The textile museum in Husseren-Wesserling in France holds the exhibition of five Slovene artists of different generations and textile techniques, whose research and inspiration is based on fibre and thread. Even though they come from different profes-sional and educational fields, they all perceive co-creation of space and intervention in it as the key elements of designing its identity. This establishes the synergic link between fibre – thread, the ambience, symbolism and inspiration, and opens paths for artistic and authorial upgrading.

While the work of Ksenija Baraga is characterized by struc-tural, textural, colouristic and sculptural finesses with empha-sized details, the work of Eta Sadar Breznik features transpar-ent ambience installations with thoughtful light accents. Anda Klancic presents herself with her manuscript, a drawing of linear and three-dimensional machine embroidered lace. Jana Mršnik and Vesna Štih (trademark BelaBela) research new interpreta-tions of textile, using various atypical materials and exploring the limits of the textile idea.

The authors and their work are not only linked by a common relation to space, but also by the deeper symbolical expressive-ness they strive for. The basic human and existential legitimacies – warnings, visions, associative ties, archetypes, symbolism, vast-ness of spirit etc. – echo and radiate from their works.

The titles of Ksenija Baraga’s works – Dance, We’re hanging on a thread and The Little Prince – suggest profound subjects. The Flying Carpets by Eta Sadar Breznik also remain in suggest-ible frames, but – with their monumental dimensions – cross the boundary of the fabulous into the world of the abstract and philosophical relations. The textile installation Paths III by Anda Klancic relates to every one of us. The picturesque landscape with silhouettes of human bodies draws our different and rich paths of life. The events around BelaBela’s “membrane of trans-parent veils”, into the meditative space of which the designer is headed, noticeably change their subtle expressions. The meta-phorical poetics of external and internal-personal perceptions reveal “diverse connections, encounters and communications, as well as the memory of our own constitution, connection with others, the world, and the universe.”

All artists at the exhibition are independent creators on the Slovene culture scene and have been researching various fields of fine arts and artistic creativeness through their different crea-tive periods. In their numerous projects and results of individual researches they try to surpass the established conceptions of tex-tile design as solely an applicable form. They want to refine the

more complex comprehension of textile art with multi-layered and ambiguous messages.

Ksenija Baraga is inspired by the richness and responsiveness of materials; she establishes daring relations between fibres and threads and applies new techniques of weaving, knitting, sew-ing, crochet, tying etc. within the established knitting techniques and practices. In 1981 she exhibited a traditional one-way knitted knitting surface and thus enabled an independent painting-like method of composition with lines, colours and texture, knitting from numerous centres towards different directions. An impor-tant element in sketching and presenting her works is light. The meditative dynamics of the “living picture-sculpture”, which pulses under the influence of the atmospheric effect of daylight, constantly changing its colour and expressive spectrum, as well as the visual structural and textural accents in density, transparency and materials, seems like a fascinating notion of the sublime.

The Prešeren Fund Award winner Eta Sadar Breznik already placed tapestry into space 30 years ago, when we experienced its floating, surprising lightness and spatial fascination. Her monu-mental fibrous ambient fluctuations lose their weight and materi-ality despite the dimensions they are fitted into. The game of light and shadows, which is co-created by the illumination in colourful transparency, embraces the whole space and the fascinating lines of the chiaroscuro spray in all directions in their artistic glow-ing. The visitors, of course, also experience the intensity of such glowing and are affected by the artistic and abstract metaphoric. The installation reforms space into architecture, an inspirational ambience, as the connection with fibre – our touch – is allowed, inviting and almost necessary.

Anda Klancic, the patent holder for the hollow machine embroidered lace from 1997, the 1999 winner of the Exellence Award at the 6th international competition (ITF) in Kyoto, Japan, is also known as the creator of the elastic machine embroidered lace (1995), made continually in one piece, where the elasticity derives from thoughtfully applied stitches without visually dis-turbing compounding seams (unfortunately, she never patented the authorship). The central theme of this installation is freeing textile from any weight and emphasizing its most basic element – thread. In the installation, thread assumes the function of the artist’s manuscript. It simultaneously presents itself, its fragility and power, the author and the message of the installation. With its abstract visual identity, it associatively takes us towards the metaphors and poetics of the personal and collective, the well-trodden or not yet discovered paths.

Jana Mršnik and Vesna Štih create under their trademark Be-laBela. Even though the modularity of the polypropylene fluid bodies with the structural and textural lightness of textile is one of their most perceptible features, as it enables the users to com-pose the product according to their wish and inspiration without the use of glues or connective agents and is easy to maintain and recycle, the light in the artists’ presentations does not lose impor-tance. Due to its symbolical expressiveness and meditative ésprit, light is the key part of BelaBela’s recognisability. The Growing light of organza beams, spreading outwards from the scarcely hinted light source in the depth, “like subtle cosmic dust, a loose cloud or a mysterious body within a body”, draws attention also to the numerous but important, though increasingly neglected details and micro spaces, which we tend to overlook in the hasti-ness of the present-day world.

In the modern industrialized environment, where the pro-duction of millions of identical products is losing its author`s trace, the uniqueness does not only draw attention to products, but also evokes respect for the artist whose researches and crea-tions make a quality contribution to the cultural heritage of the world. Their inspirational researches and results are assumed and transmitted in details and segments; in time, the authorship be-comes blurred and merges into the integrity of the global textile and artistic heritage.

Nuša Podgornik, Art Critic

V razstavnih prostorih Alzaškega tekstilnega muzeja v Husse-ren-Wesserlingu v Franciji se predstavlja pet slovenskih ustvarjalk razlicnih generacij, delujocih v razlicnih tekstilnih tehnikah, ki jim osnovo njihovega raziskovanja ter navdiha v prostoru predsta-vljata prav vlakno in nit. cetudi prihajajo z razlicnih poklicnih in izobrazbenih podrocij Univerze v Ljubljani, je za vseh pet kljucni de-javnik pri oblikovanju identitete prostora njegovo soustvarjanje in poseganje vanj. Tako je stkana sinergicna vez med nitjo - vlaknom, ambientom, simboliko in navdihom ter so odprte poti za umetniško in avtorsko nadgradnjo.

Medtem ko pri Kseniji Baraga opažamo strukturne, teksturne, koloristicne in kiparske finese s poudarki na podrobnostih, pri Eti Sadar Breznik prevladujejo transparentne ambientalne postavitve z domišljenimi svetlobnimi poudarki. Anda Klancic se predstavlja s svojim likovnim rokopisom, z risbo linearno in prostorsko usmer-jane zracne cipke. Jana Mršnik in Vesna Štih (blagovna znamka BelaBela), raziskujeta nove interpretacije tekstila in uporabljata razlicne zanj neznacilne materiale ter obenem odkrivata, kako dalec lahko ideja tekstila poseže.

Avtoric ne povezuje le soroden odnos do prostora, temvec tudi poglobljena simbolna sporocilnost, za katero si prizadevajo in jo posredujejo s svojimi deli, iz katerih vejejo in odzvanjajo temeljne cloveške in globalne bivanjske zakonitosti, opozorila, vizije, asoci-ativne navezave, arhetipi, simbolika, prostranstva duha…

Ples, Visimo na nitki in Mali princ Ksenije Baraga tovrstne poglobljene tematske opredelitve sugerirajo že v naslovih. Tudi Letece preproge Ete Sadar Breznik ostajajo v sugestibilnih okvi-rih, a s svojimi monumentalnimi dimenzijami posegajo tudi onkraj pravljicnega, v svet zavezujocih abstraktnih in filozofskih razmerij. Na slehernega od nas se nanaša tekstilna instalacija Ande Klancic, imenovana Steze III, kjer slikovite pokrajine, silhuete cloveških te-les v njej…, beležijo in izrisujejo predvsem naše raznolike in pestre življenjske poti. V membrani prosojnih tancic Rastoce svetlobe Jane Mršnik in Vesne Štih (blagovna znamka BelaBela), v katere medi-tativni prostor se poda obiskovalec, dogajanje okoli njega opazno spreminja svoj sublimni izraz. Metaforicna poetika zunanjih in notranjih osebnih zaznav odstira namrec “raznovrstne povezave, srecavanja in komunikacije, pa tudi spomin na naš lastni ustroj, povezanost z drugimi, s svetom, vesoljem”.

Vse predstavljene umetnice so samostojne ustvarjalke na podrocju kulture v Sloveniji in so se skozi svoja kreativna obdobja seznanjale z razlicnimi sferami likovnega ter umetniškega snovanja. V številnih delovnih projektih in rezultatih individualnih raziskav presegajo ustaljena pojmovanja tekstilnega oblikovanja kot zgolj

uporabne zvrsti; kompleksnejše razumevanje tekstilne umetnosti namrec plemenitijo z vecslojnostjo in vecpomenskostjo sporocil.

Ksenija Baraga se navdušuje nad pestrostjo in odzivnostjo materialov, vzpostavlja drzna razmerja med nitmi ter z izvirno uporabljenimi inventivnimi tehnikami vezenja, pletenja, šivanja, kvackanja, vozlanja ... posega v ustaljene pletilne prakse. Leta 1981 je razstavila tradicionalno, enosmerno pleteno pletilno površino in si s tem omogocila svobodnejšo, slikarstvu podobno metodo graje-nja kompozicije s potezo, barvo in teksturo tako, da je zacela plesti iz vecih centrov v razlicne smeri. Pomemben element v snovanju in prezentaciji njenih del pa predstavlja tudi svetloba. Meditativna dinamika žive slike - skulpture, ki pulzira pod vplivom atmosferskih ucinkov dnevne luci, nenehno spreminjajoc svoj barvni in izrazni spekter ter s tem tudi vizualne strukturne in teksturne akcente v gostoti, transparentnosti materiala, se zdi kot fascinantna pred-stava sublimnega.

Eta Sadar Breznik, nagrajenka Prešernovega sklada, nacio-nalne nagrade za kulturo, je že pred tridesetimi leti tapiserijo ume-stila v prostor tako, da smo hkrati doživeli njeno lebdenje, presene-tljivo lahkotnost in prostorsko fascinantnost. Njena monumentalna vlaknena ambientalna valovanja tudi na tej razstavi, kljub razse-žnostim, v katere so vpeta, izgubljajo svojo težo in materialnost. Igra svetlobe in sence, ki jo v barviti prosojnosti soustvarja osvetli-tev, zaobjame namrec celoten prostor in navdihujoci grafizmi chia-roscura v likovnem žarenju pršijo v vse smeri. Intenzitete tovrstnega žarcenja so seveda deležni tudi obiskovalci, na katerih likovna in abstraktna metaforika pušca svojo sled. Ustvarjalkina postavitev prostor spreminja v arhitekturo, inspirativen ambient, saj je stik s tkanino - naš dotik - dopušcen, vabljiv in skoraj nujen.

Ando Klancic, nosilko patenta prostorsko votle zracne cipke leta 1997, ki je na šestem mednarodnem natecaju (ITF) v Kjotu na Japonskem leta 1999 prejela Exellence Award, posebno nagrado za odlicnost, poznamo tudi kot ustvarjalko prostorsko elasticne zracne cipke (1995), izdelane kontinuirano, v enem kosu, kjer elasticnost izhaja iz premišljeno uporabljenih vbodov, brez vizualno motecih sestavljenih šivov (avtorstva ustvarjalka žal ni patentirala). Rdeca nit njene tokratne instalacije je težnja odvzeti tekstilu vsakršno težo in izpostaviti njegovo najelementarnejšo prvino, nit. Ta je v tej postavitvi prevzela likovno funkcijo individualnega rokopisa umetnice, predstavlja hkrati samo sebe, svojo siceršnjo, njej lastno krhkost in moc obenem, zastopa ustvarjalko in celostno sporocilo instalacije ter nas s svojo abstraktno pojavnostjo asociativno od-pelje k metaforam in poetikam osebnih ter skupnih že prehojenih in še nedoživetih poti.

Jana Mršnik in Vesna Štih ustvarjata pod blagovno znamko BelaBela. Ceprav sta opaznejša elementa njunih tekstilnih objektov in fluidnih telesc iz polipropilena (slednjim sta vdahnili še strukturne in teksturne lastnosti lahkotnosti tekstila) sicer modularnost in ohra-njanje spomina na tradicionalne rocne spretnosti, ki uporabniku omogocata, da sam sestavi izdelek po svojih željah in navdihu, brez uporabe lepil in veznih sredstev, enostaven za vzdrževanje in reci-kliranje (tudi polipropilena), pa v njunih predstavitvah ni nic manj pomembna svetlobnost. Ta zaradi svojega simbolnega sporocila in meditativnega esprija predstavlja namrec kljucni del BelaBeline prepoznavnosti. Rastoca svetloba žarkov, ki se širijo od komaj slu-tenega svetlobnega vira navzven “kot subtilen vesoljni prah, sipek oblak ali skrivnostno telo znotraj telesa”, opozarja tudi na tiste, vse bolj zapostavljene, številne, a pomembne detajle in mikroprostore, ki jih v naglici današnjega casa preveckrat spregledamo.

V sodobnem industrializiranem okolju, kjer je produkcija milijonov enakih izdelkov izgubila svojo avtorsko sled, unikatnost ne predstavlja le vrnitve pozornosti do tovrstnih izdelkov, temvec tudi spoštovanje do tistih ustvarjalk in ustvarjalcev, katerih dosežki in stvaritve so kvalitetno doprinesli k svetovni kulturni dedišcini. Njihove inspirativne raziskave, rezultate in izsledke prevzemajo številne kolegice in kolegi ter jih prenašajo naprej, avtorstvo pa se scasoma zabrisuje in staplja v celovitosti svetovne, globalne tekstil-ne in umetniške dedišcine.

Nuša Podgornik, umetnostna kriticarka

A painter by education, Ksenija Baraga connects her knowl-edge in fine arts with the use of classical and inventive techniques of weaving, crochet and embroidery in an expressive, unique and personal manner. Drawing on the idea, which is followed in the creative process by thread or fibre, and intertwining various ma-terials and techniques, either classical or completely original and inventively adapted to the purpose, she creates poetical, small and large textile compositions and objects.

Her works interweave echoes of moments, images and natural forms – abstract and intertwined with personal critical thinking and relation to life.

The reification of creative concepts and forms of communica-tion first became evident in her work in the series of objects: clothes-sculptures and hat-sculptures. Their colourful and monochromatic surfaces, structured in laced and interlaced thread structures allow the exchanging of light and shadow, sharpness and tenderness, and produce the illusion created by the transformation of time. The au-thor’s ability to incorporate herself into the created object maintains the illusion of the “second skin”, which is lost the moment we try to ascribe applicability to it. With the objects she has created in recent years, she continues developing her ideas, intertwining them with various materials and going beyond the boundaries of the expected.

Ksenija Baraga has had several much-noted individual exhibi-tions; she has also participated in several group exhibitions and the selected exhibition of the Designers Society of Slovenia, where she is the head of the Unique Design Section.

Maja Kržišnik, art historian

baragaksenija.blogspot.com

Ksenija BaragaJamova 57

1000 LjubljanaSlovenia

ksenija.baraga@gmail.com

Po izobrazbi slikarka, Ksenija Baraga na izrazit, prepo-zaven in oseben nacin združuje svoje likovno znanje z uporabo klasicnih in inventivnih tehnik pletenja, kvackanja in vezenja. Izhajajoc iz misli, ki ji v ustvarjalnem procesu sledita nit ali vlakno, z združevanjem najrazlicnejših materialov in tehnik, tako klasicnih kot povsem samosvojih, inventivno prilagojenih namenu, nastajajo njene poeticne, majhne in velike tekstilne kompozicije ter objekti.

V njene stvaritve so vpleteni odzivi trenutka, podobe, obli-ke iz narave in abstraktnega, ki jih prepleta z lastnim kriticnim razmišljanjem in odnosom do življenja.

Opredmetenost ustvarjalnih konceptov in oblik sporazu-mevanja se je v delu Ksenije Baraga najprej pokazala v seriji oblek-skulptur in klobukov-skulptur. Njihove barvite in mono-kromatske površine, strukturirane v nitnih spletih in prepletih so dopušcale menjavanje svetlobe in sence, ostrino in mehkobo, dajale so iluzijo, ustvarjeno s transformacijo casa. Avtoricina zmožnost inkorporiranja v nastali objekt je ohranila iluzijo o drugi koži, ki se izgubi v trenutku, ko bi ji hoteli pripisati upo-rabnost.

V objektih, ki so nastali v zadnjem casu, nadaljuje s svojimi tekstilnimi razmišljanji, vanje vpleta najrazlicnejše materiale in posega preko mej pricakovanega.

Ksenija Baraga je imela vec odmevnih samostojnih razstav, sodelovala je na skupinskih razstavah, pri Društvu oblikovalcev Slovenije pa vodi sekcijo za unikatno oblikovanje.

Maja Kržišnik, umetnostna zgodovinarka

Biografski podatki1960. rojena v Ljubljani. 1986. diplomirala slikarstvo na Akademiji za likovno umetnost v Ljubljani. Deluje na podrocju unikatnega in industrijskega oblikovanja tekstila, ilustracije in oblikovanja postavitev razstav.

Izbor samostojnih razstavMestna galerija, Ljubljana, Slovenija, 2000

Izbor skupinskih razstav12. mednarodni trienale tapiserije, Łódz, Poljska, 2007Le Petit Festival, Dubrovnik, Hrvaška, 2006Re:Design Europe, Berlin, Nemcija 2005 Visages de la Slovenie, Cahors, Francija, 2005

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Biographical data1960 – born in Ljubljana.1986 – graduated in painting from the Academy of Fine Arts in Ljubljana.She is active in the field of unique and industrial textile design, illustration and exhibition installation design.

Selected individual exhibitionsMestna galerija, Ljubljana, Slovenia, 2000

Selected group exhibitionsInternational tapestry triennial, Łódz, Poland, 2007Le Petit Festival, Dubrovnik, Croatia, 2006Re:Design Europe, Berlin, Germany 2005Visages de la Slovénie, Cahors, France, 2005

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Blooming, 2001, crochet, cord, wire, plastic

In the Wind, 1996, crochet, cord, lurex, wire

Sleeping Beauty, 1997, crochet, weaving, mohair, lurex, cord, wire, silk

Office, 1996 crochet, paper, cord, metal, wool

Clock, 1996crochet, paper, metal, cord, mohair

Light symbiosis, detail 1991,weaving, crochet, plastic, cord, mohair, viscose, raffia, 122 x 189 cm

Šperova gapa - bonnet, 2004,crochet, weaving, cord, lurex, viscose

Towards the translucent, 1993, crochet, weaving, cord, mohair, raffia, wires

Antenna, 2003, crochet, cord, viscose

Bonnets, 2004, traditional bonnet, crochet, embroidery, cord, mohair, wire

We're hanging on a thread, 2008, crochet, metal wire, cord, wood, straw, 60 x 60 x 150 cm

The Little Prince, 2009, crochet, weaving,mohair, cord, wires, 20 x 20 x 20 cm

Dance, 2001, crochet, cord, wire, 35 x 35 x 140 cm

photographyDragan Arrigler

Cvetim, 2001, kvackanje, laks, žica, plastika, V vetru, 1996, kvackanje, laks, lureks,žica

Trnuljcica, 1997, kvackanje, pletenje, moher,lureks, laks, žica, svila

Pisarna, 1996, kvackanje, papir, laks, kovina, volna

Ura, 1996, kvackanje, papir, kovina, laks, moher

V sožitju s svetlobo, detajl 1991, pletenje, kvackanje, plastika, laks, moher, viskoza, rafija, 122 x 189 cm,

Šperova gapa - avba, 2004, kvackanje, vezenje, laks, lureks, viskoza

V prosojno, 1993, kvackanje, štrikanje, laks, moher, rafija, žice

Antena, 2003, kvackanje, laks, viskoza

Avbici, 2004, nacionalno pokrivalo, kvackanje, vezenje, laks, moher, žice

Visimo na nitki, 2008, kvackanje, kovinska žica, laks, les, slama, 60 x 60 x 150 cm

Mali princ, 2009, kvackanje, štrikanje, moher, laks, žice, 20 x 20 x 20 cm

Ples, 2001, kvackanje, laks, žica, 35 x 35x 140 cm

fotografijaDragan Arrigler

After completing studies in textile design and attending various postgraduate courses, the two authors started design-ing interesting fashion collections and experimenting with vari-ous textile projects. Since 2006 they have been collaborating in joint projects and promoting their trademark BelaBela. Their projects link textile, industrial and spatial design. They have ex-hibited their works at BIO 21, Ljubljana 2008, Galerija Imago, Lubljana 2008, Assembly Festival, Graz, Austria 2009, and at the exhibition Technologies in Fine Arts, Velenje 2009.

They are interested in the modularity of particular ele-ments and the role of the end-user, who can rearrange the product and personalize its use. Thus, they connect and in-corporate the rules of the design process into various fields of fine arts and upgrade them into broader meaningful structures. The exhibition presents their project Growing light, composed of transparent pendant textile cylinders. They are condensing inwards, toward the core, the embedded light source, and at-tenuating outwards. The seemingly tender and fine structure changes with light, with the invisible movement of shadows, while the textile bodies create the illusion of multi-layered space and carry physical and expressive power.

Maja Kržišnik, art historian

www.belabela.eu

BelaBela+386 31 566 436+386 31 851 883

info@belabela.eujanamrsnik@yahoo.co.ukvesna.stih@guest.arnes.si

Avtorici sta po koncanem študiju tekstilnega oblikovanja in razlicnih podiplomskih izpopolnjevanjih oblikovali vec zanimivih modnih kolekcij in se ukvarjali z razlicnimi tekstilnimi projekti. Od leta 2006 dalje sodelujeta v skupnih projektih ter uveljavljata svojo blagovno znamko BelaBela.

V projektih združujeta oblikovanje tekstila, industrijsko obli-kovanje in oblikovanje prostora. Svoje skupne projekte sta med drugim razstavili na BIO 21, Ljubljana 2008, v Galeriji Imago, Lubljana 2008, na festivalu Assembly Graz, Avstrija, 2009, in na razstavi Tehnologije v likovni umetnosti v Velenju, 2009.

V projektih ju zanima preucevanje modularnosti posameznih elementov in vloga koncnega uporabnika, ki lahko izdelek po svoje sestavi in personalizira njegovo uporabo. Tako v svojem delu po-vezujeta zakonitosti procesa oblikovanja, jih vkljucujeta v razlicna likovna podrocja in jih nadgrajujeta v širše pomenske sestave.

Na razstavi predstavljata svoj projekt Rastoca svetloba, sesta-vljen iz prosojnih visecih tekstilnih valjev. Ti se zgošcujejo proti je-dru, kjer je vstavljen svetlobni vir, in redcijo navzven. Navidez rahla in nežna tvorba se spreminja s svetlobo, z nevidnim gibanjem senc, tekstilna telesa ustvarjajo iluzijo vecplastnega prostora ter nosijo v sebi fizicno in sporocilno moc.

Maja Kržišnik, umetnostna zgodovinarka

Biografski podatki1972. rojena v Ljubljani.Koncala študij oblikovanja tekstilij in oblacil na NTF, Ljubljana, se podiplomsko specializirala iz pletenin pri podjetju Lineapiú v Pratu pri Firencah, 1997, in se izpopolnjevala na Denmarks Designskole, Kopenhagen, 2003, ter na umetniški smeri NTF. Ukvarja se s tekstilnim oblikovanjem, tekstilnimi projekti, industrijskim oblikovanjem, modo in ilustracijo.

Pomembnejše nagradeŠtudentska Prešernova nagrada za diplomsko delo, Ljubljana, Slovenija, 2000 3. nagrada Smirnoff, Ljubljana, Slovenija, 1996Mittelmoda Premio, Gorica, Italija, 1996

Izbor pomembnejših razstavKaunas Art Biennial, Kaunas, Litva, 2005Imagerie-Art-Fashion, Muzej Revoltella, Trst, Italija, 2003 Obleka-Oblika, Mestna galerija, Ljubljana, Slovenija, 2002

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Jana Mršnik

Biographical data1972 – born in Ljubljana.Graduated in textile and clothes design from the Faculty of Natural Science and Engineering, specialised in hosiery at the company Lineapiú in Prato near Florence in 1997, and continued her education and training at Denmarks Designskole, Copenhagen, 2003, and art studies at the Faculty of Natural Science and Engineering.Her work includes textile design, textile projects, industrial design, fashion and illustration.

Notable awardsStudent Prešeren Fund Award for undergraduate dissertation, Ljubljana, Slovenia, 20003rd prize Smirnoff, Ljubljana, Slovenia, 1996Mittelmoda Premio, Gorizia, Italy, 1996

Selected exhibitions Kaunas Art Biennial, Kaunas, Lithuania, 2005Imagerie-Art-Fashion, Revoltella Museum, Trieste, Italy, 2003Obleka-Oblika, Mestna galerija, Ljubljana, Slovenia, 2002

Biografski podatki

1972. rojena v Ljubljani.Koncala študij oblikovanja tekstilij in oblacil, NTF, Ljubljana, in se izpopolnjevala na Accademia Internazionale d‘Alta moda e d‘Arte del Costume Koefia, Rim, Italija.Ukvarja se s tekstilnim oblikovanjem, modo, krpankami, tekstilnimi projekti in grafiko.

Pomembnejše nagrade7th European patchwork meeting, Sainte-Marie-aux-Mines, Francija, 2001Mittelmoda Premio, Gorica, Italija, 1997

Izbor pomembnejših razstav10th European patchwork meeting, Saint-Marie-aux-Mines, Francija, 20047th European patchwork meeting, Sainte-Marie-aux-Mines, Francija, 2001Young European fashion designer of the year, London, Velika Britanija, 1998

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Vesna Štih

Biographical data1972 – born in LjubljanaGraduated in textile and clothes design from the Faculty of Natural Science and Engineering and continued her education and training at Accadèmia Internazionale d'Alta moda e d'Arte del Costume Koefia, Rome, Italy.Her work includes textile design, fashion, patching, textile projects and graphics.

Notable awards7th European patchwork meeting, Sainte-Marie-aux-Mines, France, 2001Mittelmoda Premio, Gorica, Italy, 1997

Selected exhibitions 10th European patchwork meeting, Sainte-Marie-aux-Mines, France, 20047th European patchwork meeting, Sainte-Marie-aux-Mines, France, 2001Young European fashion designer of the year, London, UK, 1998

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Ovca 1 ∞, 2007, modularna preproga, industrijska volnena klobucevina, industrijski izsek + rocno sestavljanje

Preproga/blazina 1 ∞, 2007, modularna preproga/blazina, industrijska volnena klobucevina, industrijski izsek + rocno sestavljanje

Luc 1 ∞, 2007-2009, modularna svetila, poliprpilen, industrijski izsek + rocno sestavljanje

Zavesa/stena 1 ∞, 2007, modularna zavesa, polipropilen, industrijski izsek + rocno sestavljanje

Luc Bubble, 2010, modularna svetila, polipropilen, industrijski izsek + rocno sestavljanje

Košara Bubble, 2010, modularna košara, polipropilen, industrijski izsek + rocno sestavljanje

Rastoca svetloba, 2010, modularni tekstilno svetlobni objekt v prostoru, organca iz poliestra PES, rocni 3D sitotisk na organco

FotografijeJana Mršnik, Vesna Štih, Franci Virant

Pokrovitelj

Sheep 1 ∞, 2007, modular carpet, industrial wool felt, industrial cut + manual composition

Carpet/cushion 1 ∞, 2007, modular carpet/cushion, Industrial wool felt, industrial cut + manual composition

Light 1 ∞, 2007-2009, modular lights, polypropylene, industrial cut + manual composition

Curtain/wall 1 ∞, 2007, modular carpet, polypropylene, industrial cut + manual composition

Bubble Light, 2010, modular lights, polypropylene, industrial cut + manual composition

Bubble Basket, 2010, modular basket, polypropylene, industrial cut + manual composition

Growing Light, 2010, modular textile object in space, PES polyester organza, manual 3D screen printing on organza

PhotographyJana Mršnik, Vesna Štih, Franci Virant

Sponsor

The designer of textile and clothes Anda Klancic acquired her Master’s degree at the Academy of Fine Arts and Design. Her work is characterised by innovative and creative use of the machine embroidered lace technique, which she skilfully combines with experience from other disciplines, mainly photography. Her work has received several awards at exhibitions in Europe, Asia and the USA, among which the second prize at the global exhibition of textile art in Kyoto, 1999. She was also ranked among 40 most innovative textile artists in the world (lecture of Prof. Michele Fricke, SOFA, Chicago, USA, 1999). Her works are included in 16 collections of textile art around the world.

The newly discovered dimensions of the expressive possibilities of the machine embroidered lace technique introduced Anda Klancic to the world of thread formations and textile objects. In sewing with a sewing machine, the embroidered base is just a temporary device, which is removed in the subsequent process. The openness to space is accompanied by the reduction principle, lightness of abstraction, which substitutes adding, accumulation and filling of space. This triggers a minimalistic record, which manages, for a moment, to stop the impression, and the captured reality becomes more real than the one that is seen. The eruptive motions arising from thread surfaces are sometimes enough to create new sensible worlds and new landscapes in space. Stories repeat themselves; they examine human existence, either on the surface or in space.

In recent years the thread formations of Anda Klancic are being installed with increasing care in galleries, where, with their meaningful titles, they demand reflection from the viewers, try to convince them with their meaning and involve them in their own sensitive experience of the world.

Maja Kržišnik, art historian

Anda KlancicHradeckega 52,1000 Ljubljana

Slovenia+386 1 5401603

anda.klancic@siol.net

Diplomirana oblikovalka tekstilij in oblacil je zakljucila še magistrski študij na Akademiji za likovno umetnost in oblikovanje. V njenem dosedanjem delu je gotovo najpomembnejše inovativno in ustvarjalno uporabljanje tehnike zracne cipke, pri cemer pa spretno vkljucuje izkušnje iz drugih likovnih disciplin, predvsem fotografije. Za svoja dela je na številnih razstavah v Evropi, Aziji in Ameriki dobila vec nagrad in pohval, med njimi drugo nagrado na svetovni razstavi tekstilne umetnosti v Kjotu, 1999, uvršcena je bila med 40 najbolj inovativnih usvarjalcev tekstilne umetnosti v svetu (predavanje prof. Michele Fricke, SOFA, Chicago, ZDA, 1999), njena dela pa so vkljucena v 16 svetovnih zbirk tekstilne umetnosti.

Novo odkrite razsežnosti izraznih možnosti tehnike zracne cipke, ki temelji na strojnem vezenju, so Ando Klancic vpeljale v svet nitnih formacij, tekstilnih objektov. Pri šivanju s šivalnim strojem funkcionira vezilni temelj le kot zacasni pripomocek, ki je v nadaljnjem postopku odstranjen. Odpiranju v prostor se pridružuje princip redukcije, lahkotnost odvzemanja, ki je nadomestila dodajanje, kopicenje ali zapolnjevanje prostora. Sprožen je minimalisticen zapis, ki uspe za hip ustaviti impresijo, in ujeta resnicnost postane resnicnejša od videne. Iz nitnih ploskev nastali eruptivni vzgibi so vcasih dovolj, da iz niti nastajajo novi senzibilni svetovi in nove pokrajine v prostoru. Zgodbe se ponavljajo, preucujejo clovekovo bivanje, enkrat v ploskvi, enkrat v prostoru.

V zadnjih letih postajajo nitne formacije Ande Klancic vse bolj skrbno instalirane v galerijskih prostorih, kjer s svojimi pomenljivimi naslovi zahtevajo od gledalca razmislek, želijo ga prepricati s svojo pomenskostjo in vplesti v lastno senzibilno doživljanje sveta.

Maja Kržišnik, umetnostna zgodovinarka

Bigrafski podatki1960. rojena v Kopru.1995. koncala študij oblikovanja tekstilij in oblacil na NTF v Ljubljani in 1999 magistrirala na Akademiji za likovno umetnost in oblikovanje v Ljubljani.Ukvarja se s tekstilno umetnostjo, nakitom, z instalacijami in s fotografijo.

Pomembnejše nagradeNagrada Trend, Ljubljana, Slovenija, 2001 Excellence award, 6. mednarodna razstava tekstilne umetnosti, Kjoto, Japonska, 1999 Kreinik Award, Art of the Stitch, London, Velika Britanija, 1997

Izbor samostojnih razstav v zadnjih letihGalerija Korotan, Dunaj, Avstrija, 2009 Galerija Narodni dom, Trst, Italija, 2008 Galerija Božidar Jakac - lapidarij, Kostanjevica na Krki, Slovenija, 2007 Galerija Meduza, Koper, Slovenija, 2001

Izbor najpomembnejših skupinskih razstavMiniartextile, Montrouge, Francija, 2005 in 2008 Beyond Weaving: International ArtTextiles, FinnGallery, Greenwich, ZDA , 2006 7. Mednarodni trienale tapiserije, Łódz, Poljska, 2004 Flet-Braid, Aalborg, Danska, 2001 6. Mednarodna tekstilna razstava, Kjoto, Japonska, 1999

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Biographical data1960 – born in Koper1995 – graduated in textile and clothes design from the Faculty of Natural Science and Engineering in 1999, completed her Master’s studies at the Academy of Fine Arts in Ljubljana in 1999.Her work includes textile art, jewellery, installation and photography.

Notable awardsTrend Award, Ljubljana, Slovenia, 2001Excellence award, 6th international textile art exhibition, Kyoto, Japan, 1999Kreinik Award, Art of the Stitch, London, UK ,1997

Selected individual exhibitionsGalerija Korotan, Vienna, Austria, 2009Galerija Narodni dom, Trieste, Italy, 2008 Galerija Božidar Jakac – lapidarij, Kostanjevica na Krki, Slovenia, 2007Galerija Meduza, Koper, Slovenia, 2001

Selected group exhibitionsMiniartextile, Montrouge, France, 2005 and 2008Beyond Weaving: International ArtTextiles, FinnGallery, Greenwich, USA , 20067th international tapestry triennial, Łódz, Poland, 2004Flet-Braid, Aalborg, Denmark, 20016th international textile exhibition, Kyoto, Japan, 1999

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XYZ - Obrazi kiparstva, 2004, rocno usmerjana 3D zracna cipka, sinteticni in bombažni sukanec in filament, žica, 40 x 20 x 140 cm

XYZ - les Visages de Sculpture, 2004,Dentelle brodée 3D en "piqué-libre" à la machine à coudre dirigé à main, fil de synthétique et du coton et filament, fil métallique, 40 x 20 x 140 cm

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Modre misli, 2007, instalacija, bombaž, lan, mešane tehnike, 400 x 500 x 400 cm

Z roko v roki naokrog 1, 1998, zracna cipka, mešane tehnike, bombaž, 40 x 40 x 40 cm

Rast 2, 2004, zracna cipka, sintetika, bombaž, žica, 8 x 15 x 19 cm

V objemu srece, 2007, zracna cipka in vezenina, mešane tehnike, bombaž, viskoza, lan, sintetika, kovina, 35 x 32 x 25 cm

V objemu srece II (ž), 2007, mešane tehnike, palmina skorja, sintetetika, žica, 120 x 35 x 40 cm

Memento mori, 2007, mešane tehnike, palmina skorja, sintetetika, žica, akril, 500 x 300 x 250 cm

V objemu narave 2, 2004, zracna cipka in vezenina, mešane tehnike, bombaž, lan, viskoza, sintenika, kovina, akril, 70 x 27 x 34 cm

Avra, 2006, mešane tehnike, palmina skorja, opticna vlakna, žica, sintetika, 200 x 50 x 50 cm

Steze III, 2010, zracna cipka, mešane tehnike; sintetika, konjska žima, kovinska žica,600 x 600 x 200cm

FotografijeAnda Klancic

Wise Thoughts, 2007, installation, cotton, flax, mixed techniques, 400 x 500 x 400 cm

Global, Hand to Hand, All Around 1, 1998, free machine-embroidered lace, mixed techniques, cotton, 40 x 40 x 40 cm

Growth 2, 2004, free-machine-embroideredlace, synthetics, cotton, wire, 8 x 15 x 19 cm

Embraced by Happiness, 2007, free-motion embroidery and machined lace, mixed techniques, cotton, viscose, flax, synthetic, metal, 35 x 32 x 25 cm

Embraced by Happiness II, (f), 2007, mixed techniques, palm-tree bark, synthetics, wire, 120 x 35 x 40 cm

Memento mori, 2007, mixed techniques, palm-tree bark, synthetics, wire, acrylic, 500 x 300 x 250 cm

Embraced by Nature 2, 2004, free machine-embroidered lace and embroidery, mixed techniques, cotton, flax, viscose, metal, acrylic, 70 x 27 x 34 cm

The Aura, 2006, mixed techniques, palm-tree bark, optical fibre, synthetics, wire, 200 x 50 x 50 cm

Footpaths III, 2010, free machine-embroidered lace, mixed techniques, synthetics, horsehair, metal wire, 600 x 600 x 200 cm

PhotographAnda Klancic

After graduating from the University of Ljubljana Faculty of Architecture, she dedicated herself completely to weaving and studying textile art. She spent study periods at the Academy of Fine Arts in Łódz, Poland, with Professor Alexandra Manczak. Since 1978 her works have been displayed at several individual and selected group exhibitions of textile art in Europe, Asia and the USA. They have also been included in several public collec-tions and professional reviews of global achievements in the field of textile arts. Eta Sadar Breznik was awarded the bronze medal at the Beauvais International Tapestry Festival in 1996, and the Slovene national prize, the Prešeren Fund Award in 1998.

Eta Sadar Breznik’s woven three-dimensional objects origi-nate from modern tapestry, taking only its basic material and tech-nique, thread and weaving. Incorporating colourful, transparent bodies into various spaces creates new solutions in the fine arts. Under light, the colourfully intense, interwoven fields create illu-sions and lose their material existence. The tactility of silk threads invites us to create new experiences, since we can create our own visual conceptions by the slightest instinctive touch.

In her most recent works, the former lightness and the seeming simplicity of suspended transparent thread, caught in narrow straps with thicker structure, are replaced by strong, structured woven fab-ric, made of thread of various thickness and materials, which creates the effect of textile floating in space, twisted in single or double twirl. With a thoughtful installation and illumination, the colourful-ness and the untameable dynamics are further intensified.

Maja Kržišnik, art historian

www.eta-sadar-breznik.si

Eta Sadar BreznikSlovenska ulica 9A

1000 LjubljanaSlovenia

eta.breznik@gmail.com

Eta Sadar Breznik se je po koncanem študiju arhitekture v Lju-bljani povsem posvetila tkanju in preucevanju podrocja tekstilne umetnosti. Študijsko se je izpopolnjevala na Likovni akademiji v Lodžu, Poljska, pri prof. Alexandri Manczak. Od leta 1978 dalje se z njenimi deli srecujemo na številnih samostojnih razstavah, izbranih skupinskih razstavah s podrocja tekstilne umetnosti v Evropi, Aziji in Ameriki. Uvršcena so tudi v mnoge javne zbirke, kot tudi v stro-kovne preglede svetovnih dosežkov s podrocja tekstilne umetnosti. Eta Sadar Breznik je med drugim dobitnica bronastega odlicja na mednarodnem festivalu tapiserij v Beauvaisu, 1996, in slovenske nacionalne nagrade, nagrade Prešernovega sklada 1998.

Tkani prostorski objekti Ete Sadar Breznik izvirajo iz sodob-ne tapiserije, od katere so ohranili zgolj osnovni material in teh-niko, nit in tkanje. Z vkljucevanjem barvitih, transparentnih teles v razlicne prostore vsakic nastajajo nove likovne rešitve. Barvno intenzivna, prepletajoca se polja v svetlobi ustvarjajo iluzije in iz-gubljajo svojo materialno eksistenco. Taktilnost svilenih niti vabi k ustvarjanju novih doživetij, saj z instinktivnim, najmanjšim doti-kom ustvarjamo lastne vizualne predstavnosti.

V najnovejših delih so poprejšnjo lahkotnost in navidezno neproblematicnost visecih transparentnih niti, sem in tja ujetih v ožje pasove z gostejšo strukturo, zamenjale krepke, mocno struktu-rirane tkanine iz niti razlicnih debelin in materialov, ki povzrocajo, da tkanine lebdijo v prostoru, zavite v enkratnem ali dvakratnem vrtljaju. S premišljeno postavitvijo in osvetlitvijo jim avtorica še poudari barvitost in težko ukrotljivo dinamiko.

Maja Kržišnik, umetnostna zgodovinarka

Biografski podatki1950. rojena v Ljubljani.Po koncanem študiju na fakulteti za arhitekturo v Ljubljani se je študijsko izpopolnjevala na likovni akademiji v Lodžu na Poljskem.Ukvarja se z rocnim tkanjem prostorskih objektov in blaga, oblikovanjem interjerja.

Pomembnejše nagradeNagrada Prešernovega sklada, Ljubljana, Slovenija, 1998Bronasto odlicje na “Festival International de la Tapisserie et de l’Art da la Fibre”, Beauvais, Francija, 1996

Izbor samostojnih razstav v zadnjih letih Galerija Kresija, Ljubljana, Slovenija, 2009Galerija Ars, Ljubljana, Slovenija, 2007Cankarjev dom, Ljubljana, Slovenija, 1997

Izbor najpomembnejših skupinskih razstavRe:Design Europe, Berlin, Nemcija, 200511. mednarodni trienale tapiserij, Łódz, Poljska, 20045. mednarodni festival tapiserij in umetnosti vlakna, Beauvais, Francija, 20026. mednarodna tekstilna razstava, Kjoto, Japonska, 1999

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Biographical data1950 – born in Ljubljana. After graduation at the Faculty of Architecture in Ljubljana she continued her education and training at the Academy of Fine Arts in Lodž, Poland.Her field of work includes hand weaving of three dimensional objects and textile, and interior design.

Notable awardsPrešeren Fund Award, Ljubljana, Slovenia, 1998Bronze medal at the “Festival International de la Tapisserie et de l'Art da la Fibre” Beauvais, France, 1996

Selected independent exhibitionsGalerija Kresija, Ljubljana, Slovenia, 2009Galerija Ars, Ljubljana, Slovenia, 2007Cankarjev dom, Ljubljana, Slovenia, 1997

Selected group exhibitionsRe:Design Europe, Berlin, Germany, 200511th international tapestry triennial, Łódz, Poland, 20045th international tapestry and fibre art festival, Beauvais, France, 20026th international textile exhibition, Kyoto, Japan, 1999

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Linija, 1981višina 320 cm, rocno tkanje, viskozafotografija: Milan Pajk

Stkan prostor, 1981, višina 350 cm, rocno tkanje, viskozafotografija: Milan Pajk

Carobne niti, 1988, višina 260 cm, rocno tkanje, viskozafotografija: Boris Gaberšcik

Prostor, detajl, 1993,rocno tkanje, viskozafoto: Boris Gaberšcik

Otoki, 1997rocno tkanje, viskozafoto: Boris Gaberšcik

Prosojni prostor, 1994, rocno tkanje, viskozafotografija: Boris Gaberšcik

Letece preproge, razstava v galeriji Kresija, 2009, rocno tkanje, viskoza, sintetika, kovinske žice, filcfotografija: Blaž Zupancic

Line, 1981height 320 cm, hand weaving, viscosephoto: Milan Pajk

Woven space, 1981, height 350 cm, hand weaving, viscosephoto: Milan Pajk

Magical threads, 1988, height 260 cm, hand weaving, viscosephoto: Boris Gaberšcik

Space, detajl, 1993,hand weaving, viscosephoto: Boris Gaberšcik

Islands, 1997,hand weaving, viscosephoto: Boris Gaberšcik

Transparent space, 1994, hand weaving, viscosephoto: Boris Gaberšcik

Flying carpets, exhibition in Kresija gallery, 2009,weaving, viscose and synthetic threads, metal wire, feltphoto: Blaž Zupancic

The Power of thread

Ksenija Baraga, BelaBela - Jana Mršnik & Vesna Štih, Eta Sadar Breznik, Anda Klancic

Published byDesigners Society of Slovenia

for the publisher � Robert Klun, President selection and project management � Ksenija Baragaorganisation � the authorsinstallation of the exhibition � the authorscatalogue editor � Ksenija Baragareviews � Nuša Podgornik, Maja Kržišnikdesign � Ana Baragaphotography � Dragan Arrigler, BelaBela, Boris Gaberšcik, Anda Klancic, Francesco Montenero, Janez Pukšic, Milan Pajk, Franci Virant, Blaž Zupanciccopyediting � Maja Cerartranslation � Babylonprinted by � NTD, Slovenijacopies � 300

Ljubljana, July 2010

the project was financially assisted by the Ministry of Culture of the Republic of Slovenia.

incentive for the exhibitionEcomusée Textile de Haute-Alsace. for the museum � Eric Jacob68 470 Hussern-Wesserling, France

from 15 May to 15 September 2010

www.parc-wesserling.fr

Designers Society of SloveniaCiril Metodov trg 19Ljubljana, Slovenia

www.dos-design.si

Moc niti

Ksenija Baraga, BelaBela - Jana Mršnik & Vesna Štih, Eta Sadar Breznik, Anda Klancic

Katalog izdalo Društvo oblikovalcev Slovenije

zanj | Robert Klun, predsednik selektorka in vodenje projekta | Ksenija Baragaorganizacija | avtoricepostavitev razstave | avtoriceurednica kataloga | Ksenija Baragarecenzije | Nuša Podgornik, Maja Kržišnikoblikovanje | Ana Baragafotografija | Dragan Arrigler, BelaBela, Boris Gaberšcik, Anda Klancic, Francesco Montenero, Janez Pukšic, Milan Pajk, Franci Virant, Blaž Zupanciclektura | Maja Cerarprevod | Babylontisk | NTD, Slovenijanaklada | 300 izvodov

Ljubljana, julij 2010

projekt je financno podprloMinistrstvo za kulturo Republike Slovenije

pobuda za razstavo Ecomusée Textile de Haute-Alsacezanj � Eric Jacob68 470 Hussern-Wesserling, France

od 15. maja do 15. septembra 2010

www.parc-wesserling.fr

Društvo oblikovalcev SlovenijeCiril Metodov trg 19Ljubljana, Slovenija

www.dos-design.si