-

in his latest works, and are practically all

dnosti in ne nazadnje zaradi izvedene ki-

eternal themes with a strong message.

parjeve aktivnosti v zadnjem obdobju. Zgo-

Historic testimonies are wrapped into nar-

dovinsko pričevanje, zavito v pripovedno

rative width, mythical, poetic metaphors,

širino, mitske, poetične prispodobe, ikono-

iconographic characteristics and expres-

grafske značilnosti in ekspresivna nazor-

sive clarity: all this has logically come to-

nost – vse to torej logično sklene formalni

gether in a formal and psychological cir-

in miselni krog v umetnikovi zrelosti.

cle in the artist’s mature years.

V Batičevem opusu so tudi številna javna

Batič’s oeuvre also includes many public

kiparska dela, ki jih je veliko tudi v Ljublja-

sculptures, many of them in Ljubljana. Along

ni. Ob monumentalnih javnih spomenikih

with monumental public monuments, such

kot sta Talec v Zeleni jami in spomenik

as the Hostage in Zelena jama and a mon-

kmečkim uporom na Ljubljanskem gradu,

ument to peasants’ uprising at the Ljublja-

nas spremljajo Batičeve parkovne skulp-

na Castle, there are Bartič’s Ballet Dancers

ture Baletni par v Tivoliju, Urška in povo-

in Tivoli Park, Urška and the Water Man in

dni mož na Gospodarskem razstavišču,

Exhibition and Convention Centre, Harle-

Zaljubljeni harlekin v oknu ob glavnem

quin in Love in the window by the main

vhodu v dvorišče Križank, Mladinsko kolo

entrance to Križanke, Youths Dancing at

na Komenskega ulici, Orfej na Celovški ce-

Komenskega Street, Orpheus on Celovška

sti in pred Dramo.

Road and in front of Drama National The-

atre.

5

Stojan Batič

Stojan Batič

Rojen 2. junija 1925 v Trbovljah. Po končani sre-

Born 2 June 1925 in Trbovlje. After finishing

dnji šoli dela kot rudar, leta 1944 odide v parti-

secondary school, he worked as a miner, then

zane v Kozjanski odred. Leta 1945 se vpiše na

joined the partisans, the Kozjansko detach-

Akademijo upodabljajočih umetnosti, kjer kon-

ment, in 1944. In 1945, he began studying at

ča 1949 pri prof. Borisu Kalinu, 1951 pa še kipar-

the Academy of Fine Arts, where he graduated

sko specialko pri prof. Frančišku Smerduju. V

under Boris Kalin in 1949, and finished his post-

letu 1958 dela nekaj mesecev v Parizu v ateljeju

graduate studies under Frančišek Smerdu in

Ossipa Zadkina. Avtor preko 50 javnih memo-

1951. In 1958, he worked in the studio of Ossip

rialnih spomenikov in parkovnih plastik v bronu

Zadkine in Paris for a few months. He has cre-

in kamnu, številnih javnih oprem in preko 70

ated over 50 public memorial monuments and

javnih portretov. Batič je imel preko 30 samo-

sculpture in bronze and stone, many pieces of

stojnih razstav doma in v tujini (Pariz, Dunaj,

public outdoor equipment and over 70 public

Wiesbaden), sodeloval je na več kot 100 sku-

portraits. Batič has had over 30 solo exhibi-

pinskih razstavah doma in v tujini (Aleksandrija

tions in Slovenia and abroad (Paris, Vienna, Wi-

1955, Rim, Pariz, Milano 1956, Varšava 1957, Bru-

esbaden) and participated in over 100 group

selj 1960, Essen, London 1961, 1974, Dunaj 1962,

exhibitions in Slovenia and abroad (Alexandria

Paris 1971, Sofija, Budimpešta, Bukarešta 1977/78,

in 1955, Rome, Paris, Milano in 1956, Warsaw in

Benetke–bienale 1980, Marne-la-Val e 1982). Pre-

1957, Brussels in 1960, Essen, London in 1961,

jemnik nacionalnih nagrad (med njimi Prešer-

1974, Vienna in 1962, Paris in 1971, Sofia, Buda-

nova nagrada 1960, nagrada vstaje slovenske-

pest, Bucharest in 1977/78, Venice Biennial in

ga naroda 1966, nagrada mesta Ljubljane 1975,

1980, Marne-la-Valle in 1982). He has received

2015, Župančičeva nagrada 1978) in mednaro-

several national awards (including Prešeren

dnih priznanj (plaketa aleksandrijskega bienala

Award in 1960, the Uprising Award in 1966, City

1955, nagrada Morgans, Rimini 1961).

of Ljubljana Award in 1975, 2015, Župančič

Award in 1978) and international recognitions

(prize from the Alexandria Biennale in 1955,

Morgans Award, Rimini in 1961).

6



Barska plesalka / Bar Dancer

bron / bronze

67 x 24,5 x 9 cm

1956



Avtoportret / Self-portrait

bron / bronze

44 x 42 x 21 cm

1958



Rudniške sence II / Shadows in a Mine II

lignit / lignite

82 x 27 x 7 cm

1963



Pitija / Pythia

bron / bronze

v. / h. 40 cm

1984



Sigismund zasnubi Barbaro / Sigismund Proposes to Barbara

bron / bronze

v. / h. 26 cm

1990

Vladimir Makuc

»Tudi za svobodno kompozicijo moram

“Even to create a free composition I need

imeti spodbudo iz resničnega sveta. Zdi

inspiration from the real world. I find it vital

se mi nujno, da ohranim značaj prostora: s

to preserve the character of space: by ab-

tem, da določene posameznosti abstrahi-

stracting some individual elements and stress-

ram, druge pa poudarim, dosežem tudi,

ing others I also achieve, I think, something

tako se mi zdi, povsem nekaj nasprot ne-

completely opposite to what I wanted: car-

ga, od tistega kar sem želel: karikaturo …«

icature …”. While Makuc’s words may seem

Makucove lastne besede, ki se zdijo kot

torn out of context, they ful y apply to his

iztrgane iz konteksta, so v polnem soglas-

woodcuts (Masks, 1958) and his idea that

ju z lesorezom (Maske, 1958), z umetniko-

was born then and ful y developed and cre-

vo idejo, ki se je tedaj porodila, se pozneje

ated new content through his artistic inter-

razvila, ga v polnosti zasegla in v njegovi

pretation later. Without wanting to over-

umetniški interpretaciji dosegla novo vse-

define or apologetical y apply anything, we

bino. In tako prihajamo, ne da bi prejudi-

reach the structure of the tragic and comic

cirali, niti apologetsko uveljavili, prav do

moment that is overwhelmingly present in

strukture tragičnega in komičnega momen-

Makuc’s graphic works, the phenomenon of

ta, ki prevladuje v Makučevi grafiki, se pra-

grotesque.

vi do fenomena groteske.

While copying medieval frescoes, the art-

Umetnik se je v času kopiranja srednjeve-

ist indirectly learned about infantility in

škega stenskega slikarstva posredno, pre-

visual arts through its primitive forms. It

ko njegovih primitivnih oblik seznanil z

could be said that with this help, by trans-

momentom infantilnosti v likovni umetno-

ferring this into his own artistic language

sti. Lahko rečem, da je prav z njegovo po-

he discovered a major expressive element

močjo, s transpozicijo v lastno umetniško

that became more present and character-

izpovednost, odkril pomemben izrazni

istic with his every next print. This ele-

element, ki je postajal v vsakem njegovem

ment was first expressed in Makuc’s work

listu bolj navzoč in značilnejši. Ta element

with careful transfer of various signs, some-

se v Makučevem delu izraža najprej v do-

times only signatures and signs marking

slednem prenosu raznolikih znamenj, vča-

the presence of the faithful in the church

sih le podpisov ali znakov navzočnosti

and words written in Glagolitic alphabet

vernikov v cerkvi in zapisov v glagolici iz

from medieval frescoes, symbols whose

srednjeveških fresk, simbolov, ki izpopol-

presence fills and takes up the entire sur-

njujejo in zavzemajo s svojo grafično po-

face, although it had already been cov-

javnostjo celotno površino, čeprav jo je že

ered with stone structure, with Karst ur-

prekril s kamnito strukturo, z neke vrste

banism, or even human and animal fig-

kraškim urbanizmom, da celo s samo figu-

ures.

ro, človeško ali živalsko.

12

… Nič ni čudnega, da je Makuc nekako

…It is little wonder that Makuc somehow

prestopil v nov svet, v katerem se je sredi

transitioned into a new world, where new

mrtvih oblik odkrila nova resničnost, nova

reality was discovered amidst dead forms,

živa figura – petelin … Nad črnim peteli-

a new living figure, a cockerel…Above the

nom (1962) je zablestel kot modri kristal

Black Cockerel (1962) shone like a blue

venček, spleten iz neznanega cvetja, a

crystal wreath made from unknown flow-

pojavile so se tudi ptice ob tajinstvenem

ers, where along with the mysterious

svetlikanju spiral in ena je že napovedala

glimmering spirals, birds also appeared

let nad kvadratasto streho – poslednji znak

and one already looked as if it would start

prepoznavanja stisnjenega in omejujoče-

flying over the square roof – the last sign

ga prostora. Se bo ta njen vzlet spremenil

for recognising a squeezed and restrict-

samo v let in ponovno vračanje v ta svet

ing space. Will its ascent turn only into a

ali pa pobeg iz njega?« (1967)

flight and return to this world or will it flee

from it?” (1967)

Tekst, ki sem ga zapisal ob uvodnih grafič-

nih listih Vladimirja Makuca pred skoraj

This is an excerpt from a text that I wrote to

petdesetimi leti, navezujem na razstavlje-

accompany prints by Vladimir Makuc al-

na nova umetnikova dela na papirju: na

most fifty years ago, and I can relate it to

originalno risbo, ki se začrtuje v ploskovito

his new works on paper: the original draw-

projekcijo spet tistega skoraj magič nega,

ing that is made into the surface projection

uročenega mojstrovega prostora – prosto-

of the almost magical, bewitched space

ra, ki mu je bil kot usojen na samem ustvar-

that was destined for the artist since his ar-

jalnem začetku. To je še vedno prostor, ki

tistic beginning. This is stil a space that re-

ostaja prepleten z znaki, zrcalnimi zapisi,

mains intertwined with signs, mirror in-

povzet v akvarelni, tudi kolažni tehniki s

scriptions in watercolours and col age with

kredastimi poudarki – in z živimi bitji, pti-

additions in chalk and with living creatures,

cami. Le-te so se umirile, nimajo namena

birds. They have now taken a rest, have no

vzleteti, kot smo lahko slutili nekoč: ali pa

intention of flying as we had once suspect-

so se vrnile in stopicajo varno po solnati

ed, or they have returned and walk safely in

plitvini, ki se od časa do časa zbistri in za-

the shal ow sea waters that become clear

žari v značilni Makučevi belini ali sinjini …

from time to time and shine with typical

Makuc’s white or blue glimmer…

13

Vladimir Makuc

Vladimir Makuc

Rojen 8. maja 1925 v Solkanu pri Gorici. Febru-

Born 8 May 1925 in Solkan near Gorici. He joined

arja 1944 je odšel v partizane v Gradnikovo,

the partisans in 1944, first within Gradnik’s and

nato marca v Prešernovo brigado, bil ranjen in

later Prešeren’s brigade, where he was wound-

v bolnišnici dočakal konec vojne. Na Akademijo

ed and was still hospitalised when the war end-

upodabljajočih umetnosti v Ljubljani se je vpi-

ed. He entered the Academy of Fine Arts in Lju-

sal 1950, diplomiral na slikarskem oddelku 1954,

bljana in 1950, graduating in painting in 1954. In

specialko za restavratorstvo končal pri prof.

1956, he completed his post-graduate studies

Mirku Šubicu 1956. Za Narodno galerijo je kopi-

under Prof Mirko Šubic. He copied frescoes for

ral freske, se ukvarjal s knjižno opremo, od leta

the National Gallery, designed books and be-

1957 eksperimentiral v grafičnih tehnikah leso-

gan experimenting in woodcut techniques in

reza, visokega in globokega tiska. V letu 1960

1957, letterpress and intaglio printing. In 1960,

se je izpopolnjeval v pariškem ateljeju John-

he underwent training in intaglio printing in the

nyja Friedlaenderja v globokem tisku. Od leta

Paris studio of Johnny Friedlaender. Since 1980,

1980 se intenzivno posveča tudi slikarstvu. V

he has focused on painting. He has had over 80

delovni biografiji ima več kot 80 samostojnih

solo exhibitions in Slovenia and abroad (Rome,

razstav doma in v tujini (Rim, Amsterdam, Pa-

Amsterdam, Palermo, Genoa, Pesaro, Bologna,

lermo, Genova, Pesaro, Bologna, Ancona, Pado-

Ancona, Padua, Tokyo, Cairo, Kamakura). Among

va, Tokio, Kairo, Kamakura). Med številnimi sku-

numerous group exhibitions, we should men-

pinskimi razstavami velja omeniti sodelovanje

tion Biennial of Graphic Arts in Ljubljana, Medi-

na mednarodnem grafičnem bienalu v Ljublja-

terranean Biennale in Alexandria and many in-

ni, sredozemskem bienalu v Aleksandriji in na

ternational graphic arts exhibitions in Europe,

številnih mednarodnih razstavah grafike v Ev-

the USA and Japan, which are listed in greater

ropi, Ameriki in na Japonskem, o čemer detajl-

detail in a publication by Gorica Museum from

neje govori izčrpna bibliografija Goriškega mu-

2010. Makuc has received several national

zeja iz leta 2010. Makuc je prejemnik nacional-

awards (Prešeren Fund Award in 1963, Prešeren

nih nagrad (Prešernovega sklada 1963, Prešer-

Award in 1979, Rihard Jakopič Award in 1987,

nove nagrade 1979, nagrade Riharda Jakopiča

Bevk’s Award in Gorica in 1990, May Salon Award

1987, Bevkove nagrade v Gorici 1990, velike na-

in Ljubljana in 2001, Župančič Award for life-

grade Majskega salona v Ljubljani 2001, Župan-

time achievements in 2015) and international

čičeve nagrade za življensko delo 2015) in med-

recognitions (1st Prize for Graphic Arts at the

narodnih priznanj (1. nagrade za grafiko na 3.

3rd Mediterranean Biennial in Alexandria, ex

sredozemskem bienalu v Aleksandriji, nagrade

aequo award at the Bianco e nero exhibition in

ex aequo na razstavi Bianco e nero v Luganu

Lugano in 1974, award at the 6th international

1974, nagrade na 6. mednarodnem bienalu v Ka-

biennial in Cairo in 1996, international jury award

iru 1996, nagrade mednarodne žirije na 22. med-

at the 22nd Biennial of Graphic Arts in Ljublja-

narodnem grafičnem bienalu v Ljubljani 1997).

na in 1997).

14



Veliki kormoran / The Great Cormorant

akvarel, barvna kreda / watercolour, colour chalk

70 x 50 cm

2009



Geronticus eremita

akvarel, barvna kreda, kolaž / watercolour, colour chalk, collage 65 x 50 cm

2014



Jata II / Flock II

akvarel, barvne krede, kolaž / watercolour, colour chalk, collage 66 x 55 cm

2013



Siva čaplja v solinah / The Grey Heron in Salt Pans

akvarel, barvne krede / watercolour, colour chalk

100 x 70 cm

2010



Soline s kljunači / Salt Pans with Godwits

akvarel, barvne krede / watercolour, colour chalk

100 x 70 cm

2010

Štefan Planinc

Planinčev vstop v umetnostni svet sna in

Planinc’s entry into the artistic world of

sanj je bil značilno opredeljen že v šestde-

sleep and dreams was defined in the 1960s:

setih letih preteklega stoletja: v smislu

his work has a magical dimension that trav-

magične razsežnosti, ki potuje skozi čas

els through time and space from the an-

in prostor že od davne preteklosti do pre-

cient past, oral tradition and faith to to-

teklosti ustnega izročila, in verovanja da-

day’s art as if it has not got tired or lost its

lje do današnje umetnosti, in kot da se še

spiritual sensibility yet. It has remained

ni utrudila ali izgubila svoje duhovne sen-

faithful to its unique poetics torn between

zibilnosti. Ostala je zvesta svojstveni poe-

riddles, humour and fateful destiny.

tičnosti, razpeti med uganko, humorjem

in zloveščo usodnostjo.

If we analyse Planinc’s painting consist-

ently from the beginning, his continual mo-

Če analiziramo Planinčevo slikarstvo bolj

tivation consists of three elements: first

dosledno od začetka, potem je njegov

the element of phantasy, then special def-

trajni vzgib sestavljen iz več elementov:

inition of space with bizarre content, which

najprej je to element fantastike, potem

Planinc upgrades by convincingly com-

posebne opredelitve prostora z bizarno

bining different features: grotesque. The

vsebino, ki ju Planinc nadgradi v skrajno

permanent combination – phantasy, bizar-

mogočem poizkusu združevanja razno-

reness, grotesque – that the painter con-

rod ne pojavnosti – z grotesko. Ta trajni

veys through the dreamy atmosphere of

prepleteni sestav – fantastika, bizarnost,

his psyche is imbued with special, original

groteska – ki ga slikar torej zajame v sanj-

surrealist connotation. This connotation

sko doživeti sferi svoje psihe, opredeljuje

includes the findings that are the result of

nato vsa Planinčeva umetnostna prizade-

the surrealist experience of Europe and

vanja s posebno, izvirno nadrealistično

its tradition, going back to formal styles

konotacijo. Konotacijo, ki torej v svojem

of the previous century. Such approach is

vsebinskem okviru zaznamuje izsledke bo-

typical of all Planinc’s work, and individu-

gate nadrealistične skušnje evropskega

al moments are given greater or smaller

prostora oziroma njegove tradicije še da-

emphasis. This means that Planinc’s ver-

leč nazaj od formalnega stilnega toka v

sion of new era surrealism includes an ex-

preteklem stoletju. Aktivnost tovrstnega

terior, provocative impetus that the artist

pristopa ostaja torej značilna za ves Pla-

responds to and lives in his psyche, which

ninčev ustvarjalni opus, pri čemer prido-

only seems dream-like but is really con-

bivajo posamezni omenjeni momenti z

sciously visionary and convincingly poet-

ozirom na avtorjev značaj občasno večji

ic. On the other hand, we have recognised

ali manjši poudarek. Se pravi, da gre v Pla-

in his work for a while the challenge of

ninčevi različici novodobnega nadrealiz-

brutalism and accompanying insecurities

ma za neke vrste zunanji, provokativni

of contemporary time, of the moments

impetus, ki se mu avtor odzove in ga izživi

that we live in.

20

v sferi svoje psihe na samo navidez sanj-

We live and experience it as microstruc-

ski, v bistvu pa zavestno vizionaren, hkra-

ture, as a micro cosmos, a convolution of

ti pa prepričljivo poetičen način, pa četudi

minute details that have become entan-

prepoznavamo v Planinčevem delu že ne-

gled and can be addressed only by a new

kaj časa predvsem izziv brutalizma in vse

era, a shaman artist, a painter of Planinc’s

spremljajoče negotovosti sodobnega časa,

type and format, a painter that is particu-

trenutkov, ki jih živimo.

larly sensitive to the tiniest details, that

has engaged the microclimate surround-

Živimo ali doživimo jih kot mikrostruktu-

ing our psyche, the specifics of visual bom-

ro, kot mikrosestav, spoj neštetih drobnih

bardment of our eye nerve. It is transferred

detajlov, ki se prepletajo, ki so nas zapletli

into sensory cognitive sphere where re-

vase in ki jim je lahko kos na poseben no-

flexes are triggered, more or less instinc-

vodobni, šamanski način umetnik – slikar

tively, in defence, or rational, carefully con-

Planinčevega kova in formata: slikar, ki

sidered reactions.

ima posebno občutljive senzorje, ki za-

znavajo vse nadrobnosti, vso vzvalovano

We have already mentioned that Planinc’s

mikroklimo okrog naše psihe, ves specifi-

work is tied to creating in series. His latest

cum vizualnega bombardiranja očesnega

and most recent return to drawing in a

živca in tistega posebnega prenosa v ču-

new ancient world, as if he started “ab

tnospoznavno sfero, odkoder se prožijo

ovo” – from simulating child’s handwrit-

refleksi, bolj ali manj nagonskega, samoo-

ing and children’s drawing in full colour

brambnega ali pa tudi premišljeno – racio-

magic, in the endless, unlimiting world of

nalnega značaja.

childhood that he has always found stim-

ulating and appeasing at the same time.

Omenili smo že, da je Planinčevo delo ve-

As if he rises and transforms himself as a

zano na ustvarjanje v ciklusih. In zadnji ter

painter every time and gets ready for a new,

najnovejši povratek k risbi, v Novi Prasvet

incomprehensive journey from above…

– kot da bi krenil »ab ovo« – iz simulirane-

ga rokopisa otroške risbe v polni barvni

magiji, v tisti dimenziji usnulega, zanj ne-

izčrpnega sveta otroštva, ki ga je vedno

na svoj način vzpodbujal in umirjal hkrati.

Slikar kot da se znova opomore in prerodi

ter pripravi za nove nedoumljive prelete …

21

Štefan Planinc

Štefan Planinc

Rojen 8. septembra 1925 v Ljubljani. V letih

Born 8 September 1925 in Ljubljana. In 1944/45

1944/45 je bil na prisilnem delu v nemškem de-

he was interned in Colling forced labour camp

lovnem taborišču Colling pri Salzburgu. Na

near Salzburg. He began studying at the Acad-

Akademijo upodabljajočih umetnosti se je vpi-

emy of Fine Arts in 1949, first graduating under

sal 1949, diplomiral pri prof. G. A. Kosu, nada-

Prof G. A. Kos, and then continuing his post-

ljeval slikarski podiplomski študij pri prof. Mari-

graduate studies under Prof Marij Pregelj. On

ju Preglju prav tam. Na njegovo pobudo je za-

the latter’s initiative, he began making illustra-

čel z ilustratorskim delom pri založbi Mladinska

tions for Mladinska knjiga publishing company,

knjiga, časopisih in revijah. Med leti 1974 in

different newspapers and magazines. Between

1984 je deloval kot pedagog na Akademiji za

1974 and 1984 he taught at the Academy of

likovno umetnost v Ljubljani. Planinc je pripra-

Fine Arts in Ljubljana. Planinc has had over 40

vil več kot 40 samostojnih razstav, sodeloval je

solo exhibitions and participated in many paint-

na številnih domačih in tujih slikarskih razsta-

ing exhibitions in Slovenia and abroad (major

vah (med najpomembnejšimi – v Aleksandriji na

ones include the Mediterranean Biennale in Al-

sredozemskem bienalu 1970, v Mentonu 1972, v

exandria in 1970, Menton in 1972, Retretti Art

Retretti Art Centru v finskem Punkaharju – na

Centre in Punkahar in Finland at the world sur-

svetovni razstavi nadrealizma 1987, v Muench-

realism exhibition in 1987, in Munich in 1988).

nu 1988). V času od 1962 do 1994 so nastajali

Between 1962 and 1994 he created his painting

njegovi slikarski cikli Prasvet, Ceste, Zoon poli-

series entitled the Ancient World, Roads, Zoon

tikon, Silfe, Španski ciklus, Novi prasvet in Na-

politikon, Silfe, Spanish Series, New Ancient

zaj v prasvet. Izjemno dolg je seznam knjižnih

World and Returning to the Ancient World. He

ilustracij (več kot 60) in oprem (več kot 30).

has also made il ustrations for many books (over

Planinc je dobitnik naslednjih nacionalnih pri-

60) and book designs (over 30). Planinc has

znanj: Levstikove nagrade 1958, 1959, 1963, Pre-

received the following national awards: Lev stik

šernovega sklada 1965, Župančičeve nagrade

Award in 1958, 1959 and 1963, Prešeren Fund

1970, nagrade Riharda Jakopiča 1984, nagrade

Award in 1965, Župančič Award in 1970, Rihard

za življensko delo na 8. slovenskem bienalu ilu-

Jakopič Award in 1984, and Lifetime Achieve-

stracije 2008/09.

ment Award at the 8th Biennial of Illustration in

2008/09.

22



Začudeni profesor / Surprised Teacher

tuš / ink

50 x 70,8 cm

2005



Neumnež / Idiot

tuš / ink

50 x 70,8 cm

2005



Pridite / Come

tuš / ink

50 x 70,8 cm

2006



Domišljavost / Vanity

tuš / ink

50 x 70,8 cm

2006



Čudne narave / Strange Elements

tuš / ink

50 x 70,8 cm

2008

Karel Zelenko

Slikarstvo Karla Zelenka je očitno nastajalo

The painting of Karel Zelenko emerged

vzporedno z njegovo grafiko. In seveda

parallel to his graphic arts, and vice versa.

obratno, pri čemer so njegove slike postale

His paintings only became “visible” on the

»vidne« v javnem slovenskem prostoru šele

Slovenian scene in the late 1950s (1959,

v poznih petdesetih letih (1959, Jakopičev

Jakopič’s Pavilion) and the new millenni-

paviljon) in v novem tisočletju (2008, Can-

um (2008, Cankarjev dom). They have al-

karjev dom). Vedno so bile in so tudi danes

ways been a special discovery, although

neko posebno odkritje, pa četudi se tista

they have the same thread, they are a nar-

rdeča nit vleče in vleče – kot pripoved o

rative about the human life circus, which

človeškem življenjskem cirkusu, do katere-

is defined by the artist in his modernist,

ga se Zelenko v svoji modernistični, sim-

symbolically realistic discourse with a

bolno realistični govorici opredeljuje z gro-

grotesque, where comical element with a

tesko, in v kateri prevladuje enkrat komični

pinch of sarcasm and irony is alternated

element z dodatkom sarkazma in ironije,

with tragic elements with a touch of mel-

drugič pa tragični z dodatkom najmanj me-

ancholy or even sadness.

lanholije, če ne otožnosti.

When examining Zelenko’s art over the

V sprehodu skozi Zelenkov ustvarjalni čas

period, we should mention reviews of Slo-

se velja spomniti kritiških pohval domačih

venian and foreign critics. Outside all offi-

in tujih poznavalcev, saj si je Zelenko tudi

cial gallery institutions of the former com-

oziroma večinoma mimo vseh uradnih ga-

mon country, Zelenko gained the trust of

lerijskih institucij nekdanje skupne države

gallerists in Northern Europe. I quote

pridobil zaupanje prav tujih galeristov se-

“Jean Bouret, one of the best French crit-

verne Evrope. Citiram: »Jean Bouret, eden

ics, recently wrote: Zelenko is a rebel! So

najboljših francoskih kritikov, je nedavno

the famous Slovenian painter received

zapisal: Zelenko je upornik! Tako je zna-

recognition for his consistent opposition

meniti slovenski slikar dobil zadoščenje

line that was and has remained an antith-

za svojo dosledno linijo opozicije, ki je bila

esis to all dogmas that rushed full speed

in ostala antiteza vsem dogmatizmom, ki

ahead towards the avantgarde” (Vladimir

so odhiteli s polnimi jadri avantgardnosti

Maleković, 1973; “Contemporary Sloveni-

naproti« (Vladimir Maleković, 1973; »So-

an Ensor” (Belgian critic Jacques Collard,

dobni slovenski Ensor« (belgijski kritik

1973); “Artist creating a visual portrayal of

Jacques Collard, 1973); »Ustvarjalec likov-

human comedy of Balzac proportions and

ne podobe sodobne človeške komedije

Beckettian vision” (Nina Pirnat Spahić,

balzackovih razsežnosti in hkrati becket-

2008).

tovske vizije« (Nina Pirnat Spahić, 2008).

The freshness conveyed by his work in the

Svežina slikarskega izbora zadnjih dveh

last two years testifies that he is fully in

let priča o slikarjevi polni ozaveščenosti

sync with the latest events, event the cur-

28

do sodobnega časa, celo do aktualne so-

rent social issues (uprisings!). This aware-

cialne (vstajniške!) tematike: ozaveščeno-

ness that has avoided the strict objectifi-

sti, ki pa se je tokrat znova izognila ostri

cation of the 1980s and gave into a crea-

jedki frazi o popredmetenju iz osemdese-

tive restlessness whose symbols stem

tih let in se predala ustvarjalnemu nemiru,

from the world of puppets, parades, ritual

ki polje iz simbolike sveta Lutk, Povork,

masks and personification of the living

Pustnih šem in personifikacije življenjske-

theatre, joy in front of the partly closed

ga odra – veselja pred deloma zastrto za-

drapes in the red house.

veso Rdeče hiše.

The question posed by the artist in his

Vprašanje, ki si ga umetnik zastavlja v tem

never ending epilogue about his own time

svojem, očitno nikoli dorečenem epilogu

is: who is behind the agitator, who is to

o lastnem času: kdo stoji za Agitatorjem,

see the puppetry performance, who sneaks

komu je namenjen ogled lutkovnih iger,

into the night parade, is this really only a

kdo se meša med svečano nočno povor-

procession of masks or is there a view

ko, so to res samo razpuščene pustne

from the background, from the cruel real-

šeme – ali pa je to pogled iz ozadja, iz kru-

ity that can be at least partly obscured by

te resničnosti, ki jo uspeva vsaj začasno

Zelenko’s grotesque veil with a bluish

zakriti Zelenkov groteskni pajčolan z mo-

tinge conveying airiness?

drikastim nadihom odkrite zračnosti?

Artists whose personal creed emerged so

Umetnike, ki so svoj življenjski credo ust-

uniquely, ritually as it were, could be called

varili na tak svojevrsten, imenujmo ga ri-

lonely riders. There are not many in con-

tualni način, radi poimenujemo za samo-

temporary Slovenian art, but they could

tne jezdece. V slovenski sodobni umetno-

form a small formation, which would def-

sti jih ni veliko, da bi lahko dosegli število

initely be headed by Karel Zelenko.

za spodobno kavalkado. Vendar – njej na

čelo bi in bo tudi vnaprej sodil prav Karel

Zelenko.

29

Karel Zelenko

Karel Zelenko

Rojen 15. septembra 1925 v Celju. Študiju na

Born 15 September 1925 in Celje. He studied at

Umetno-obrtni šoli v Ljubljani in Gradcu (Gra-

the Crafts School in Ljubljana and Graz, and at

zu), na Akademiji za likovno umetnost na Du-

the Academy of Fine Arts in Vienna and Lju-

naju je sledil študij na Akademiji upodobljajo-

bljana, where he graduate in sculpture in 1949

čih umetnosti v Ljubljani, kjer je diplomiral leta

under Prof Boris Kalin. He finished his post-

1949 na kiparskem oddelku pri prof. Borisu Ka-

graduate studies in graphic arts in 1951 under

linu. Specialko za grafiko je končal 1951 pri prof.

Prof Božidar Jakac and then enrolled in post-

Božidarju Jakcu in nadaljeval podiplomski štu-

graduate study of painting under Prof Gabrijel

dij slikarstva pri prof. Gabrijelu Stupici. Leta

Stupica. In 1964, he joined the Yugoslav initiate

1964 se je pridružil jugoslovanski pobudi za

to establish the City of Artist in Grožnjan in Is-

ustanovitev Mesta umetnikov Grožnjan v Istri in

tria and was part of its management for several

več let deloval v vodstvu tega združenja. V svo-

years. In his career as artist he focused on ce-

jem delovanju kot slikar in grafik se je posvetil

ramics. He has had over 100 solo exhibitions in

tudi oblikovanju umetniške keramike. Kot slikar

Slovenia and abroad (Amsterdam, Brussels,

in grafik se je samostojno predstavil na več kot

Antwerp, Hamburg, Duisburg, Paris, Cologne,

100 samostojnih razstavah doma in v tujini (Am-

Minsk). He participated in many group exhibi-

sterdam, Bruselj, Antwerpen, Hamburg, Duis-

tions of graphic arts in Slovenia and abroad,

burg, Pariz, Koeln, Minsk). Sodeloval je na šte-

including in Berlin, Ciudad de Mexico, Johan-

vilnih skupinskih grafičnih razstavah doma in v

nesburg, Alexandria, Milan, Ottawa, Tokyo, Kyo-

tujini, med najpomembnejšimi v Berlinu, Ciu-

to, Haifa, Havana, Vienna, Prague, Rome, Bue-

dad de Mexico, Johannesburgu, Aleksandriji,

nos Aires, Beirut, Damascus, Baghdad, Pasade-

Milanu, Ottawi, Tokiju, Kiotu, Haifi, Havani, na

na, Genova, Biella, Luebeck, Frechen, Lima, La

Dunaju, v Pragi, Rimu, Buenos Airesu, Bejrutu,

Paz and Baden Baden. Zelenko has received

Damasku, Bagdadu, Passadeni, Genovi, Bielli,

the following awards: JAZU purchase prize at

Luebecku, Frechnu, Limi, La Pazu, Baden Ba-

the 2nd Exhibition of Yugoslav Graphic Arts in

dnu. Zelenko je prejemnik naslednjih priznanj:

Zagreb in 1962, Prešeren Fund Award in Ljub-

odkupne nagrade JAZU na 2. razstavi jugoslo-

ljana, Vjesnik purchase prize 3rd Exhibition of

vanske grafike v Zagrebu 1962, Nagrade Pre-

Yugoslav Graphic Arts in Zagreb in 1964, Og-

šernovega sklada v Ljubljani in odkupne nagra-

njen Prica Institute purchase prize at the 5th

de Vjesnika na 3. razstavi jugoslovanske grafike

Exhibition of Yugoslav Graphic Arts in Zagreb

v Zagrebu 1964, odkupne nagrade zavoda Og-

in 1968, Uprising Award for the graphic series

njen Prica na 5. razstavi jugoslovanske grafike

on the subject of national liberation fight in

v Zagrebu 1968, nagrade Vstaje sloven skega

Ljubljana in 1974, and graland medal in Belgra-

naroda za cikel grafik iz NOB, Ljubljana 1974,

de in 1978.

odlikovanja z redom dela z zlatim vencem,

Beo grad 1978.

30



Povorka z lampijoni / Procession with Lights

jajčna tempera / egg tempera

100 x 80 cm

2014



Agitator / Agitator

olje / oil

120 x 100 cm

2014



Rdeča hiša veselja / Red House of Joy

jajčna tempera, olje / egg tempera, oil

100 x 120 cm

2014



Lutke / Puppets

jajčna tempera, olje / egg tempera, oil

120 x 100 cm

2014/2015



Pust /Shrove Tuesday

jajčna tempera / egg tempera

80 x 100 cm

2015

Ustvarjalni nemir, ki ne pojema / Endless Creative Passion Stojan Batič / Vladimir Makuc / Štefan Planinc / Karel Zelenko

Galerija DLUL

9. 9. – 4. 10. 2015

Katalog izdal / Published by

Društvo likovnih umetnikov Ljubljana

Zanj / Represented by

Mojca Smerdu

Koordinatorica projekta in urednica kataloga / Project coodinator and editor of the catalgue Matena Bassin

Besedila / Texts

Aleksander Bassin

Lektorica / Language editing

Rudenka Nabergoj

Prevajalka v angleščino / English translation

Tina Škoberne

Fotografije / Photographs

Janez Vlachy

Matevž Paternoster (Batič 1, 2)

Oprema in postavitev razstave / Equipment and exhibition set-up

Paola Korošec

Oblikovanje, priprava in tisk / Designed, prepared and printed by Mat-Format

Naklada / Edition

150 izvodov / copies

Ljubljana, 2015

Razstava je realizirana v sodelovanju z Društvom za spoštovanje in ohranjanje kulturne dediščine IVAN CANKAR, Ljubljana. / The exhibition was realised in collaboration with Society for Preserving and Respecting Cultural Heritage IVAN CANKAR, Ljubljana.