15. 11.—20. 12. 2024 Katalog razstave Galerija Tkalka Exhibition catalogue Tajda Novšak 15. 11.—20. 12. 2024 Katalog razstave Galerija Tkalka Exhibition catalogue Tajda Novšak SI EN Uvod 4 Introduction 6 Razstava 8 Exhibition 8 Seznam razstavljenih del 36 List of exhibited works 37 Izvorna dela 38 Original works 39 Biografija in zahvala 56 Bio and acknowledgements 57 2 2 Foto / Photo: Gregor Salobir 3 TAJDA NOVŠAK: SHAPESHIFTING SI Razstava Shapeshifting predstavlja predelana in usoda je skladišče in pozaba. Hkrati pa avtorica ponovne uporabe del je hkrati dekonstrukcija preoblikovana pretekla umetniška dela umetni-postavlja pod vprašaj vlogo umetnikovega dela in konstrukcija, kjer preteklost in sedanjost ce Tajde Novšak. Temelji na ustvarjalni praksi, na osebni in kolektivni ravni. V kontekstu širše sobivata v liminalnem prostoru med umetnostjo ki jo je razvijala med študijem na Akademiji za družbene problematike postane to vprašanje še in funkcionalnostjo. S tem se njena umetniška likovno umetnost in oblikovanje v Ljubljani. posebej pomembno, saj nakazuje na potrebo dela naložijo s svežimi sloji pomena, ki se Svoje kiparske prakse ni omejila na tradici-po preoblikovanju umetniškega sistema, ki prepletajo s preteklimi izkušnjami in hkrati onalne tehnike, ampak razvila metodologijo, umetnike pogosto postavlja v položaj, kjer se ostajajo odprta za nove interpretacije. ki se je osredotočala na preplet umetniškega njihova dela po zaključenih razstavah znajdejo izraza in psihološkega raziskovanja. Ustvarjala v stanju neuporabnosti ali pozabljenosti. V sodobni umetnosti, kjer se produkcija in je objekte, ki so vizualno spominjali na kletke potrošnja umetniških del odvijata z vedno in prikazovali ograjene osebne prostore, re-Začetna pozicija je osebna. Transformacija v večjo hitrostjo, projekt Shapeshifting odpira flektirajoč tako fizične kot mentalne bariere, umetnosti ni samo tehnični postopek, ampak tudi kritičen pogled na teme, kot so delovni s katerimi se je soočala v določenem obdobju globoka refleksija o naravi ustvarjalnosti in od-pogoji umetnikov, hiperprodukcija, trajnost in svojega življenja. Te strukture so postale nosu do lastnega dela. Novšak s predelovanjem psihološki učinki umetnosti. S transformacijo orodje za introspekcijo in dialog o duševnem preteklih del reflektira minljivost trenutka, ko obstoječih umetniških del v nove (uporabne) zdravju, stresu in osebnem razvoju, s čimer je bilo delo ustvarjeno. Umetniška dela, ki so predmete Novšak ne samo izpodbija konven-so pridobile terapevtsko vrednost. nastala v določenem življenjskem obdobju, cionalne umetniške prakse, ampak tudi ponuja so nosilci specifičnih čustvenih in mentalnih vpogled v možnosti umetniškega dela kot orodja Na vprašanje, ali je bila odločitev, v kaj bo pre-stanj, znotraj umetničinih individualnih in tako za osebne kot družbene spremembe. Pri delala obstoječa umetniška dela intuitivna, je družbenih kontekstov. Proces transformacije tem ni zanemarljiv širši socialni kontekst, v ka-odgovorila: »Seveda, zamislila sem si, kako bi se tu kaže kot kompleksna praksa, ki preči terem delujejo mlajše generacije umetnikov. V jih lahko uporabila in ohranila v svojem domu.« osebne, materialne in družbene sfere, podobno polju kulturnega ustvarjanja, ki je zaznamovano Koncept uporabnosti je služil kot vodilo zamisli. kot to analizira filozofinja Jane Bennett v delu s hiperprodukcijo, se pojavljajo vprašanja, kot Vendar je vzgib po tem globlje narave in se tiče Vibrant Matter (2010), kjer opozarja na vitalnost so prostorska stiska, naraščajoče cene mate-sentimentalne vrednosti umetniških objektov, neživih materialov in njihovo sposobnost, da rialov in sistem, ki zahteva stalno produkcijo ki so nosilci spominov nekega preteklega vplivajo na svet okoli nas. Umetnica s svojo brez ustrezne podpore. Umetnost, ki naj bi bila življenjskega obdobja. Empatija do lastnega prakso poudarja prav to – ko so predelana temelj refleksije in družbenih sprememb, po-dela je Novšak napeljala, da se je lotila novega in preoblikovana, umetniška dela postanejo gosto postane žrtev tega sistema, ko umetniška projekta predelave in preoblikovanja umetniških dejavne entitete v nenehni interakciji s časom dela po razstavah končajo v skladiščih, brez artefaktov, ki so zadnjih nekaj let potrpežljivo in prostorom, v katerega so postavljena. Inte-pravega mesta v javnem ali zasebnem prostoru. čakali v garaži in delavnici domače hiše. Kot rakcija ni zgolj estetska, ampak tudi metafi-Prav s tem je proces preoblikovanja del, kot sama pravi: »Zavoljo novega življenja« in v zična: kako lahko materiali, ki so nekoč nosili ga izvaja umetnica, odziv na ta paradoksalni izogib trajni pozabi. določene pomene, v novem kontekstu pridobijo položaj: namesto da bi umetniška dela ostala nove vsebine in s tem odsevajo našo lastno v pozabi, se transformirajo v nekaj novega, S tem pristopom odpira nova razmišljanja o preobrazbo? V trenutku predelave izgubijo uporabnega in relevantnega. osebnostni rasti, svoji vlogi ustvarjalke in sočasno specifično časovno pripadnost in se prerodijo vlogi umetniških del. Recikliranje (lastnih) del v nove entitete. Proces je podoben osebnostni V tem procesu se odraža tudi ideja o presega-odpira nov pogled na trajnost, namen in funk-rasti – kot se posameznik nenehno razvija in nju avtonomnosti umetniškega dela, kot jo je cionalnost umetniških objektov v času, ko se prilagaja na življenjske okoliščine, tako se tudi zasnoval umetnostni teoretik Nicolas Bourriaud kulturno polje zavoljo preživetja v času hitrega umetniško delo razvija, ko je postavljeno v v delu Relacijska estetika (1998). Bourriaud kapitalizma sooča s hiperprodukcijo. Umetniška druga razmerja do stvarnosti. Adaptacija, kot opozarja, da umetnost ni ločena od družbenih dela so odslužila svoj razstavni namen, niso jo razume umetnica, ni zgolj praktično dejanje, odnosov, temveč je z njimi tesno prepletena. bila prodana kupcu, njihova najverjetnejša ampak ima globoko simbolno vrednost. Proces V kontekstu projekta Shapeshifting umetniška 4 Uvod dela niso zgolj avtonomni objekti, temveč tudi kose, a se zaradi umetniške obdelave iz-del širše družbene mreže, ki, poleg umetnice, mikajo enoznačni kategorizaciji. Kovinske njenega osebnega in umetniškega razvoja, prav konstrukcije so hkrati hladne, industrijske, tako vključuje družbeno okolje, v katerem dela a tudi subtilno preoblikovane v oblike, ki nastajajo in se preoblikujejo. To pa napeljuje na bi jih lahko srečali v naših domovih. Na vprašanje delovnih pogojev umetnikov. S tem primer, kovinska slika (prvotno Dead Coin mislimo predvsem na pomanjkanje dostojnih, Painting), prepredena s starimi kovanci, je finančno dostopnih ateljejskih prostorov, ki bi predelana v špansko steno, ki v tradicional-ustvarjalcem omogočali varno produkcijsko nem utilitarnem namenu služi kot pregrada okolje. Veliko državnih, občinskih in tudi za-za razmejevanje prostora in zamejevanje sebnih nepremičnin raje naseljujejo duhovi, pogleda med zasebnim in javnim, z delno kot da bi jih po modelu začasne oskrbe lastniki transparentnostjo pa v novem kontekstu ponudili v uporabo in vzdrževanje ustvarjalcem namiguje na prepustnost teh meja. Železni iz kulturnega sektorja. maski sta preoblikovani v samostoječi svetilki, ki s svojo arhaično obliko in svetlobo delujeta S transformacijo neuporabljenih ali neželenih kot simbola zaščite in varnosti. Zanimiva umetniških del v nove objekte, ki (lahko) najdejo je tudi konstrukcija iz železnih gradbenih svoje mesto in funkcijo v vsakdanjem zaseb-palic, ki spominja na sarkofag. V procesu nem in javnem življenju, razstava odpira tudi predelave je izgubila prvotno zaprto formo, razpravo o ekonomski vrednosti umetniškega pridobila pa namembnost vitrine ali kabineta dela in umetnikovi sposobnosti za preživetje. kuriozitet. Vanj je umetnica umestila osebne Nerazvitost umetniškega trga v Sloveniji ter predmete sentimentalne vrednosti, ki hranijo institucionalna brezbrižnost za podporo in spomine, hkrati pa s predstavitveno funkcijo promocijo umetnosti tako doma kot v tujini sta vabijo k raziskovanju pomenov in zgodb. S simptoma širšega problema, ki preveva sodobno sopostavitvijo razstavljenih del, rastlinja in umetniško produkcijo. Ne glede na to, kako avtoričinih osebnih predmetov se tako vsi zelo si zatiskamo oči, umetnost na žalost živi elementi v galerijskem prostoru povežejo v znotraj hiperobjekta globalnega kapitalizma. dinamično instalacijsko okolje. Umetniki so, tako kot ostali ustvarjalci, ujeti Preobrazba umetniških del je tako metafora v kolesje nenehnega ustvarjanja, kar po-za širšo družbeno transformacijo, kjer smo vsi gosto vodi v kreativno izgorelost. Novšak soudeleženi v procesu nenehnega prilagajanja s počasnim, premišljenim preoblikovanjem in rasti. V tem smislu Shapeshifting deluje kot preteklih del postavlja v ospredje alternativo katalizator osebnih in družbenih sprememb, ki hiperprodukciji, kjer lahko umetniška praksa presega zgolj estetsko in funkcionalno vrednost temelji na refleksiji in trajnostnem ustvarjanju, in odpira prostor za globlji razmislek o tem, kako ne pa zgolj na nenehnem pritisku, da je treba umetnost sooblikuje našo realnost in nam po-ustvarjati nekaj novega. nuja nove načine sodelovanja in soustvarjanja življenjskih prostorov, v katerih bivamo. Dela na razstavi se gibljejo v liminalnem ob-močju med estetskim umetniškim objektom in utilitarnim vsakodnevnim predmetom. Njihove oblike spominjajo na pohištvene Uvod 5 TAJDA NOVŠAK: SHAPESHIFTING EN The exhibition Shapeshifting presents a series remain unsold are likely destined for storage and so do artworks transform when repositioned of reworked and transformed past artworks by eventual obsolescence. This situation prompts within a new reality. For the artist, adaptation artist Tajda Novšak. It builds on the creative the artist to question the function of artist’s is not solely a matter of practicality but holds practice she developed during her studies work on both personal and collective levels. deep symbolic significance. The act of reusing at the Academy of Fine Arts and Design in Within the context of broader social issues, this her work involves both deconstruction and Ljubljana. Rather than confining her sculptural inquiry becomes particularly pressing, under-reconstruction, allowing the past and present practice to conventional techniques, Novšak scoring the need for systemic transformation to coexist within a liminal space between art devised a unique methodology that emphasizes in the art world, where artists frequently see and function. In this way, her artworks gain the interplay between artistic expression and their creations deemed redundant or forgotten new layers of meaning, interwoven with past psychological exploration. She created cage-after exhibitions conclude. experiences yet open to new interpretations. like objects that evoked confined personal spaces, reflecting the physical and mental The author’s initial position is inherently per-In contemporary art, where the production barriers she encountered at a particular time sonal. Transforming art is not merely a technical and consumption of artworks occur at an in her life. These structures served as conduits exercise; it is an introspective exploration of the accelerated pace, Shapeshifting offers a critical for introspection and dialogue on mental nature of creativity and the relationship between perspective on pressing issues, including the health, stress, and personal growth, thereby the artist and their work. By reworking her past working conditions of artists, hyperproduction, acquiring therapeutic value. pieces, Novšak reflects on the fleeting nature sustainability, and the psychological impact of the moments in which they were originally of art. By transforming existing artworks into When asked whether the decision to transform created. Artworks created in a specific period new (functional) objects, Novšak not only chal-existing artworks was an intuitive one, Novšak of an artist’s life are infused with the emotional lenges traditional art practices but also offers replied, “Naturally, I had an idea of how I could and mental states that define a certain time, insights into the potential of art as a catalyst preserve and repurpose them in my home.” reflecting both the artist’s individual and social for personal and social change. The project The concept of usability emerged as a central contexts. Here, the process of transformation also considers the broader social context in guiding principle, but the motivation behind emerges as a complex practice that bridges which younger artists work. Within a cultural was deeper, having to do with the sentimental personal, material, and social dimensions, landscape defined by hyperproduction, artists value of these artworks, which held memories resonating with philosopher Jane Bennett’s face numerous challenges, from limited space of a past chapter in her life. With empathy for Vibrant Matter (2010). In this work, Bennett and rising material costs to a system that her own creations, she undertook the project emphasizes the vitality of inanimate materials demands constant output without adequate of reworking and transforming pieces that and their capacity to influence the world around support. Art, intended to foster reflection had been stored for years in her garage and us. Novšak’s practice underscores this notion: and social change, is often entangled in this workshop. She explains, it was done “for the when reworked and transformed, artworks system, with works relegated to storage after sake of a new life” and to prevent them from become active entities, constantly interact-exhibitions due to a lack of public or private fading into permanent oblivion. ing with the temporal and spatial contexts placements. Novšak’s transformation of her in which they exist. This interaction extends pieces responds to this paradox, reviving This approach offers fresh insights into personal beyond the aesthetic into the metaphysical: artworks by turning them into objects that growth, the artist’s role as a creator, and, at the how can materials that once conveyed spe-are new, functional, and contextually relevant same time, the role of artworks themselves. cific meanings acquire new content in a new rather than allowing them to fall into obscurity. Recycling (one’s own) works sheds new light context, mirroring our own transformations. on the sustainability, purpose, and function of At the moment of transformation, the original This process also reflects the concept of tran-art objects, especially in a cultural landscape temporal identity of these works is dissolved, scending the autonomy of art, as proposed by pressured by hyperproduction to sustain itself allowing them to be reborn as new entities. art theorist Nicolas Bourriaud in Relational Aes-in the era of fast capitalism. The artworks that This process parallels personal growth: just as thetics (1998; English version 2002). Bourriaud have fulfilled their purpose in the exhibition and individuals evolve and adapt to life’s changes, contends that art is not an isolated entity but 6 Introduction is deeply enmeshed in social relations. Within forms resemble furniture pieces, their artistic the Shapeshifting project, artworks function treatment defies straightforward categoriza-not as standalone entities but as integral parts tion. The metal constructions convey a sense of a broader social network that includes the of coldness and industrialization, yet they are artist, her personal and artistic evolution, and subtly reimagined into forms that could easily the social environment in which these works fit within a home. For instance, a metal piece are created and transformed. This perspective (originally titled Dead Coin Painting), interspersed also raises critical questions about the working with old coins, is transformed into a Spanish conditions of artists, particularly the scarcity of wall. Traditionally, a wall serves to demarcate affordable, secure studio spaces that support space and blur the lines between private and creative work. Numerous properties owned by public; however, its partial transparency in this state, municipal, and private entities remain new context suggests the permeability of these vacant and unused – “inhabited by ghosts” – boundaries. Additionally, two iron masks have rather than being made accessible to artists been reconfigured into freestanding lamps that, who could temporarily maintain and use them. with their archaic forms and light, symbolize protection and safety. Another notable piece By transforming unused or unwanted artworks is the construction of iron bars that evokes the into new, functional objects that (can) be inte-shape of a sarcophagus. Through the process of grated into everyday life in private and public transformation, the object has shed its original settings, the exhibition also sparks a debate on closed form, acquiring the function of a showcase the economic value of art and the sustainability or cabinet of curiosities. Inside, the artist has of the artist’s livelihood. The limited develop-displayed personal objects of sentimental value ment of Slovenia’s art market, coupled with that preserve memories while simultaneously institutional indifference toward supporting and inviting viewers to explore their meanings and promoting art domestically and internationally, stories through their representational function. indicates a broader issue within contemporary By juxtaposing the exhibited pieces with veg-art production. Regardless of our attempts to etation and the artist’s personal objects, all ignore it, art also unfortunately resides within elements in the gallery space are interwoven the expansive hyper-object of global capitalism. into a dynamic installation. Like other creative professionals, artists find The transformation of artworks can therefore themselves trapped in a relentless cycle of be viewed as a metaphor for broader social production that can lead to creative burnout. transformation, highlighting our collective en-Novšak’s method of slow and deliberate re-gagement in a continuous process of adaptation working of past artworks offers a compelling and growth. In this context, Shapeshifting acts as alternative to this hyperproductive approach, a catalyst for personal and social transformation, wherein artistic practice can be based on reflec-transcending the aesthetic and functional value tion and sustainable creation instead of just the of art. It creates a space for deeper reflection constant pressure to produce something new. on art’s role in shaping our reality and opens new avenues for participation and co-creation The works presented at the exhibition inhabit of the spaces we inhabit. a liminal space between aesthetic art objects and utilitarian everyday items. While their Introduction 7 8 Exhibition Fotografije razstave / Photos of the exhibition: Gregor Salobir 3 Razstava 9 1 10 Exhibition Razstava 11 2 12 Exhibition 2 Razstava 13 2 14 Exhibition Razstava 15 10 14 16 Exhibition 6 2 7 Razstava 17 3 18 Exhibition Razstava 19 3 20 Exhibition 3 Razstava 21 12 5 13 22 Exhibition 4 Razstava 23 15 24 Exhibition 10 14 5 Razstava 25 7 6 26 Exhibition 7 6 Razstava 27 6 28 Exhibition 2 Razstava 29 15 30 Exhibition 8 Razstava 31 9 32 Exhibition 3 Razstava 33 11 34 Exhibition 15 Razstava 35 RAZSTAVLJENA DELA 1 Klop za ljubljenčke PAARTHURNAX, 2024 Izvorno delo A SI železo, tekstil 2 Kabinet kuriozitet TAIGHDE, 2024 Izvorno delo A železo, les, osebni predmeti umetnice 3 Španska stena MATTIA, 2024 Izvorno delo B železo, kovanci, laks 4 Barska miza LOKI, 2024 Izvorno delo C železo, les 5 Premični vrtiček SYGIN, 2024 Izvorno delo C železo, plastika, rastline 6 Svetilka KENDO, 2024 Izvorno delo D železo, tekstil, plastika, žarnica 7 Svetilka SKAFA, 2024 Izvorno delo D železo, plastika, žarnica 8 Stojalo SELKIE, 2024 Izvorno delo E železo, les 9 Brezrokavnik SKIN, 2024 Izvorno delo F pvc 10 Skrita risba I, 2018 plastika, les, umetna masa 11 Skrita risba II, 2018 plastika, les, umetna masa 12 Skrita risba III, 2018 plastika, les, umetna masa 13 Skrita risba IV, 2018 plastika, les, umetna masa 14 Skrita risba V, 2018 plastika, les, umetna masa 15 Ograjeni osebni prostor, 2021 video 36 Razstavljena dela EXHIBITED WORKS 1 PAARTHURNAX Pet Bench, 2024 Originally artwork A EN iron, textile 2 TAIGHDE Cabinet of Curiosities, 2024 Originally artwork A iron, wood, artist’s personal items 3 MATTIA Spanish Screen, 2024 Originally artwork B iron, coins, fishing line 4 LOKI Bar Table, 2024 Originally artwork C iron, wood 5 SYGIN Mobile Garden, 2024 Originally artwork C iron, plastic, plants 6 KENDO Lamp, 2024 Originally artwork D iron, textile, plastic, lightbulb 7 SKAFA Lamp, 2024 Originally artwork D iron, plastic, lightbulb 8 SELKIE Stand, 2024 Originally artwork E iron, wood 9 SKIN Vest, 2024 Originally artwork F PVC 10 Hidden Drawing I, 2018 plastic, wood, synthetic material 11 Hidden Drawing II, 2018 plastic, wood, synthetic material 12 Hidden Drawing III, 2018 plastic, wood, synthetic material 13 Hidden Drawing IV, 2018 plastic, wood, synthetic material 14 Hidden Drawing V, 2018 plastic, wood, synthetic material 15 Enclosed Personal Spac e, 2021 video Exhibited works 37 IZVORNA DELA 38 Izvorna dela ORIGINAL WORKS Original works 39 A Brez naslova I – II, 2015 SI železo, pena, flis Delo sestavljata dve kletki, ki raziskujeta dia-Pravo nasprotje je druga kletka, ki s svojo lektiko med udobjem in ujetostjo. Prva kletka togostjo in antropomorfno obliko ustvarja z dinamično mrežo in mehko peno simbolizira občutek utesnjenosti in nelagodja. Hladna, varnost in povratek v prenatalno stanje, v neprožna struktura, ki evocira sarkofag, katerem fetalni položaj predstavlja zaščito in tematizira smrt in dokončnost človeškega sprejemanje. Vendar to udobje prinaša tudi telesa. S tem odpira vprašanja o ujetosti opozorilo o tveganju pasivnosti in regresije, v fizičnem svetu ter smrti kot morebitni kjer varnost postane omejujoča. Fetalni po-osvoboditvi iz teh omejitev. Delo na sim-ložaj se tako pojavi kot simbol hrepenenja bolni ravni raziskuje kontrast med rojstvom po varnosti, ki hkrati preprečuje soočanje z kot začetkom ujetosti in smrtjo kot končno zunanjim svetom in osebno rastjo. osvoboditvijo iz telesnega bivanja. 40 Izvorna dela Foto / Photo: Matej Tomažin Original works 41 A Untitled I and II, 2015 EN Materials: iron, foam, fleece The work comprises two cages that explore the dialectic between comfort and confinement. The first cage, with its dynamic lattice and soft foam, symbolizes safety and a return to the prenatal state, where the foetal position represents protection and acceptance. However, this comfort carries a cautionary note about the risks of passivity and regression, transforming security into a restrictive force. Thus, the foetal position becomes a symbol of a yearning for safety that simultaneously hinders confrontation with the outside world and impedes personal growth. In contrast, the second cage, characterized by its rigidity and anthropomorphic form, evokes a sense of cramped discomfort. Its cold, unyielding structure resembles a sarcophagus, thematizing death and the finality of the human body. This raises profound questions about entrapment within the physical realm and death as a potential release from these constraints. Symbolically, the work explores the juxtaposition of birth as the onset of entrapment and death as the ultimate liberation from physical existence. 42 Izvorna dela Foto / Photo: Jan Dolar Original works 43 B Dead Coin Painting, 2016 SI železo, kovanci, laks Delo sestavljajo anorganske celice, katerih jedro tvorijo pozabljeni kovanci, ki jih je v posodici za margarino hranil umetničin dedek. Kovanci, iztrgani iz izvornega konteksta in časa, v delu ponovno oživijo kot organizmi spomina. Spomin v delu nastopa kot dvojni koncept: lahko je varno zatočišče, kjer se hranijo nostalgični in lepi trenutki, ali pa postane omejujoč oklep obrambnih mehanizmov. Prijetni spomini nas povezujejo s preteklostjo, travmatični pa lahko ustvarijo psihološke prepreke, ki zavirajo osebno rast in posameznika ujetega zadržujejo v škodljivih okoliščinah. Spomin je krhek in flu-iden sistem, pogosto izkrivljen zaradi zunanjih vplivov ali prirejen na podlagi zgodb drugih. Ta manipulacija, bodisi skozi poneumljanje ali zlaganje, lahko človeka zapre v negativno psihično kletko, ki onemogoča njegovo svobodno gibanje skozi čas in prostor. 44 Izvorna dela Foto / Photo: Jaka Babnik, arhiv GBJ / GBJ archive B Dead Coin Painting, 2016 EN Materials: iron, coins, fish string This work consists of inorganic cells, with their memories connect us to our past, traumatic core made up of forgotten coins stored in a mar-experiences can create psychological barriers garine container by the artist's grandfather. These that inhibit personal growth, trapping individ-coins, removed from their original context and uals in harmful situations. Memory is a fragile time, are reimagined as organisms of memory. and fluid system, often distorted by external influences or reshaped by the narratives of Memory in this piece embodies a dual concept: others. Such manipulation, whether through it can serve as a sanctuary for nostalgic and suppression or layering, can confine a person beautiful moments or transform into a restrictive within a negative psychic cage, restricting their armour of defence mechanisms. While positive ability to move freely through time and space. Original works 45 C Solze ali strup, 2017 SI železo, steklo, fiziološka raztopina Sprva je delo prikazovalo sago o kaznovanju nordijskega mitološkega boga Lokija, ki je priklenjen na drevo. Nad njim visi kača, ki mu večno kaplja strup na telo in povzroča nepre-stano bolečino. Ob njem zvesto čaka njegova žena Sigyn, ki v posodo lovi strup, da bi ga zaščitila. Vendar se delo skozi čas premakne od specifične mitološke zgodbe k univerzalnemu premisleku o okoljih, ki nas postopoma, fizično in psihično, zastrupljajo. Fiziološka raztopina – solze – počasi razkraja železni lij, kar povzroča zbiranje rjave tekočine, ki ponazarja učinek tega nevidnega procesa. Delo odpira vprašanja o subtilnem in počasnem razkroju človeške psihe, kjer ne gre za fizič- no bolečino, temveč za vplive, ki postopoma odvzemajo pozitivne psihološke elemente, kot so samozavest, veselje in jasnost misli, ter jih nadomeščajo z negativnimi, kot so zavist, lju-bosumje, škodoželjnost in elitizem. Pomembno je prepoznati trenutke, ko družba in okolje posamezniku škodujeta, in se naučiti, kako se zaščititi pred tovrstnim strupom. Umetnica opozarja, da toksično okolje ni omejeno le na delovno ali šolsko okolje, temveč je lahko tudi prostor, v katerem smo odraščali. Čeprav je novo okolje lahko sprva neprijetno ali celo strašljivo, ima lahko osvobajajoč učinek na psihično in posledično fizično stanje. Vendar mnogi ostajajo ujeti v znanem, saj človek pogosto dojema poznano kot manj strašljivo od neznanega, kar lahko preprečuje odločilen korak k osvoboditvi iz ujetosti. 46 Izvorna dela Foto / Photo: Jan Dolar C Tears or Poison, 2017 EN Materials: iron, glass, saline solution Initially, the work portrayed The Punishment of Loki saga from Norse mythology, where the god is chained to a tree, a snake dripping venom onto him, inflicting eternal pain. His wife, Sigyn, faithfully waits by his side, catching the poison in a bowl to protect him. Over time, however, the work evolves from a specific mythological narrative into a universal reflection on the environments that gradually poison us, both physically and psychologically. A saline solution, representing tears, slowly dissolves the iron funnel, causing a brown liquid to collect, illustrating the impact of this invisible process. The piece prompts inquiries into the subtle and gradual decomposition of the human psyche. It shifts the focus from physical pain to the influences that erode positive psychological attributes such as self-confidence, joy, and clarity of thought, replacing them with negative emotions like envy, jealousy, spite, and elitism. Recognizing when society and our surroundings become harmful is crucial for learning how to protect ourselves from this type of poison. The artist emphasizes that a toxic environment can extend beyond workplaces and schools to include the very places where we grew up. While new environments may initially feel un-comfortable or frightening, they can ultimately liberate our mental and physical states. Yet, many individuals remain trapped in the familiar, as human perception often views the known as less intimidating than the unknown, hindering the decisive steps needed to break free from confinement. Original works 47 D Maske, 2017 SI železo, tekstil, epoksi Vsaka maska v tem delu simbolizira zakriva-Maska je vsestranska in vsakdanja oblika fizične nje, zaščito in preobrazbo. Skafander, Kendo in psihološke kletke, ki se lahko manifestira kot maska in posmrtna maska so artefakti, ki so predmet za zakrivanje obraza ali glave, pa tudi kot skozi čas spremenili svojo namembnost in metafora za prikrivanje čustev, imitiranje druge funkcijo, hkrati pa umetnici omogočili nov, osebnosti ali pretvarjanje. Maske, bodisi fizične introspektiven pogled na sebe in svet. Ma-ali psihološke, si ljudje pogosto ustvarjamo, da bi ske, tako v umetnosti kot življenju, niso zgolj lažje delovali v družbenih okvirih in se prilagajali zaščita pred zunanjim svetom, temveč lahko različnim situacijam. Vendar umetnica opozarja, postanejo orodja, ki nas omejujejo in hkrati da nošenje teh mask ni vedno koristno za našo sa-transformirajo našo identiteto. mozavest in lahko vodi v izgubo pristne osebnosti. 48 Izvorna dela Foto / Photo: Matej Tomažin D Masks, 2017 EN Materials: iron, textile, epoxy Each mask in this work represents concealment, protection, and transformation. The spacesuit, Kendo mask, and death mask are artifacts that have evolved in purpose and function over time, allowing the artist a new, introspective perspective on herself and the world. In both art and life, masks not only shield us from external forces but can also serve as tools that both limit and reshape our identity. The mask serves a multifaceted form of both physical and psychological cage. It can function as an object to cover the face or head, while also serving as a metaphor for concealing emotions, adopting another personality, or pretending. Masks – whether tangible or psychological – are often created by individuals to navigate social contexts and adapt to various situations. However, the artist cautions that donning these masks can be detrimental to our self-esteem, leading to a loss of authentic identity. Original works 49 50 Izvorna dela Original works 51 E Ograjeni osebni prostor, 2018 SI železo Umetnica se v delu osredotoča na kožo kot Delo nosi dvojni pomen transformacije – fizične transformativni medij, organ, ki se nenehno in psihične. Fizična je vpeta v železno strukturo, prilagaja in preoblikuje, kar je motiv, pogosto psihična razsežnost pa raziskuje prehajanje in prisoten tudi v mitologiji. Koža služi kot površina, premagovanje psiholoških ovir. Vsak premagan kjer se skozi raztezanje in krčenje vzorcev odraža izziv rodi novi, kar ustvarja neskončen proces sposobnost preobrazbe. Trikotni vzorci, značilni mentalnega razvoja. Umetnica poudarja pomen za dele telesa, kjer se mora koža raztezati v vse tega neprekinjenega razvoja, hkrati pa opozarja smeri, so vključeni v delo; umetnica jih imenuje na nevarnost, da bi posameznik padel v »žrtveno »železna koža.« kletko«, kjer se zapira pred kritikami in nasveti, kar pa ovira njegovo osebnostno rast in napredek. 52 Izvorna dela Foto / Photo: Tajda Novšak, Kalupi vsakdana, zajem slike iz videa / video still E Enclosed Personal Space, 2018 EN Material: iron In this work, the artist explores the skin as a transformative medium – an organ that constantly adapts and evolves, a theme frequently found in mythology. The skin serves as a can-vas reflecting the capacity for transformation through patterns of stretching and shrinking. The triangular shapes, characteristic of areas where the skin must expand in multiple direc-tions, are integrated into the piece, which the artist refers to as "iron skin." The work conveys a dual meaning of transformation – both physical and psychological. The physical aspect is embodied in the iron structure, while the psychological dimension examines the navigation and overcoming of mental barriers. Each challenge surmounted gives rise to a new one, fostering an ongoing process of mental evolution. Novšak emphasizes the significance of this continuous development, while cautioning against the risk of entering a "victim cage," where individuals may shut themselves off from criticism and guidance, ultimately hindering their personal growth and progress. Original works 53 F Topografija spomina, 2019 SI železo, lateks, vezice Delo je sestavljeno iz lateksnih odlitkov delov teles članic magistrskega kiparskega kolektiva 2019 na ALUO. Vsaka kiparka je prispevala izbrani del telesa, skupaj z zgodbo o bolečini, travmi ali brazgotini, ki jo je zaznamovala. Odlitki metaforično tvorijo odebeljeno kožo, ki je na-peta na železne okvirje in sestavljena v obliko zaščitnega brezrokavnika. Slednji simbolizira zaščito, ki jo umetnica črpa iz skupnosti kolektiva, ter nakazuje na trdo kožo, ki jo posamezniki razvijamo v skupnosti, da bi se zavarovali. Brazgotine, čeprav pogosto nevidne, niso manj resnične. Večina psihičnih bolečin in kletk, ki nas omejujejo, ostaja očem skrita, a še vedno močno vpliva na posameznikovo notranje stanje. Te nevidne rane lahko počasi razžirajo človeka od znotraj in ustvarjajo škodljive obrambne mehanizme, ki omejujejo osebnostno rast in zdrav razvoj. 54 Izvorna dela Foto / Photo: Tajda Novšak, osebni arhiv / personal archive F Topography of Memory, 2019 EN Materials: iron, latex, eyelets The work comprises latex casts of pain-im-printed body parts from the 2019 master's sculpture collective at ALUO. Each sculptress also shared her personal story of pain, trauma, or scars inflicted upon her in the past. The casts metaphorically create a thickened skin stretched over iron frames, assembled into the shape of a protective vest. It symbolizes the protection the artists draw from the collective community, reflecting the tough skin individuals develop to safeguard themselves within a community. While often invisible, these scars are no less real. Many psychic pains and cages that limit us remain hidden from view, yet they profoundly impact our inner states. These unseen wounds can gradually erode a person from within, fostering harmful defence mechanisms that impede personal growth and healthy development. Original works 55 BIOGRAFIJA ZAHVALA SI Tajda Novšak (1994) je vizualna umetnica, ki se Želela bi se zahvaliti Anji Seničar, Tini Gerlec v svoji praksi posveča raziskovanju psiholoških (Galerija Tkalka) in Mateju Tomažinu (Zavod procesov in njihovega prepleta z umetnostjo. Artopolis) za izjemno podporo pri produkciji Njena dela, ki so po obliki večinoma kiparski te razstave. Vaša predanost in kreativnost objekti iz železa in drugih materialov, temeljijo sta bili ključni pri oblikovanju projekta ter na simboliki fizičnih kletk, ki izražajo ujetost njegovi izvedbi. posameznika v družbene in psihološke spone. Te metaforične strukture, ki izražajo notranje Zahvala gre tudi Centru Rog in mojim sode-mentalne stiske in omejitve, hkrati postajajo lavcem za ponujen fizični in miselni prostor za sredstvo za njeno nadaljnje raziskovanje pro-ustvarjanje. Vaša pomoč in gostoljubnost sta cesualne umetnosti. omogočila, da sem uresničila svoje ideje in vizije. Leta 2021 je magistrirala iz kiparstva na Akademiji Na koncu se zahvaljujem vsem, ki ste mi stali za likovno umetnost in oblikovanje v Ljubljani. ob strani v tem stresnem in kreativno nabitem Deluje kot vizualna umetnica, ukvarja se z iz-letu. Vaša podpora, razumevanje in spodbuda delovanjem rekvizitov za gledališke predstave, so mi dali moč, da sem kljub izzivom nadaljevala kratke filme in videospote ( Silence: Vocabulary in dosegla zastavljene cilje. Hvaležna sem za of Madness, Proces{i}). Pogosto sodeluje tudi z vsak trenutek, ki ste ga delili z menoj. različnimi umetniki in oblikovalci, ki jim pomaga pri izvedbi umetniških del ali končnih produktov. Zanima jo obdelovanje in raziskovanje tako fizičnih kot psihičnih materialov. 56 BIOGRAPHY ACKNOWLEDGMENTS EN Tajda Novšak (1994) is a visual artist whose work I would like to thank Anja Seničar, Tina Gerlec delves into the interplay between psychology (Tkalka Gallery), and Mate Tomažin (Artopolis and art. Primarily focused on sculptural forms Institute) for their outstanding support in the made from iron and other materials, she explores production of this exhibition. Your dedication the concept of physical cages that represent and creativity were essential to the design and how individuals can feel trapped by social and execution of the project. psychological constraints. These metaphorical structures convey inner mental distress and I am also grateful to the Rog Centre and my limitations, while also serving as a medium colleagues for providing the physical and mental for her exploration of process art. In 2021, she space necessary for my creative process. Your earned her MA in Sculpture from the Academy assistance and hospitality allowed me to bring of Fine Arts and Design in Ljubljana. my ideas and visions to life. As a visual artist, she also creates props for Lastly, I want to thank everyone who has stood theatre performances, short films, and music by me during this challenging and creatively videos (including Silence: Vocabulary of Madness intense year. Your support, understanding, and and Proces{i}). She frequently collaborates with encouragement have given me the strength other artists and designers, assisting them in to persevere through difficulties and achieve bringing their artistic visions to fruition. Tajda is my goals. I cherish every moment we shared. particularly interested in processing and explor-ing both physical and psychological materials. Tajda Novšak na Artopolisu. → Tajda Novšak on Artopolis. → 57 Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID 215105539 ISBN 978-961-96831-0-1 (PDF) Tajda Novšak: SHAPESHIFTING Tajda Novšak: SHAPESHIFTING SI EN Besedilo: Anja Seničar, Tajda Novšak Text: Anja Seničar, Tajda Novšak Slovenska lektura: Melita Silič Slovenian Proofreading: Melita Silič Angleški prevod in lektura: Melita Silič English Translation and Proofreading: Melita Silič Oblikovanje: Črt Matè Design and Layout: Črt Matè Fotografije: Gregor Salobir, Matej Tomažin, Photography: Gregor Salobir, Matej Tomažin, Jan Dolar, Jaka Babnik, Tajda Novšak Jan Dolar, Jaka Babnik, Tajda Novšak Umetnica: Tajda Novšak Artist: Tajda Novšak Kuratorka razstave: Anja Seničar Exhibition Curator: Anja Seničar Produkcija: Zavod Artopolis Production: Artopolis Institute Koprodukcija: Galerija Tkalka Co-production: Tkalka Gallery Tehnična pomoč: Simon Sedmak Technical Assistance: Simon Sedmak Video: Jan Dolar, Dolar media Video: Jan Dolar, Dolar media Prispevano umetniško delo: Maša Knapič, Contributed artwork: Maša Knapič, podstavek, ft.props 2021-. prop, ft.props 2021-. Urednik: Matej Tomažin Editor: Matej Tomažin Izdal: Zavod za razvoj in raziskave kulturnega Published by: Artopolis Institute for Cultural področja Artopolis, Male Braslovče, 2024 Research and Development, Male Braslovče, 2024 Knjižna zbirka: Artopolis x Tkalka Book Series: Artopolis x Tkalka Digitalna izdaja Digital Edition Ni naprodaj Not for sale Na voljo v formatu pdf na Available in PDF format at https://artopolis.si/razstave/shapeshifting, https://artopolis.si/razstave/shapeshifting, dne 15. 11. 2024. as of November 15, 2024. Razstavo je sofinanciralo The exhibition was co-funded by Ministrstvo za kulturo Republike Slovenije. the Ministry of Culture of the Republic of Slovenia. © ZAVOD ARTOPOLIS, ZAVOD TKALKA 2024. © ARTOPOLIS INSTITUTE, TKALKA INSTITUTE 2024. Vse pravice pridržane. All rights reserved. zavod.artopolis.si | www.tkalka.gallery zavod.artopolis.si | www.tkalka.gallery