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Viennafair 2009

By 3. 5. 2009 May 15th, 2019 No Comments
The International Contemporary Art Fair, Vienna

Galerija Fotografija, Booth A15050

www.viennafair.at

Focusing on young art and new galleries the VIENNAFAIR represents the dynamic development on the international art scene with a heavy emphasis on Central and Eastern Europe. On the Fair Galerija Fotografija gallery is representing two slovenian photographers Stojan Kerbler and Boris Gaberščik.

STOJAN KERBLER (1938)

His most known photographic series are: Haložani/People of Haloze, Portreti s ptujskih ulic/Portraits from the streets of Ptuj and Koline/ Pig Slaughter.

“Stojan Kerbler is certainly one of those artists whose entire production cannot be pigeonholed in terms of realism, either as the so-called “black” realism, or any other more generic social realism. Indeed, one would be hard put to find any kind of ethno-folkloristic sentimentality in his photographs, or a confrontation with the rural milieu, which the contemporary viewer seems to consider as irrevocably belonging the yesteryear. It is true that some of his finest artistic achievements involve the people of a land that he knows intimately. Kerbler may have had a very close , human experience of the man and women of Haloze (north-east of Slovenia), but he sees no extremes in them, which would make the existential reality of these people in any way exotic. oOn the contrary, in their apparent singularity, he seeks to recognize above all the universal human being, bringing together the most diverse, intimate and common destinies of the various members of families, social classes and ethnic groups. And he does so with mastery because he does not assume the role of an indifferent observer, but prefers to look through the lend in a controlled way, making the transition from documenting reality to expressing it, which is in its human dimensions as much his own reality as it is theirs.”

Brane Kovič: An Altruistic Maverick (from the book Stojan Kerbler Ljudje/People)

BORIS GABERŠČIK (1957)

The objects in the photographs of Boris Gaberščik paradoxically dodge a documentary presentation, the explicitness of the photographic devices and are evidently interpreted.
Conspicuously set in the foreground of the picture plane.they are part of the inner space and not a scene shot outdoors; at the same time they are isolated while the picture of the interior is not delineated. On the contrary, the objects are presented outside the cognitive perception of the ilusionist depth and although Gaberščik clearly places, arranges, and assembles them, the picture of the interior is slipping out of field of perception…

Sergej Kapus / art critic

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