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𝟑. 𝟐. 𝟐𝟎𝟐𝟔 𝐨𝐛 𝟏𝟗.𝟎𝟎 / 𝐃𝐨𝐛𝐫𝐚𝐕𝐚𝐠𝐚𝐔𝐌𝐄𝐓𝐍𝐈𝐂𝐀 𝐍𝐀 𝐌𝐄𝐒𝐄𝐂 / 𝐊𝐚𝐣𝐚 𝐏𝐨𝐝𝐠𝐨𝐫š𝐞𝐤: 𝐊𝐄𝐕𝐃𝐑
𝐫𝐚𝐳𝐬𝐭𝐚𝐯𝐚
𝐝𝐨 𝟐𝟖. 𝟐. 𝟐𝟎𝟐𝟔
V razstavi KEVDR se umetnica ukvarja s konzervacijo slikarskih materialov, orodij in ostankov umetniških del, ki v ateljeju čakajo, da bodo razstavljena ali prodana. Našteto konzervira v olju – mediju, ki ga uporablja tudi v svoji slikarski praksi – in zapre v kozarce za vlaganje. Te opremi z etiketami, ki popisujejo vsebino kozarcev. Kevdr oziroma kevder je klet ali shramba, ki je vkopana v zemljo.
Tehniko, ki se je umetnica poslužuje, običajno uporabljamo za vlaganje pridelkov z domačega vrta ali sadovnjaka. Umetnici je ta način konzerviranja sadja in zelenjave poznan, saj ga uporablja tudi. Z njegovo uporabo umetnica počasti vez s svojimi koreninami, hkrati pa ustvarja avtobiografski zapis svojega delovnega prostora ter pridelkov in ostankov svojega dela.
Z zamenjavo naravnih pridelkov z izdelki, ki jih porodi njena umetniška praksa, umetnica rekontekstualizira proces, ki je bil do nedavnega del mnogih nalog, ki jih uvrščamo pod pogosto nevidno in neplačano reproduktivno delo, najpogosteje naloženo ženskam. S tem je umetniška praksa premeščena v kontekst nujnega, kakor je nujna pridelava in zagotovitev hrane za zimo ali celo za neko daljše, bolj nedoločno in negotovo obdobje.
Mnoštvo kozarcev tvori arhiv ateljejskega dela, ki je organiziran tako, da ne vzpostavlja hierarhije med orodji za delo (čopiči, tube oljne barve), materiali, ki še nimajo avtorskega pečata (npr. grundirana platna), dokončanimi deli in ostanki ter smetmi. Umetnina in umetniško delo ostaneta prepletena.
Hkrati se umetnica ukvarja z ohranjanjem umetniškega delovanja in preizkuša, ali je efemernost procesa mogoče zaobjeti in shraniti v steklenem kozarcu. S tem dejanjem raziskuje, kako ohraniti in zaobjeti umetniški proces v obliki statične točke, ki si jo lahko ogledujemo in jo analiziramo brez podrejanja poteku umetniškega delovanja. Gledalka je ob ogledu razstave soočena s potencialom popolnega uvida v ta intimen proces, kar pa se izkaže za nemogoče in reduktivno pričakovanje.
𝐊𝐚𝐣𝐚 𝐏𝐨𝐝𝐠𝐨𝐫š𝐞𝐤 (2001) je leta 2025 diplomirala na oddelku za slikarstvo Akademije za likovno umetnost in oblikovanje (ALUO) v Ljubljani, kjer na isti smeri nadaljuje magistrski študij. V študijskem letu 2024/2025 se je v programu Erasmus+ izobraževala na Akademiji za likovno umetnost v Banski Bistrici na Slovaškem. Sodelovala je pri več skupinskih razstavah in projektih, med drugim junija 2025 tudi pri stenski poslikavi All Tomorrow’s Songs pod mentorstvom JAŠE (Mrevlje-Pollak) v sodelovanju z ALUO. Njeno besedilo Ko ni pomembna končnost in je slika enako kot stena je bilo objavljeno v reviji Likovne besede (št. 129, poletje 2025). Sodelovala je tudi na skupinskih razstavah Vabljeni mladi 2025 (Galerija Media Nox, Maribor, 2025), Orbico Supports Art (Galerija Bažato, Ljubljana, 2025), Sveže ribe (Galerija DobraVaga, Ljubljana, april 2025), fotografski razstavi Sveže ribe (Galerija DobraVaga, Ljubljana, julij 2025) ter Vabljeni mladi 2024 – Oblike stvarjenja (Galerija Media Nox, Maribor, 2024). Na Slovaškem je v sklopu programa Erasmus+ sodelovala na skupinski razstavi SNP – Sočasni narativni potencial (Galerija F(X), 2024) in na delavnici Iron Casting, na Češkem pa pri projektu Pokoje 2024 v Pragi s skupinskim interaktivnim delom Rast. Samostojno se je prvič predstavila z razstavo Gnoj je gnoj, zlato je zlato (Galerija Peti štuk, Ljubljana, 2024). Sodelovala je pri performansu Made in China v GalerijiGallery v Ljubljani (2023) in pri projektu Uglasbitev videnega (v sodelovanju ALUO in Akademije za glasbo v Ljubljani) s kratkim videom Globina spomina (2022). Deluje predvsem na področju slikarstva, posredno kiparstva, pri čemer se njena praksa razširja iz slike v prostor in objekte. Posveča se materialnosti in procesu, ki sta v njeni praksi čedalje bolj v ospredju.
Kuratorka: 𝐋𝐮𝐜𝐢𝐣𝐚 𝐊𝐥𝐚𝐮ž
𝐕𝐬𝐭𝐨𝐩 𝐩𝐫𝐨𝐬𝐭.
𝟑. 𝟐.–𝟐𝟖. 𝟐. 𝟐𝟎𝟐𝟔
𝘖𝘳𝘨𝘢𝘯𝘪𝘻𝘢𝘤𝘪𝘫𝘢: 𝘋𝘰𝘣𝘳𝘢𝘝𝘢𝘨𝘢 / 𝘒𝘪𝘯𝘰 Š𝘪š𝘬𝘢.
_________________
𝟑. 𝟐. 𝟐𝟎𝟐𝟔 𝐨𝐛 𝟏𝟗.𝟎𝟎 / 𝐃𝐨𝐛𝐫𝐚𝐕𝐚𝐠𝐚
𝐀𝐑𝐓𝐈𝐒𝐓 𝐏𝐄𝐑 𝐌𝐎𝐍𝐓𝐇 / 𝐊𝐚𝐣𝐚 𝐏𝐨𝐝𝐠𝐨𝐫š𝐞𝐤: 𝐊𝐄𝐕𝐃𝐑
𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧
𝐮𝐧𝐭𝐢𝐥 𝟐𝟖. 𝟐. 𝟐𝟎𝟐𝟔
In the exhibition KEVDR, the artist focuses on the preservation of painting materials, tools and remnants of artworks waiting in the studio to be exhibited or sold. She preserves these items in oil – a medium she also uses in her painting – and seals them in preserving jars. The jars are fitted with labels describing their contents. Kevdr, or kevder, refers to a cellar or storage space dug into the ground.
The technique the artist employs is one commonly used for preserving produce from a home garden or orchard. This method of conserving fruit and vegetables is familiar to her thanks to her grandmother also using it. Through its use, the artist honours her connection to her roots while simultaneously creating an autobiographical record of her working environment, along with the products and residues of her work.
By replacing natural produce with the outputs of her artistic practice, the artist recontextualises a process that until recently formed part of many tasks categorised as often invisible and unpaid reproductive labour, most frequently assigned to women. In doing so, artistic practice is relocated into the realm of necessity, akin to the essential work of growing and securing food for the winter or for a longer, more uncertain and indeterminate period.
The multitude of jars forms an archive of studio work, organised in a way that establishes no hierarchy between tools (brushes, tubes of oil paint), materials not yet bearing an authorial mark (such as primed canvases), finished works, and remnants or waste. The artwork and the act of artistic labour remain intertwined.
At the same time, the artist engages with the question of preserving artistic activity itself, testing whether the ephemerality of process can be contained and stored within a glass jar. Through this gesture, she explores how an artistic process might be preserved and encompassed as a static point that can be observed and analysed without being subordinated to the flow of artistic production. The exhibition viewer is confronted with the promise of complete insight into this intimate process, a promise that ultimately reveals itself to be both impossible and reductive.
𝐊𝐚𝐣𝐚 𝐏𝐨𝐝𝐠𝐨𝐫š𝐞𝐤 (2001) graduated in 2025 from the Department of Painting at the Academy of Fine Arts and Design (ALUO) in Ljubljana, where she is continuing her studies at master’s level in the same field. In the 2024/2025 academic year, she took part in the Erasmus+ programme at the Academy of Fine Arts in Banská Bystrica, Slovakia. She has participated in several group exhibitions and projects, including the mural All Tomorrow’s Songs in June 2025, created under the mentorship of JAŠA (Mrevlje-Pollak) in collaboration with ALUO. Her text Ko ni pomembna končnost in je slika enako kot stena was published in the journal Likovne besede (no. 129, summer 2025). She has also taken part in the group exhibitions Young People Invited 2025 (Media Nox Gallery, Maribor, 2025), Orbico Supports Art (Bažato Gallery, Ljubljana, 2025), Fresh Fish (DobraVaga Gallery, Ljubljana, April 2025), the photography exhibition Fresh Fish (DobraVaga Gallery, Ljubljana, July 2025), and Young People Invited 2024 – Forms of Creation (Media Nox Gallery, Maribor, 2024). While in Slovakia through the Erasmus+ programme, she participated in the group exhibition SNP – Contemporary Narrative Potential (Gallery F(X), 2024) and the Iron Casting workshop. In the Czech Republic, she took part in the project Pokoje 2024 in Prague with the group interactive work Rast (Growth). She presented her first solo exhibition, Manure Is Manure, Gold Is Gold, at Gallery Peti Štuk in Ljubljana in 2024. She also contributed to the performance Made in China at GalerijaGallery in Ljubljana (2023) and to the project Uglasbitev videnega (Setting What Is Seen to Music, a collaboration between ALUO and the Academy of Music in Ljubljana) with the short video Depth of Memory (2022). Her practice is primarily focused on painting, with an indirect engagement in sculpture, expanding from the image into space and objects. She is particularly interested in materiality and process, which are becoming increasingly central to her work.
Curated by: 𝐋𝐮𝐜𝐢𝐣𝐚 𝐊𝐥𝐚𝐮ž
𝐅𝐫𝐞𝐞 𝐚𝐝𝐦𝐢𝐬𝐬𝐢𝐨𝐧.
𝟑. 𝟐.–𝟐𝟖. 𝟐. 𝟐𝟎𝟐𝟔
𝘖𝘳𝘨𝘢𝘯𝘪𝘴𝘢𝘵𝘪𝘰𝘯: 𝘋𝘰𝘣𝘳𝘢𝘝𝘢𝘨𝘢 / 𝘒𝘪𝘯𝘰 Š𝘪š𝘬𝘢.
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