ANDREJ ŠTULAR (ANG)
GuestRoomMaribor 2022
More about his work: http://www.andrejstular.net
ANDREJ ŠTULAR
Andrej Štular is an artist active in various artistic fields, intertwining the fields of illustration and comics, painting, sculpture, photography and film, as well as puppet and set design. He has exhibited in solo and group exhibitions and festivals in Slovenia and abroad. He has published six books as an author: Lustri (2000), Kompost (2008), Živa sem! (2011), Bežimo, svet se podira! (2014), Kronike (2015), Medved (2019), Ostri ritmi (2021). He has received several awards for his work.More about his work: http://www.andrejstular.net
Andrej Štular: BUDGET
Artist talk and exhibition opening
On Thursday, 25th of August, at 6 pm we invite you to an artist talk with Andrej Štular, moderated by Simon Žlahtič, and at 7 pm to the opening of the exhibition BUDGET. Both will take place in the Gallery Vetrinjski.The exhibition will be on view till 23rd of September, every working day between 1 PM and 6 PM at Gallery Vetrinjski (Vetrinjska ulica 30, Maribor).
With the expressive power and witty sharpness of his poems, Srečko Kosovel inspired the comic artist, puppeteer and all-round creative Andrei Štular to build rhythmic visual compositions from them, which spill over from comics into other modes of representation.
Kosovel's impressions, expressionist poems, constructivist poems (kons) and glimpses of his thoughts are juxtaposed with the visual elements in such a way that together they form a unified whole. In this process, Štular uses not only drawing, but also his characteristic collaging, which is why the visual representations of individual poems are often made up of many elements: newspaper clippings, pieces of wallpaper and posters, children's drawings and more. In this way, the meanings of the individual verses are enriched with a new context, with additional associations, thus not limiting the space for the interpretation of the poetry, but only further expanding it.
Kosovel's impressions, expressionist poems, constructivist poems (kons) and glimpses of his thoughts are juxtaposed with the visual elements in such a way that together they form a unified whole. In this process, Štular uses not only drawing, but also his characteristic collaging, which is why the visual representations of individual poems are often made up of many elements: newspaper clippings, pieces of wallpaper and posters, children's drawings and more. In this way, the meanings of the individual verses are enriched with a new context, with additional associations, thus not limiting the space for the interpretation of the poetry, but only further expanding it.
InterestSafari: Beyond the point
15. 9. 2022, Vetrinj mansion, MariborInterestSafari is a form of a walking tour, lecture on site and discussion on the ground with guest artists from the GuestRoomMaribor residency platform. It is a journey and a search for a meeting point between the topic of interest of the guest artist and the local environment. With the current artist-in-residence, Andrei Štular, we will walk through different locations around the city, looking for (mis)meanings of space, inscriptions and traces in the space that is created by layering events that are inscribed in physical space.
These traces are most obvious in small streets and hidden courtyards, and are also in plain sight for all to see, but often we simply do not notice them as we rush through space and time, or simply do not take a moment to look at them, to study them and to delve into their meanings, even if it is through the prism of imagination or random associations.
GuestRoomMaribor 2022
Vetrinjski mansion, in exhibition in the frame of StopTrik International film festival
Andrej Štular is a Slovenian artist active in various artistic fields. His work is a blend of illustration, comics, painting, sculpture, photography and film, as well as puppet and set design. During a recent residency at GuestRoomMaribor, a collaboration with the StopTrik festival was established, resulting in an installation in the lobby of the festival's screening room. His work is characterised by found objects, which he makes meaning of and weaves into new compositions in a playful and humorous way, complemented by equally imaginative titles.
At the beginning of the exhibition space, we are thus met by found objects revo&lucija, couple and light instalation Open source typography. The name of the festival is spelled out on the wall, while up close, the projector screen shows objects that are another image of the projected inscription. Here, the building blocks do not appear in their original functions, but are transformed into new entities during the process of meaningful placement.
This is followed by 4x2 drawings and collages, mostly instantaneous creations of the artist, created while tidying up the studio, cleaning brushes or recycling scrap materials. In these, despite the double images, the title refers mainly to the latent image of the others, the works that we cannot see, because the works on display are their remains.
The work The Double began the working process that also gave the exhibition its work. The first two folios are, in a sense, sketches for the more monumental Frontières. At this point, it is also worth mentioning a work inspired by a poem by the German poet Hans Magnus Enzensberger, beloved by the artist, The Other. The poem questions the position of the other, both the one within us and the unreachable beyond our reach.
The works Frontières, , Station Camp/Out of nowhere and SFRY vs. CCCP 1965 certainly occupy an important place. The aforementioned Frontières is the result of combining images found in old magazines, which are assembled in a translucent light installation, where double images cross borders and spaces, allowing the viewer an associative game of making sense of fragmented scenes. A similar effect is evoked by the installation SFRY vs. CCCP 1965, in which the intertwining slides of the New Mass and the teaching aids of the industrialisation of the Soviet Union remind us in a dreamlike way of two simultaneous realities and apparent opposites. On the one hand, rurality, religiosity and genre scenes, on the other industrialisation, enlightenment and propaganda. Two socialist countries, two realities.
The exhibition concludes with the readymade and video Tabor Station/Out of nowhere. During his residency, the artist came across the wires at Tabor railway station and connected them with the video, which was made during his journey through the former Soviet Union in 2018. The rhythm of the video's soundtrack is complemented by the flattening of the wires, which he doubles on the exhibition centre wall with additional lighting, leaving the viewer to play with the simultaneous traceability of cause and effect and vice versa.
Simon Žlahtič, Curator
Andrej Štular: DOPPELGANGER
28. 9. – 2. 10. 2022Vetrinjski mansion, in exhibition in the frame of StopTrik International film festival
Andrej Štular is a Slovenian artist active in various artistic fields. His work is a blend of illustration, comics, painting, sculpture, photography and film, as well as puppet and set design. During a recent residency at GuestRoomMaribor, a collaboration with the StopTrik festival was established, resulting in an installation in the lobby of the festival's screening room. His work is characterised by found objects, which he makes meaning of and weaves into new compositions in a playful and humorous way, complemented by equally imaginative titles.
At the beginning of the exhibition space, we are thus met by found objects revo&lucija, couple and light instalation Open source typography. The name of the festival is spelled out on the wall, while up close, the projector screen shows objects that are another image of the projected inscription. Here, the building blocks do not appear in their original functions, but are transformed into new entities during the process of meaningful placement.
This is followed by 4x2 drawings and collages, mostly instantaneous creations of the artist, created while tidying up the studio, cleaning brushes or recycling scrap materials. In these, despite the double images, the title refers mainly to the latent image of the others, the works that we cannot see, because the works on display are their remains.
The work The Double began the working process that also gave the exhibition its work. The first two folios are, in a sense, sketches for the more monumental Frontières. At this point, it is also worth mentioning a work inspired by a poem by the German poet Hans Magnus Enzensberger, beloved by the artist, The Other. The poem questions the position of the other, both the one within us and the unreachable beyond our reach.
The works Frontières, , Station Camp/Out of nowhere and SFRY vs. CCCP 1965 certainly occupy an important place. The aforementioned Frontières is the result of combining images found in old magazines, which are assembled in a translucent light installation, where double images cross borders and spaces, allowing the viewer an associative game of making sense of fragmented scenes. A similar effect is evoked by the installation SFRY vs. CCCP 1965, in which the intertwining slides of the New Mass and the teaching aids of the industrialisation of the Soviet Union remind us in a dreamlike way of two simultaneous realities and apparent opposites. On the one hand, rurality, religiosity and genre scenes, on the other industrialisation, enlightenment and propaganda. Two socialist countries, two realities.
The exhibition concludes with the readymade and video Tabor Station/Out of nowhere. During his residency, the artist came across the wires at Tabor railway station and connected them with the video, which was made during his journey through the former Soviet Union in 2018. The rhythm of the video's soundtrack is complemented by the flattening of the wires, which he doubles on the exhibition centre wall with additional lighting, leaving the viewer to play with the simultaneous traceability of cause and effect and vice versa.
Simon Žlahtič, Curator
