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At the Ljubljana City Gallery of Draga Tršar's erotic sculptures

November 22, 2018 at 11:27

Ljubljana City Hall, who is joining the 90-year exhibition from Dragan Tršar, will help us "see and feel a Tragic erotic sculpture".
The exhibition at the Ljubljana City Gallery is an integral part of the series of exhibitions held in 2018, ie exhibitions that have been dedicated to the nineties and artist, where Tršar's sculpture is analytical systematically and scientifically. Photo: MGML

The Oriel y Ddinas scheme is an integral part of the series of exhibitions this year, dedicated to 90 years since the artist; This time they are an objection to the artist's treatment "sculptural work through an erotic body tier".

As recorded in the gallery, thinking and studying Tršar sculptures requires a proper and accurate depth to a very rich, wonderful work. In the extensive sculpture, numerous silent, direct sensible, that is, through the body's erotic tier, sculptural sculptures.

What does the erotic episode of Trsar work reveal?
However, recognizing the erotic content in the Trur work is more complex than it could appear at first glance, as many sculptures with more or less erotic acne are obvious, there is also an erotic presence in many drawings created by the sculptor either as an independent artwork or as studying templates for sculpture performance.

Tršar is also in theory, often exposed to being the most important representative of his family in sculptures, especially in the light of full plastic deviation or a traditional human-oriented human treatment treatment. Through Photon: MGML

The erotic episode in the Draga Tršar work expresses disproportionate, direct and energetic artistic content, with an emphasis on close seconds being banned to powerful erotic dramatic sculptures. They have a great narrative, which is about the nature of concrete physical contact or even sexual contact, that is, the integrity of what the artist thought and felt at the same time.

There is a kind of battle internally, but also an external battle between existence and essence, redirecting and incorporating into the artworks that we see today as life stations, where the sculptor stopped, creative reactive, and traveled further.

Sculpture with melancholic direction. Photo: MGML

Group 53 took him to the world
Drago Tršar was born in 1927 in Planina pri Rakeku. After graduating from a Rakek baccalaureate school, he applied for French Gorse school evening courses, and then worked in the studio or studying with Boris Kalin. After his release, he applied at the Fine Arts Academy in Ljubljana and graduated from a sculpture in 1951. His teachers included Zdenko Kalin, Karel Putrih and Peter Loboda. He also visited sculptural expertise at Franc Smerdu.

Between 1951 and 1959 he was in a liberal profession. At the time, he received the first orders for his work in plenty of plastic and public monuments. Between 1953 and 1955 he was a member of the Group or Group 53. He traveled to Paris with the Prešeren Fund scholarship. He also traveled to Italy by studying, in 1957 he was in Egypt, then in the Netherlands and Belgium. At Middelheim Park, part of the Middelheim Museum in Antwerp, its 1957 Maniffestants work is still standing today.

O Documents in Biennial Biennial: present in key displays
He traveled later He also studied in the Soviet Union, Germany and Italy. In 1956 he was invited to a worldwide exhibition in Paris. In 1958 he exhibited at the Venice Biennale and in 1959 on a document in Kassel. In 1960 he joined the Fine Arts Academy in Ljubljana as a sculptor assistant, in 1967 he became an assistant teacher, and in 1974 he became a associate teacher. He was also a member of the Group 69.

He received a number of prizes, including the 1990 Prešeren Award for Life Achievement. Since 1995 he has a regular member of Saz.

A. J.

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