Ride your bike across the border to see the Koroški trienale/Carinthian Triennial in Slovenj Gradec and the Bobrčkova pot/Biberweg in Dravograd/Črneče

23. Oktober 202123. Oktober 2021 Karl Pölz Dravograd, Europa, Kunst, Radtour, Slowenien

Another magic E-Bike-Tour in our Geopark Karawanken, this time across the border to Slovenia to see the latest exhibitions in Slovenj Gradec, the new beaver path in Črneče near Dravograd and cool autumn colours everywhere along the way #

CARINTHIAN TRIENNIAL: »IN MY MIND I SEE A GREEN ROLLING COUNTRYSIDE«,

SEVENTEEN IMAGES OF CARINTHIAN LANDSCAPE

14. 10. 2021 – 28. 11. 2021

Galerija Slovenj Gradec

Samstagmorgen in Leifling

und in Libeliče

Halloween Hexen (?) vor dem Museum in Libeliče

https://www.libelice.si/index.php/2021/10/21/pgd-libelice-z-novim-vozilom/

Herbst an der Drau

Einladung zum Halloween Spektakel im Dvorec Bukovje Park

Über Otiški Vrh, im Bild der alte Bahnhof, nach Slovenj Gradec

Madam jesen bei Pameče

Stolz und Freude bei den Schöpfern dieser Herbstgöttin

Ankunft in Slovenj Gradec

the Peace Messenger City

where Mahatma Gandhi is still hanging around, this time without glasses again

Welcome at the Koroška galerija likovnih umetnosti

https://www.glu-sg.si/en/

CARINTHIAN TRIENNIAL: »IN MY MIND I SEE A GREEN ROLLING COUNTRYSIDE«, SEVENTEEN IMAGES OF CARINTHIAN LANDSCAPE

Eröffnung der Ausstellung am 14. Oktober 2021

Begrüßung der teilnehmenden Artists: Franc Berhtold, Feliks Frühauf, Franjo Golob, Anton Gvajc, Miro Hajnc, Peter Hergold, Anja Jerčič Jakob, Tomo Jeseničnik, Jože Kremžar, Benjamin Kumprej, Laura Kumprej, Stanislav Makuc, Štefan Marflak, Zoran Ogrinc, Karel Pečko, Lucija Stramec, Lojze Šušmelj

Besuch der Ausstellung

CARINTHIAN TRIENNIAL: »IN MY MIND I SEE A GREEN ROLLING COUNTRYSIDE«,

SEVENTEEN IMAGES OF CARINTHIAN LANDSCAPE

At the thematic overview exhibition of the so-called Carinthian Triennial, devoted in 2021 to a series of diverse images of our native landscape, we are presenting the works by those artists from Carinthia on the Slovenian side of the border who devoted a large segment of their oeuvre, in one way or another, to depictions of scenes from the three valleys of the Carinthian countryside. We sought artists who explore the characteristic and autochthonous Carinthian vedutas, but also those who try to pierce into the depths of symbolic discourse in this corner of the world near the Northern Slovenian border – either through artistically refined reminiscences of this land’s sensuous rhythm by ‘looking with eyes closed’, or the fleeting flickers of creation that seem like talismans of personal emotional experience.

The topography of a river by Peter Hergold
characterizes a monumental and conceptually well-designed project, in which he tried in one stroke (the paintings were all created in a short time interval in 1998) and by delving deep into the dynamics of landscape scenes, as dictated by the Drava river’s
current, to capture the rhythm of nature’s silent pulse, the one we can eavesdrop on through the essence
of abstracted, but clearly outlined, mimetically precise, and yet ‘sophisticated’ artistic narrative.

In my mind I see a green rolling countryside, encircled by Strojna and Peca, which ends

somewhere underneath the Obir massif. The murky and dense river Meža wate

rs this weary earth. Over there in that deserted corner, where even pain has withered away from life, right

beside the Meža river among the heaps of slag, my first aspirations for artistic development

arose. … In my heart and soul, this modest cottage of my youth, whose lifestyle goes against

the flatulent ‘educated’ way of life, has always accompanied me. In my works, I never aimed

to achieve perfection on the technical side; what mattered much more was the spiritual

expression of the life of an object I was painting. A yearning from the darkness to the light–

this is the only way I know how to explain my motivation for strong colours. The blood-red

colours of the painting ‘Ribniško selo’, coated in the tonal depth of a shaded life–that soil,

which was brimming with iron ore, where once furnaces burnt that are by today in ashes, that

is where my palette of love and emotion is taken from … the Meža valley.

(Artists about themselves and their work, From a conversation with the painter Franc Golob for the

exhibition ‘Brazde’, The Maribor evening newspaper ‘Jutra’, 12. XII. 1939)

The ambience of seasons by Tomo Jeseničnik

This rollercoaster of personal experience of Carinthian landscapes by selected local painters was

intentionally centred around the lyrical photographic views of the four seasons by one of the most

recognizable and valued art photographers in Slovenia at the moment. He has already joined the pleiad

of the most successful and most significant artists in the field of visual art and culture in Carinthia, and

his authorial contribution to the design of visual materials, which does an excellent job at promoting

these lands, is likewise indispensable. With their close shots, the play of light and shadow, and the suggestive colour atmosphere, the almost randomly chosen photographs from his huge, nearly unfathomable oeuvre, reveal the less common views towards shaded headlands and dark hollows, to riverbanks and streams, and plains covered by a thick snow blanket, and from there to secluded farms and their self-sufficient independence, from which this idiosyncratic ‘philosophy of everyday life’ grows.

Distinctive as it is in Carinthia, it can be and it is captured by the subjective gaze in the works that we

have selected for the thematic exhibition of the Carinthian Triennial, devoted in 2021 to a series of

diverse images of our native landscape.

Curator Marko Košan

The search for abstract patterns in Carinthian land scape in Feliks Frühauf’s work is the concept

of an almost immeasurable series created by perhaps the most cultivated painter among the many

members of the Association of Carinthian Artists. With his steady hand and skilful eye, accustomed to

artistic observation, he follows a code of landscape art that is immersed in hedonistic colourful

illumination, again and again daringly trying to escape the conventional and stuffy landscape imagery

that had gotten old ages ago.

The eternal veduta of Carinthian landscape by Karel Pečko coalesced into the iconic image of Mount

St. Ursula, the last peak of the Karawanks to the East. The mighty solitary “Mountain”, as the locals call

it simply, since it dominates the world of Carinthia, was composed based on the four premises of his

artistic philosophy, thus underlining the elementary principles of art: the unity of rhythm, shape, colour

and harmony. He thus adapted this protruding veduta highlight of the Carinthian landscape to himself

and not vice versa. He sought an ideal form with which to express the monumental feeling of his

homeland; he found it in the symbolic peak of Carinthia and turned it into a never quite finished model

of a subdued and romantic visual fantasy.

The archetypical vision of Carinthian landscape by Štefan Marflak had reached its peak in the years 1991 and 1992, when he filled his large-scale canvasses with a fascinating psychic discourse to create dreamlike, hallucinatory sceneries. The symbolic mysteriousness of these ‘atavistically’ decelerated images is imbued with melancholy and numb memory. Although the images seem ecstatic at first sight, they are in fact lyrically gloomy, especially since they already anticipate Marflak’s later elegiac painting meditation, which to this day again and again proves him to be an inveterate trailblazer of the archetypical stories in Carinthian identity.