29. March
at 19.00
Galerija Janez Boljka (Janez Boljka Art Gallery) - Gornji trg 16, Ljubljana

BLAZ ZUPANČIČ: HALF-A-SECOND opening of the photo exhibition

Blaž Zupančič, a lawyer by training, has been working as a freelance photographer in all areas of creative photography since 1988. At the same time, he runs the studio – Mikado Gallery, where he also works as a gallerist. He has participated in 34 solo and 39 group exhibitions at home and abroad (Malta, Belgium, Germany, France, Austria, Italy… ). In 2009 he received the 2nd prize in the competition for Slovenian photography of the year EMZIN magazine, in 2003 the 1st prize in the Architectural Details of Plečnik’s Žale competition, and in 2011 he was ranked among the semi-finalists of the Hasselblad Masters 2010 in the field of architectural photography.

HALF A  SECOND We can establish several facts at the outset: that photography is also an art, which Walter Benjamin more than substantiated around 1930; that the theme of the nude in fine art has been, so to speak, an eternal theme since prehistoric times (Venus of Willendorf). And that, thus introducing this presentation of Blaž Zupančič’s series Half a Second (color photography, 2014), back in 1887 Eduard Muybridge filmed and presented a female nude in motion (consecutive series) entitled The Woman Who Raised a Towel and is wiped with it. And what are theorists thinking about in the 21st century, today, when our eye, our visual consciousness meets better and also tries to break through the flood of violence, direct attack on the optic nerve that we encounter in public spaces and in the everyday diverse media landscape that of course, has nothing to do with either the expressive message, or the inspiration, the impulse that emanates or leads beyond miserable nothingness, exemplary kitsch, cheap consumer sexuality, and this kind of eroticism. “Art or pornography, eroticism or sexuality, obscenity or originality, these harsh definitions and demarcation attempts are so intertwined that an objective clarification of these concepts seems virtually impossible.” So notes writer Hans Juergen Doepp, a professor in the chair of psychoanalytic interpretation and history of erotic art at J. W. Goethe University in Frankfurt and also curator of numerous erotic art exhibitions. In this series, Blaž Zupančič is the author and researcher of the presentation of the naked female body in motion in the clean environment of a photographic studio. With an extremely relaxed female model, who poses for a movement, a position lasting only half a second and recorded only in a photographic lens, Zupančič achieved above all an exceptional visualization of phase-indicated body layering. In front of us is thus par excellence a special varied performance of the otherwise canonized classical beauty of the female body, which we surely miss in contemporary fine art today. At the same time, this is Zupančič’s answer to, say, a rhetorical question: what else can a photograph of a female nude tell us today.

Alexander Bassin


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