Made in China, 5. april 2019 ― M#35, 2018, digital print Foto & still from short film by Phil Cox Limited edition of 10 posters signed by the artist Copyright Colettelaboratoirelumiere Certificate of authenticity - - - - - Art multiple "Lumiere & the Lowen Palais" was created for the one-time event "Once upon a time in NYC", which took place in GalerijaGallery in Ljubljana on Tuesday, April 2nd 2019. "Colette is one of New York City's artistic Living National Treasures. Her pioneering street performances in the 1970s brought the avant-garde art form into the public eye. Her beautiful installations at such location as the Fiorucci store on 59th Street in Manhattan, at The Clocktower and PS i, and in various European venues such as Berlin and Rome brought crucial attention to this vital genre of work. And they had a huge influence on Pop culture (without Colette we would not have had many aspects of Madonna, for example). Her altered photographs have been widely exhibited and published to critical acclaim. The influence of her "Living Tableaux" resonates in the works of artists as diverse as Cindy Sherman (who restricts her fantasy personas to the two-dimensionality of her photographs) and Matthew Barney (whose use of mythology, notably his satyr impersonations, takes costume play to similar levels of flamboyance). The elaborately staged performances of the Japanese artist, Mariko Mori, also seem to channel Colette in their appropriations of cultural and mythological icons. Colette's essentially blithe esthetic has celebrated aspects of the feminine during the rise of an era when academic feminism declared suspect everything conventionally associated with enjoying being a girl. That includes high heels, fashion and make-up, not to mention good manners, elegance and romance. Her pieces also have hypothesized an ambivalent relationship with domesticity and fashion, posing questions about the nature of female roles in art and life without ever rejecting femininity. Through the manipu

Sodobna umetnost (Aljoša Abrahamsberg), 5. april 2019 ― Ob 20. obletnici feminističnega in kvirovskega festivala Rdeče je svoje delo na samostojni razstavi v Galeriji Alkatraz z naslovom Domesticated Animals (It's Hard to Work in a Dress) predstavila vrhunska mlada umetnica Tina Dobrajc. V njena dela je prefinjeno vpletena družbenokritična nota s feministično podstatjo. Umetnica prepleta elemente tradicije in emancipacije ter problematizira vprašanje spola in vloge ženske v sodobnem svetu, a namenoma izven teoretično-konceptualnih okvirov. Feminizem v njenih slikah vsebinsko sije iz ozadja in je kot vseobsegajoča slutnja, ki prežema motiviko del. Iz njenega umetniškega pristopa je razvidno, da domiselna vpeljava angažirane vsebine lahko dela le nadgradi. Umetnica na slikarski način raziskuje koncepta identitete in družbenega etiketiranja. Z združevanjem navidez nezdružljivih podob sodobnosti in motivov tradicije ustvarja nove kontekste in odpira nova gledišča tako na sodobnost kot na preteklost. Skozi združevanje različnih svetov – vključujoč živalskega in človeškega – išče in poudarja dramatično napetost med različnimi vidiki posredovanih identitet in ustvarja privlačno-strašljivo atmosfero, ki posrka pogled. Njene v ospredje postavljene figure žensk vzpostavljajo komunikacijo med tradicionalnim statusom ženske in emancipiranim, opolnomočenim pogledom na svet. Z združevanjem narodnih noš in etnoloških simbolov z odločnim, samostojnim in osvobojenim telesom v svet, ki se želi prikazati kot črno-bel, vnaša odtenke sivine. Tako ustvari prostor za razmislek, prostor za sintezo tradicije, sodobnosti in upora. Vse to dodatno poudarijo elementi, kot so vezenine, besede, filmsko vmeščeni podnapisi, plastična dekoracija in podobno, ki kot del celote umetniškega dela zasedejo svoj, bistven prostor. Njena dela raziskujejo in mešajo različne vzhodnoevropske tradicije oblačenja, ki pa vse brez razlike sooblikujejo in označujejo pozicijo ženske v družbi in narekujejo meje svobodi izraza. Tradicionalna podoba ženske v narodni noši v s