Zbirke MG
Zbirke Moderne galerije so dosegljive na spletnem naslovu museums.si, ki pa je v fazi razvoja in postopnega dopolnjevanja umetniških del iz naših zbirk.
Zbirke Moderne galerije so dosegljive na spletnem naslovu museums.si, ki pa je v fazi razvoja in postopnega dopolnjevanja umetniških del iz naših zbirk.
Moderna galerija hrani nacionalno zbirko slovenske umetnosti 20. stoletja (slikarsko, kiparsko, zbirko grafik in risb, fotografsko zbirko in zbirko videa in elektronskih medijev) in zbirko del drugih narodov nekdanje Jugoslavije. Nacionalna zbirka predstavlja osnovne točke v razvoju tradicije slovenske moderne in sodobne umetnosti od začetka 20. stoletja naprej. Zbirke v Moderni galeriji niso togo ločena polja, marveč se dinamično povezujejo in kombinirajo.
Slikarstvo
Moderna galerija hrani 1301 slik, od katerih so bile vse najpomembnejše že večkrat predstavljene v nizu stalnih postavitev ali v okviru različnih, predvsem retrospektivnih in preglednih razstav.
Kiparstvo
Kiparski fond Moderne galerije obsega 502 skulpturi. Tako kot najpomembnejše slike so bili tudi vsi ključni in reprezentančni kipi že večkrat predstavljeni in publicirani.
Grafika
Moderni galeriji je uspelo zbrati 3079 grafičnih listov domačih in tujih umetnikov. Njihovi najpomebnejši (slovenski) avtorji so: Božidar Jakac, Veno Pilon, Franjo Stiplovšek, Avgust Černigoj, Tone Kralj, Miha Maleš, Nikolaj Pirnat, Riko Debenjak, Maksim Sedej, Zoran Mušič, Lojze Spacal, France Mihelič, Marij Pregelj, Vladimir Lamut, Marjan Pogačnik, Karel Zelenko, Vladimir Makuc, Bogdan Borčić, Jože Ciuha, Štefan Planinc, Janez Bernik, Šuštaršič Marko, Tinca Stegovec, Adriana Maraž, Andrej Jemec, Zmago Jeraj, Valentin Oman, Kiar Meško, Metka Krašovec, Gorazd Šefran, Lojze Logar, Bojan Gorenec, Zora Stančić.
Risba
V petdesetih letih je bilo v Moderni galeriji zbranih 11.069 risb. Največ jih je galerija pridobila z dvema tudi sicer najobsežnejšima donacijama leta 1986 (volilo Marja Preglja) in leta 1996 (donacija Mile Kačičeve - risbe Jakoba Savinška).
Fotografija
Zbirka fotografij Moderne galerije temelji na zbiranju fotografij slovenskih avtorjev - amaterskih in profesionalnih fotografov kakor tudi slikarjev in kiparjev, ki so posegali po fotografskem mediju bodisi kot avtonomnem mediju ustvarjanja ali kot mediju vizualnega dokumentiranja. Z načrtnim zbiranjem fotografij smo pričeli leta 1991. Pred tem v naši instituciji ni bilo tovrstnega fonda. Obstajale so le fotografije nekaterih naših starejših slikarjev, ki smo jih pridobili skupaj z njihovimi zapuščinami.
Časovni okvir zbirke sega od začetka 20. stoletja naprej, vendar hranimo v zbirki tudi nekaj posamičnih fotografij in albumov s konca 19. stoletja. Ker smo z zbiranjem pričeli razmeroma pozno, je zastopanost fotografij prve polovice 20. stoletja razmeroma pomanjkljiva. Z rednimi vsakoletnimi odkupi pridobivamo dela preteklega, polpreteklega in sedanjega časa, zbirko pa bogati tudi prenekatera donacija. Stremimo za tem, da bi zbirka postala relevanten zbir fotografij slovenskih avtorjev druge polovice 20. in 21. stoletja. Obenem si prizadevamo tudi za pridobivanje fotografij naših umetnikov; v zbirki tako že hranimo fotografije nekaterih naših slikarjev: Mateja Sternena, Gojmira A. Kosa, Vena Pilona, Mihe Maleša, Lojzeta Spacala, Zmaga Jeraja in drugih sodobnih umetnikov, ki se posvečajo fotografskemu mediju. Zbirka šteje danes prek 3.000 enot.
Gradivo iz zbirke raziskujemo in razstavljamo, izsledke pa objavljamo v katalogih, ki spremljajo naše razstave ali v strokovnih revijah.
Medijska umetnost, Video, Medmrežni projekti
Zbirka medijske umetnosti nastaja na temelju odkupov avtorskih videov, filmov, instalacij gibljivih slik in medmrežnih projektov. Obsega reprezentativna dela zgodovine medijske umetnosti v slovenskem kulturnem prostoru in je, kljub zaenkrat še skromnemu številu del, generacijsko, izrazno in tehnološko raznovrstna.
Zbirka del drugih narodov nekdanje Jugoslavije
Moderna galerija hrani tudi zbirko 136 del (slike, skulpture, grafiko) umetnikov 20. stoletja z območja nekdanje Jugoslavije; med njimi pomembne stvaritve avtorjev, kot so Jovan Bijelić, Dušan Džamonja, Oton Gliha, Ljubo Ivančić, Frano Kršinić, Petar Lubarda, Nikola Martinoski, Ivan Meštrović, Peđa Milosavljević, Milo Milunović, Frano Šimunović, Miroslav Šutej, Marino Tartaglia, Rudolf Valdec, Vladimir Veličković in Lazar Vozarević.
Museum of Modern Art
Tomšičeva 14SI-1000 Ljubljana, Slovenia
Phone:
+386 (0)1 2416 800,
+386 (0)1 2416 834
Fax: +386 (0)1 2514 120
E-mail: info@mg-lj.si
fonte: @edisonmariotti #edisonmariotti http://www.mg-lj.si/node/22
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Historical Overview
When the National gallery, at that time the only national collection of art, moved to its new premises in the thirties, it became apparent that a juxtaposition of historical works representing the hallowed national art tradition and contemporary works by living artists was no longer appropriate. To present contemporary art, not just a new building but a separate institution - fulfilling the twofold function of housing the museum collection and showing exhibitions, as well as functioning as an educational centre for modern art - was required. According to the original idea, the Moderna galerija was even to act as an art dealer, and its facilities were meant to include artists' studios. This ambitious project was able to begin when the heirs of the industrialist Dragotin Hribar donated a considerable sum of money to fund the museum. The initiative was provided by Dr. Izidor Cankar, an art historian, critic, writer and diplomat, who decisively cooperated throughout in the creation of the concept of the new museum of art. The architectural design was made by a renowned Slovene architect Edvard Ravnikar. The construction works, almost completed by 1941, were brought to a halt at the outbreak of war and the building served as a military warehouse until 1945. After the end of the war, building continued, and the first exhibition opened in November 1947; in line with the spirit of the time, four prominent Soviet artists of Socialist Realism were presented. The Moderna galerija was formally founded by decree of the government of the People's Republic of Slovenia on 30 December 1947, which took effect on 3 January 1948. The painter Gojmir Anton Kos was the first director of the gallery (1948-49), followed by Dr. Karel Dobida (1952-57). Zoran Kržišnik, who had actually been the manager of the Moderna galerija since 1947, succeeded him in 1957 and held this position until 1986. From 1986 to 1992, the director of the Moderna galerija was Dr. Jure Mikuž, and from 1992 on Zdenka Badovinac.
Lively exhibition activities began immediately after the founding, and the first permanent exhibition presenting Slovene art from Impressionism until 1950 opened in 1951. The Moderna galerija has prepared a series of important exhibitions and other presentations, many of which have been pivotal in the development of Slovene art. Some of these are: the exhibition of Slovene Impressionism in 1949, which was an important victory over extreme ideological dogma; the exhibition of Riko Debenjak and Stane Kregar in 1953, which opened up the question of Abstract art; the Henry Moore exhibition in 1955, which gave a powerful stimulus to Modernist tendencies; and the first international graphic art exhibition in the same year, which began the important tradition of international biennials of graphic art. In later years, too, the exhibitions at the Moderna galerija were often key events. Crucial for the avant-garde movement in the sixties were the exhibitions of the OHO group in 1968 and in 1969. The 1976 exhibition of the three abstract painters, Tomo Podgornik, Tugo Šušnik and Andraž Šalamun, introduced a new understanding of the Abstract painting and its tradition. In 1979 Moderna galerija presented an important historical exhibition Slovene Art 1945 - 1978 and in 1986 an exhibition on Expressionism and the New Objectivity in Slovenia.
The Moderna galerija, of course, continued throughout these years to stage retrospective exhibitions and major survey shows presenting key Slovene artists and artistic phenomena. The Museum has started its exhibition programme of international contemporary art in the early 1950s, and it is still one of the museum's major concerns.
The significance of the international exhibition programme in the work of Moderna galerija has grown considerably and the major names in contemporary world art are regularly presented in individual and group exhibitions.
The building
The Moderna galerija is one of the first important works of Edvard Ravnikar (1907-1993), who was the central personality in Slovene architecture after the Second World War, both as an architect and urban planner and as a teacher. Ravnikar made the outline design proposals in 1936, and completed the plans in 1939. His scheme was the result of careful thought on the needs and functions of a museum of contemporary art. He designed a building in which the exhibition spaces were not hierarchically differentiated, while, at the same time, allowing sufficient flexibility for display areas to be adapted to individual works of art or collections. The idea of a central hall giving access to all the other exhibition rooms makes it possible to mount various exhibitions and displays independently, while the neutral space allows individual approaches to the presentation of particular exhibits. In general, the Moderna galerija building has managed to synthesize the tradition of Plečnik's architecture, which is best seen in the stone facade and windows, with the principles and forms of contemporary rationalist and functionalist architecture. This duality shows the way in which Ravnikar's architectural language changed during this time, since from a starting point in Plečnik's school he had arrived at the principles of Modern rationalism. (In fact, in 1939, Ravnikar worked for a time with Le Corbusier.) However, in this synthesis of languages there is no eclecticism, but an approach which matches the dual needs of a Museum building, which, on the one hand, has to fulfil a representative function, and on the other, must be laid out as practically and functionally as possible.
When the National gallery, at that time the only national collection of art, moved to its new premises in the thirties, it became apparent that a juxtaposition of historical works representing the hallowed national art tradition and contemporary works by living artists was no longer appropriate. To present contemporary art, not just a new building but a separate institution - fulfilling the twofold function of housing the museum collection and showing exhibitions, as well as functioning as an educational centre for modern art - was required. According to the original idea, the Moderna galerija was even to act as an art dealer, and its facilities were meant to include artists' studios. This ambitious project was able to begin when the heirs of the industrialist Dragotin Hribar donated a considerable sum of money to fund the museum. The initiative was provided by Dr. Izidor Cankar, an art historian, critic, writer and diplomat, who decisively cooperated throughout in the creation of the concept of the new museum of art. The architectural design was made by a renowned Slovene architect Edvard Ravnikar. The construction works, almost completed by 1941, were brought to a halt at the outbreak of war and the building served as a military warehouse until 1945. After the end of the war, building continued, and the first exhibition opened in November 1947; in line with the spirit of the time, four prominent Soviet artists of Socialist Realism were presented. The Moderna galerija was formally founded by decree of the government of the People's Republic of Slovenia on 30 December 1947, which took effect on 3 January 1948. The painter Gojmir Anton Kos was the first director of the gallery (1948-49), followed by Dr. Karel Dobida (1952-57). Zoran Kržišnik, who had actually been the manager of the Moderna galerija since 1947, succeeded him in 1957 and held this position until 1986. From 1986 to 1992, the director of the Moderna galerija was Dr. Jure Mikuž, and from 1992 on Zdenka Badovinac.
Lively exhibition activities began immediately after the founding, and the first permanent exhibition presenting Slovene art from Impressionism until 1950 opened in 1951. The Moderna galerija has prepared a series of important exhibitions and other presentations, many of which have been pivotal in the development of Slovene art. Some of these are: the exhibition of Slovene Impressionism in 1949, which was an important victory over extreme ideological dogma; the exhibition of Riko Debenjak and Stane Kregar in 1953, which opened up the question of Abstract art; the Henry Moore exhibition in 1955, which gave a powerful stimulus to Modernist tendencies; and the first international graphic art exhibition in the same year, which began the important tradition of international biennials of graphic art. In later years, too, the exhibitions at the Moderna galerija were often key events. Crucial for the avant-garde movement in the sixties were the exhibitions of the OHO group in 1968 and in 1969. The 1976 exhibition of the three abstract painters, Tomo Podgornik, Tugo Šušnik and Andraž Šalamun, introduced a new understanding of the Abstract painting and its tradition. In 1979 Moderna galerija presented an important historical exhibition Slovene Art 1945 - 1978 and in 1986 an exhibition on Expressionism and the New Objectivity in Slovenia.
The Moderna galerija, of course, continued throughout these years to stage retrospective exhibitions and major survey shows presenting key Slovene artists and artistic phenomena. The Museum has started its exhibition programme of international contemporary art in the early 1950s, and it is still one of the museum's major concerns.
The significance of the international exhibition programme in the work of Moderna galerija has grown considerably and the major names in contemporary world art are regularly presented in individual and group exhibitions.
The building
The Moderna galerija is one of the first important works of Edvard Ravnikar (1907-1993), who was the central personality in Slovene architecture after the Second World War, both as an architect and urban planner and as a teacher. Ravnikar made the outline design proposals in 1936, and completed the plans in 1939. His scheme was the result of careful thought on the needs and functions of a museum of contemporary art. He designed a building in which the exhibition spaces were not hierarchically differentiated, while, at the same time, allowing sufficient flexibility for display areas to be adapted to individual works of art or collections. The idea of a central hall giving access to all the other exhibition rooms makes it possible to mount various exhibitions and displays independently, while the neutral space allows individual approaches to the presentation of particular exhibits. In general, the Moderna galerija building has managed to synthesize the tradition of Plečnik's architecture, which is best seen in the stone facade and windows, with the principles and forms of contemporary rationalist and functionalist architecture. This duality shows the way in which Ravnikar's architectural language changed during this time, since from a starting point in Plečnik's school he had arrived at the principles of Modern rationalism. (In fact, in 1939, Ravnikar worked for a time with Le Corbusier.) However, in this synthesis of languages there is no eclecticism, but an approach which matches the dual needs of a Museum building, which, on the one hand, has to fulfil a representative function, and on the other, must be laid out as practically and functionally as possible.
Museum of Modern Art
Tomšičeva 14SI-1000 Ljubljana, Slovenia
Phone:
+386 (0)1 2416 800,
+386 (0)1 2416 834
Fax: +386 (0)1 2514 120
E-mail: info@mg-lj.si
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