BIOGRAFIJA BIOGRAPHY

Transcription

1 Milena Braniselj

2 BIOGRAFIJA Milena Braniselj je bila rojena leta v Ljubljani. Končala je šolo za oblikovanje, leta 1977 je diplomirala na Akademiji za likovno umetnost - smer kiparstvo in leta 1979 končala kiparsko specialko pri prof. Slavku Tihcu. Živi in dela v Cerknici. Dela kot svobodni likovni ustvarjalec na kiparskem področju. Ukvarja se tudi s spomeniško plastiko, skulpturo v eksterieru večjih dimenzij ter medaljerstvom oziroma reliefi. Poglavitno delo pa je raziskovanje gibljivih skulptur oziroma energije, ki to gibanje omogoča. Sodelovala je na številnih domačih in mednarodnih likovnih delavnicah. Študijsko se je izpopolnjevala v Angliji. V Sloveniji in tujini ima postavljenih 20 javnih del - skulptur. Od leta 1976 do 2001 je sodelovala na preko 180 skupinskih razstavah v Sloveniji in tujini. Udeležuje se tudi humanitarnih akcij oziroma daruje svoja likovna dela v te namene. Je članica ZDSLU in Društva notranjskih kulturnikov Krpan. BIOGRAPHY Milena Braniselj was born in 1951 in Ljubljana. After finishing the Secondary School of Design, she went to study sculpture at the Ljubljana Academy of Fine Arts, graduating in She pursued postgraduate studies of sculpture in the class of Prof. Slavko Tihec, finishing in Currently she lives and works as a free-lance artist in Cerknica. Her work includes monumental sculpture, large-scale outdoor works, coin and medal design and reliefs. Her main interest, however, lies in exploring kinetic sculpture, or rather, the energy which makes this type of movement possible. She has participated in numerous art workshops in Slovenia and abroad, and undertaken further postgraduate studies in Great Britain. More than twenty of her outdoor sculptures have been erected in Slovenia and abroad. Between 1976 and 2005 she participated in over 180 group exhibitions at home and abroad. She also donates her works for humanitarian and charity purposes. She is a member of the Slovenian Artists Association and of the Society of Cultural Workers from Notranjska Krpan.

3 Iz serije RAKOV ŠKOCJAN - Mobili na dotik, 1992, patiniran bron From the series RAKOV ŠKOCJAN - Touch Mobils, 1992, patinated bronze

4 JANEZ MESESNEL 1992 Grad SNEŽNIK Kot gozd iz pravljice, okamenel v krčevitih kretnjah črnih vej, stožčastih in brezobličnih odebelin, delujejo nove, začete in dovršene, skicirane in izoblikovane skulpture Milene Braniselj, nagnetene na polici v njenem ateljeju. Zaman bi iskali odgovor na nek formalni ali izključno kiparski izziv v teh formah, ki so na prvi pogled prav toliko plastične kreacije kot prostorske konstrukcije, ali pa kar silhuetne risbe - ploske in črne na ploski in svetli podlagi - ozadju. Izviri teh navdihov in realiziranih konstrukcij - oblik, so daleč in globoko razvejani in šele kot že polni tokovi privreli na dan. Moderni, sodobni umetnosti lastno iskanje novih tem in vsebin, novih impulzov in dražljajev, navsezadnje novih funkcij, je prebudilo kinetično umetnost, njen odvod pa so v končni konsekvenci tudi sedanje skulpture Milene Braniselj. Torej energija in njeno sproščanje v gibanju kot impulz ustvarjanja in vsebina končnega dela, nekaj netvarnega in nemirnega, nestalnega, kot nadomestilo za vso klasiko literarne in simbolne vsebine in estetske funkcije umetnosti? JANEZ MESESNEL 1992 SNEŽNIK castle As a fairy wood, petrified in spasmodic gestures of black branches, cone-shaped and shapeless knots, appear the newest, begun and finished, sketched and ready-formed sculptures of Milena Braniselj, crowded on the self in her studio. It would be vainly to search for a replay to some formal or exclusively artistic challenge in the forms, which, at the first sight, are as much plastic creations as space constructions or simply silhuette drawings - flat and black on a flat and light background. The sources of these inspiration and performed constructions - forms are far and deep and branched, they leaked out to the light as full streams. The searching for new functions after all, characterizing the modern, up-to-date art, stimulated kinetic arts and the present sculptures of Milena Braniselj are in their final consequence, its leading off. Accordingly, the energy and its losening in motion, as an impulse for creation and at the same time the contenst of the final work, something of unmaterial and restless and usteady, as a replacement for the whole of classics - of literary and symbolic content, of the eastetic function of art?

5 Pravzaprav nič novega: že prve Calderjeve viseče in v zračnih tokovih nihajoče in vrteče se, dvigajoče in padajoče forme so zajemale ves ta revolucionarni sklop novih iskanj. Tudi Milena Braniselj je že prehodila dolgo pot od njenih prvih žičnih, še bolj prožnih kot pa prav gibljivih skulptur, mimo elektronskih in magnetnih igric z učinki strukturnih prvin v geometričnih plastičnih zasnovah, mimo nihajoče, gugalniške plastike - konstrukcij, ki zajemajo, tako po svetu kot pri njej razpon od namizne igračke do monumentalnih razsežnosti skulpture v urbanem prostoru - pa do sedanjih realizacij, ki v temeljnem konstrukcijskem in mehanskem postopku sicer niso nič novega, odpirajo pa nova polja senzibilitete in vprašanja odnosa do narave in ambienta. Tri monumentalne izvedbe nihajočih skulptur Milene Braniselj so izpostavile predvsem vprašanje sožitja z urbanim prostorom potem, ko je z njimi dokazala, da so že v njenih relativno miniaturnih zasnovah kali monumentalnosti (energija - gibanje v tem primeru pač nista odvisna od razsežnosti oblike). Spričo premičnosti se forma spreminja, konstrukcija projicira vselej drugače in prilagajanje (urbanemu) prostoru ni več samo vprašanje statičnega planiranja, ampak dinamičnega, gibkega upoštevanja neštetih momentov obrata in posameznega nihaja. Strictly speaking - nothing new: The first Calder s hanging forms, swinging and rotating in air streams, rising and falling, already comprised that complete revolutionary complex of new searchings. Milena Braniselj has passed her long way from the first wire sculptures, still more flexible than really mobile, past the electronic and magnetic plays with the effects of structural elements and geometric schemes, past the swinging rocking plastics - constructions which comprise - in the world as well as with her, the whole range from a table toy to monumental extensiveness of the sculpture in the urban space - up to the present realizations, which do not present any novelty in the basic constructional and mechanical proceeding, but yet they open new fields of sensibility and questions of the relation to the nature and to the ambience. The three monumental realizations of the mobile sculptures, made by Milena Braniselj, set out, first of all, the question of the cohabitation in the urban space, after she has proved, that already in relatively miniature contrivances the buds of monumentality are comprised (energy-muvement in this case does not depend on the size of form). In the presence of the mobility the form changes, the construction is projected every time in a different way, so the adaptation into the (urban) space is no more a question of static planning, but a dynamic, lithe consideration of innumerable moments of turn and of singular swings.

6 Novejše plastike Milene Braniselj se torej vračajo k preizkušeni mehanski zasnovi, načenjajo pa, najbrž zelo intimno vprašanje umetnikovega razmerja z naravo, povezano s tem, kar narava nudi tudi materialno in recimo estetsko in ne le abstraktno - kot miselni, racionalni prenos znanstveno ugotovljenega (energija!) v (poljudno) ustrezno formo - konstrukcijo. Odtod skorajda ekspresionistično naglašene temeljne oblike popsameznih prvin konstrukcije in njihova amorfnost (glede na klasično estetsko izkušnjo), ki je posledica indirektnega odlivanja - se pravi, posnemanja razpok v kraških jamah in drugih apnenčastih formacijah, kar vse pomeni morda retrogradivno vzpostavljanje mostu med naravo in ustvarjalnim duhom umetnika, med klasiko in postmoderno, kar je umetnica nekoč gladko in drzno preskočila. Vendar se, spričo še natančnejšega iskanja ravnotežja v točki in spričo še večje občutljivosti pri uravnavanju trenutka labilnega ravnotežja nagibamo k mnenju, da gre pri skulpturah le, za zdaj zanje ustvarjalne faze Milene Braniselj, za napredek in obogatitev kinetične funkcije konstrukcije še z estetsko: plastične zasnove elementov teh konstrukcij, njihova haptično zanimiva in dražljiva površinska obdelava, njihova dimenzijska in prostorsko-ambientalna prožnost So, the sculptures of Milena Braniselj are returning to the proved mechanical base, but they are also opening, most likely very intimately, the questions of artist s relation to the nature, the connectedness with the things, offered by nature - as a reflective, rational transfer of the scientifically defined (energy) to the (optionally) adequate form (construction). here is the reason for the almost expressionistically accentuated basic forms of the single constructional elements and their aphorism (taking into consideration the classic aesthetic experience), which is a sequence of the mediste flow away - that means of the imitation of the carst caves cracks, and it all has a meaning of a maybe retrograde reestablishment of the bridge between the nature and the artist s creative spirit, between the classics and post-modern art; some time ago, the artist skipped all that flatly and daringly. Yet, in the view of a closer searching for balance in the point and in view of even more sensibility in regulating of the labile equilibrium, we are of the opinion, that there is a matter of - for the time being - the last creative phase of Milena Braniselj, for the progress and enrichment of the kinetic function of the construction by the easthetic: plastic schemes of the constructional elements, their haptically interesting and existing surfaces and at last the dimensional and ambiental flexibility and adaptability, as well as the possibilities for a graphic play of object s

7 in prilagodljivost, navsezadnje možnosti grafične igre projekcije objekta na ozadje dokazujejo, da je domnevna retrogradnost v resnici osmišljanje teh skulptur - konstrukcij v prostoru in času, fizičnem in duhovnem, v katerem razbiramo prvine klasičnega in avantgardnega kot vendarle kompatibilne in tvorne. projection on the background, are proving that the supposed retrogradity is in fact the sense-giving to the sculptures-constructions in the space and time, physical and spiritual, from which we gather the elements of classics and avantgarde, as yet compatible and creative.

8 Iz serije RAKOV ŠKOCJAN - Mobili na dotik, 1992, patiniran bron From the series RAKOV ŠKOCJAN - Touch Mobils, 1992, patinated bronze

9 SAMOSTOJNE RAZSTAVE 1977 Cerknica, Salon pohištva Brest 1978 Ruše, Likovni salon 1979 Ravne na Koroškem, Likovni salon Kranj, Prešernova galerija Beograd, Galerija Studentski grad 1980 Ljubljana, Institut Jožef Štefan Ljubljana, galerija ŠKUC Lož, Kovinoplastika 1981 Cerknica, Salon pohištva Brest Vrhnika, galerija Doma 1982 Ljubljana, Salon Salonit Ljubljana, Magistrat Ljubljana, Mestna galerija 1983 Postojna, knjižnica Bena Zupančiča 1984 Nova Gorica, galerija Meblo Ljubljana, Cankarjev dom Ljubljana, galerija Lerota 1985 Trst, galerija TKG (Italija) Ljubljana, Tromostovje 1986 Radovljica, Šivčeva hiša Ljubljana, Bežigrajska galerija Ribnica, Petkova galerija 1987 Beljak, Stadtgalerie (Avstrija) 1990 Dunaj, Domus Slovenica (Avstrija) PERSONAL EXHIBITIONS 1977 Cerknica, furniture showroom Brest 1978 Ruše, Likovni salon 1979 Ravne na Koroškem, Likovni salon Kranj, Prešernova galerija Beograd, art gallery Studentski grad 1980 Ljubljana, Institute Jožef Štefan Ljubljana, art gallery ŠKUC Lož, Kovinoplastika 1981 Cerknica, furniture showroom Brest Vrhnika, art gallery Doma 1982 Ljubljana, showroom Salonit Ljubljana, Town Hall Ljubljana, City Art Galery 1983 Postojna, Beno Zupančič library 1984 Nova Gorica, art gallery Meblo Ljubljana, Cankarjev dom Ljubljana, art gallery Lerota 1985 Trst, art gallery TKG (Italy) Ljubljana, Tromostovje 1986 Radovljica, Šivčeva hiša Ljubljana, Bežigrad Gallery Ribnica, Petkova galerija 1987 Beljak, Stadtgalerie (Austria) 1990 Dunaj, Domus Slovenica (Austria)

10 1992 Ljubljana, galerija GT Stari trg, grad Snežnik 1993 Ljubljana, galerija Krka 1993 Ljubljana, galerija Ilirija Ljubljana, galerija ZDSLU 1994 Ljubljana, Institut Jožef Štefan 1995 Ljubljana, Austrotel Ljubljana, Iskra Ilirska Bistrica, galerija na Vidmu Cerknica, galerija Krpan 1997 Stari trg, grad Snežnik Cerknica, galerija Krpan Staranzano (Italija) 1998 Kostrena, gradska knjižara (Hrvaška) 1999 Dol pri Ljubljani, paviljon graščine Dol Ljubljana, galerija Gal 2000 Strunjan, galerija zdravilišča Krke Piran, atelje Duka 2001 Celje, galerija Mozaik Šoštanj, Mestna galerija 2001 Sežana, galerija Srečko Kosovel 1992 Ljubljana, art gallery GT Stari trg, castle Snežnik 1993 Ljubljana, art gallery Krka 1993 Ljubljana, art gallery Ilirija Ljubljana, art gallery ZDSLU 1994 Ljubljana, Institute Jožef Štefan 1995 Ljubljana, Austrotel Ljubljana, Iskra Ilirska Bistrica, art gallery Videm Cerknica, art gallery Krpan 1997 Stari trg, castle Snežnik Cerknica, art gallery Krpan Staranzano (Italy) 1998 Kostrena, gradska knjižara (Croatia) 1999 Dol pri Ljubljani, pavilion of the manor Dol Ljubljana, art gallery Gal 2000 Strunjan, art gallery zdravilišča Krke Piran, studio Duka 2001 Celje, art gallery Mozaik oštanj, Mestna galerija 2001 Sežana, art gallery Srečko Kosovel

11 Iz serije RAKOV ŠKOCJAN - Mobili na dotik, 1992, patiniran bron From the series RAKOV ŠKOCJAN - Touch Mobils, 1992, patinated bronze

12 NAGRADE 1979 Prva nagrada na natečaju Titova štafeta Odkupna nagrada na Jugoslovanskem bienalu male plastike, Murska Sobota 1981 Prva nagrada za občinsko priznanje Občine Cerknica 1985 Odkupna nagrada na Jugoslovanskem bienalu male plastike, Murska Sobota PRIZES st Prize - competition for Tito relay 1979 redemption-prize - Yugoslav Bennial of Small Plastic, Murska Sobota st Prize - Community Award - Cerknica 1985 redemption-prize - Yugoslav Bennial of Small Plastic, Murska Sobota

13 VEČNOST, 2000, patiniran bron, 38 x 40 x 31 cm ETERNITY, 2000, patinated bronze, 38 x 40 x 31 cm

14 RITEM PODZEMLJA, 2000, patiniran bron, 50 x 29 x 14 cm UNDERGROUND RHYTHM, 2000, patinated bronze, 50 x 29 x 14 cm

15 RAŠPORSKA VRATA, 2002, patiniran bron, 87 X 60 X 42 cm RAŠPOR GATE, 2002, patinated bronze, 87 X 60 X 42 cm

16 Izdala / Pablished by: Za njo / Represented by: Spremna študija / Accompanying study: Fotografija / Photography: Priprava kataloga / Preparation of catalogue: Prevod / Translation: Vse pravice pridržane / Copyright 2005 by: GALERIJA 2 Bojan NOVAK Janez MESESNEL Miroslav ZDOIC, Bojan NOVAK GALERIJA 2 Andreja LOBODA, Nadja ADAM Milena BRANISELJ