Miha Colner

Miha Colner (born 1978) has graduated from Art History and works as a freelance curator and art critic. Colner works as a curator and programme coordinator at the International Centre of Graphic Arts / Svicarija Creative Centre in Ljubljana. He is also active as a publicist, specialised in photography, printmaking, artists’ moving image and various forms of (new) media art. In the period 2006-2016 he was a curator at Photon – Centre for Contemporary Photography, Ljubljana. Since 2005 he has been a contributor of newspapers, magazines, specialist publications, and his personal blog, as well as part-time lecturer. In 2006, he became a member of the project group Station DIVA at the SCCA Institute in Ljubljana, which is creating an archive and conducts research on Slovenian video art. In 2007, he co-curated and co-organized Break 2.4 festival, held biannually by K6/4 Institute. Since 2005, he has also worked as an art critic and a regular member of the cultural department at Radio Študent – he is an editor of the show on contemporary art Art-Area. He is also a regular external contributor to the daily newspaper Dnevnik and to the magazines Fotografija and Art-Words. He occasionally contributes to other specialist magazines on fine art and music, such as Maska, Forum, Časopis za kritiko znanosti, Flash, Folio, Zarez, Art Kontura, Frakcija (Croatia), Foto dokumenti (Serbia), Flaneur, Cluster (Great Britain), and Sculpture Network (USA). He lives and works in Ljubljana, Slovenia.

http://mihacolner.com
http://www.mglc-lj.si

The author places his own decision to withdraw to the outskirts into his relationship with the world and keeps returning to his authorial treatment of various peripherals, physical or mental. Even though his works, because of their motifs, often pass into the realm of the sublime, they nevertheless very realistically discuss nature, which has, even after all the interventions during the anthropocene era, managed to withhold and survive.

Although the interpretations of Koštrun’s works and his entire opus are undeniably multifaceted and open to different interpretations and readings, the article suggests that all his word does share a common meditative stillness and sense of solitariness. Peter Koštrun’s opus lingers on the intersection of pristine nature and cultural landscape, on the intersection of the impact of humans on the environment and the insignificance of the individual in relation to nature. Even if Koštrun’s photographic motifs allude to archaism and romanticism, and are at first glance connected to the tradition of photographic pictorialism, they are in their essence distinctly modern, attached to the reality of the here and now. His expression is completely non-narrative in the classic sense of photographic representation, as the images do not tell a linear story, but are dedicated to visual language, which is (as opposed to the written word) always ambivalent and layered.

Salaj is one of those photographers who are characterized by deep reflection of the meaning and perception of image from different, mainly philosophical viewpoints, while at the same time following the objectivistic principles of photography.

The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep reflection of the meaning and perception of image from different, mainly philosophical, viewpoints, while at the same time following the objectivistic principles of photography. At a glance, his practice is extremely eclectic and post-modern, which is due to the fact that he is not looking to find an individual and recognizable artistic voice; he dedicates his focus to individual projects, bringing into his work various different references and themes. Nevertheless, a central motive can still be perceived throughout his output. In the past 25 years, Salaj has mostly been attracted to the here and now; this includes the fundamental problems of representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities.

Contemporary consumerist culture reacts very positively to visual manifestations of wealth, popularity and enviable lifestyles, something which Instagram enables and promotes.
Contemporary consumerist culture reacts very positively to visual manifestations of wealth, popularity and enviable lifestyles, something which Instagram enables and promotes.
By blurring her visual identity in a public virtual space, which is almost subversive in the period of generalised extrovertedness and narcissism, Berk turns to the postulates of the dominant culture. Nevertheless, it is with this steady state of absence, during expected authenticity, that she receives a new and different type of attention from the users of social media networks.
By blurring her visual identity in a public virtual space, which is almost subversive in the period of generalised extrovertedness and narcissism, Berk turns to the postulates of the dominant culture. Nevertheless, it is with this steady state of absence, during expected authenticity, that she receives a new and different type of attention from the users of social media networks.
In her photographs, Bučan often depicts the commercialization of nature that is becoming a matter of culture.

The article analyzes the artistic process of the Berlin-based photographer Vanja Bučan, who always manages to maintain at least some recognizable expression despite her varied approaches. Her works are visually rich, carrying complex meanings and associations. She chooses not to directly reflect the collective and the individual everyday life but depicts universal existentialist motifs where the social perspective is usually shown through metaphors and allegories. The centerpiece of her work is the relationship between culture and nature and between humans and their environment, as well as the ontology of image in mass media circulation. Her photography requires a considerable degree of cerebral activity and intuition in order to sense some of the fundamental questions of humankind in the Anthropocene.

The so-called freedom of choice is turning into an infinite burden. All of this coincides with the ecologic crisis that is influencing all animal species, including humans.

Maja Smrekar is a visual artist addressing current phenomena in contemporary society. Her earlier works often touch upon the mundane permeated by stereotypes of popular culture, the future as understood through fiction, and the ethical aspects of human interventions in nature and natural processes. In 2014, she began performing her continuous work K-9_topology, in which she analyses the causes and consequences of human domination on the planet, and questions the self-evidence of the anthropogenic mentality. During the following four years, this artistic research and extremely interdisciplinary action led her to deeply explore the relationship between a human and a dog. Individual elements of the project were introduced through performance, installation, artist book, and photography. The following interview focuses on this segment of her work; on her reflections on the relationship between a human and an animal; and on certain important social contexts that define her work.

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The deadline for contribution proposals (150-word abstracts and/or visuals) is May 31, 2021 (extended to June 11, 2021). The deadline for the finished contributions from accepted proposals is August 9, 2021 (extended to August 16, 2021).

Proposals deadline: July 27, 2020 (extended to August 10!). Contributions deadline: September 21, 2020 (extended to October 5, 2020!)

Please contact the editors at editors(at)membrana.si. The deadline for contribution proposals (150-word abstracts and/or visuals) is December 16, 2019. The deadline for finished contributions from accepted proposals is March 16, 2020. Please send proposals or contact the editors at editors@membrana.org.

Please contact the editors at editors(at)membrana.org. The deadline for contribution proposals (150-word abstracts and/or visuals) is 09.04.2019. The deadline for finished contributions from accepted proposals is 24.06.2019. Please send proposals or contact the editors at editors(at)membrana.org.

Please contact the editors at editors(at)membrana.si. The deadline for contribution proposals (150-word abstracts and/or visuals) is 18.1.2019. The deadline for finished contributions from accepted proposals is 20 March 2019. Please send proposals or contact the editors at editors@membrana.si.

Please contact the editors at editors(at)membrana.si. The deadline for finished contributions from accepted proposals is 30 September 2018.

Please contact the editors at editors(at)membrana.si. The deadline for 150-word abstracts is 7 May 2018. The deadline for finished contributions from accepted proposals is 30 August 2018. Please send proposals or contact the editors at editors@membrana.si.

Please contact the editors at editors(at)membrana.si. Proposals and deadlines the deadline for 150-word abstracts is 10 June 2017.  The deadline for finished contributions from accepted proposals is 15 September 2017. Please send proposals or contact the editors at editors(at)membrana.si.

Please contact the editors at editors@membrana.org. The deadline for contribution proposals is 15 June 2016. The deadline for finished contributions is 30 July 2016.

Please contact the editors at editors@membrana.org. The deadline for finished articles is 30 October 2015.

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