| Biography: | Matej Andraz Vogrinčič
Projects in public spaces
When on a Winter's Night a Traveller,
2005, GPO Melbourne. Melbourne,
Australia
Untitled (Forest) 2004. Ljubljana, Slovenia
Beach Balls 2003. Perth, Australia
Moon Plain, 2002, Coober Pedy,
Australia
Port. Christchurch, 2002. New Zealand
Car Park: Members Only. 2002,
Adelaide, Australia
Dressed House, 1999. Venice, Italy
Street Wear, 1997, Ljubljana, Slovenia
House, 1993, Ljubljana, Slovenia
Selected solo exhibitions
Moon Plain, 2003, Museum of Modern
Art, Ljubljana, Slovenia
Moon Plain. 2002, SOFA Gallery,
Christchurch, New Zealand
Clothes Sculpture. 1999, John Gibson
Gallery, New York, USA
Dressing, 1996, Anonimus Galllery,
Ljubljana, Slovenia
Ready Made, 1992, SKUC Gallery,
Ljubljana, Slovenia
Selected group exhibitions
Slovene Art 1995-2005: Territories,
Identities, Nets, 2005, Museum of
Modem Art, Ljubljana, Slovenia
The First Line, 2005, 26th Biennale of
Graphic Arts, Ljubljana, Slovenia
Slovene Art 1985-1995, 2004, Museum of
Modern Art, Ljubljana, Slovenia
Art+lndustry Biennial, 2002,
Christchurch, New Zealand
Tancat per Obres (Artists in
Architecture), 2002, Col.legi
d'Arquitectes de Catalunya, Barcelona,
Spain
U3, Triennial of Slovene Contemporary
Art, 1997, Museurr Modern Art,
Ljubljana, Slovenia
This Art is Recycled. 1997, SKUC
Gallery, Ljubljana, Slove
Urbanaria, 1996, SCCA. Ljubljana,
Slovenia
Further reading
Robert Mahoney, 'Clothes Sculpture',
Time Out (New Yor 214 (October 1999)
Kate Rhodes, 'Matej Andraz Vogrincic,
GPO Melbourne', Monument Magazine
67
Sarah Thomas, 'A White Field on the
Moon Plain', Art Month (Australia), 154
(October 200;
Angus Trumble, 'Matej Andra Vogrincic',
Art & Australia, 41. (Spring 2003)
Marcia E. Vetrocq, The Venic Biennale
Reformed, Renewec Redeemed', Art in
America (September 1999)
| | | Source: | "Liverpool Biennial Liverpool 06", exhibition catalogue | | | Date of source: | 2006 |
|
| | Description: | Sensitivity to place is the starting
point for all Matej Andraz Vogrinčič's
work. 'Normally the space is first and
then the idea will come with the space.
It did not happen yet that I had an idea
and then I was searching for the
space...' (letter, 9 September 2005).
Although this is essentially an
illustrative rather than a
transformative process, the quality of
the interpretation of place provided by
the artist (the sensitivity and detailed
elaboration involved) can still resonate
with the inhabitants of the place to
such an extent as to produce change in
the collective imagination.
The artist typically starts by selecting
a site that is 'central' in location but
'peripheral' in the consciousness of
local people. His aim in reclaiming or
redeeming this site is simply to show
local people something about themselves
that they may have forgotten or
suppressed. (And this is often of
interest to people who are not local...)
The research involved is empathic,
atmospheric, rather than literal; and
the production process is normally
labour-intensive (the thousands of hours
of work represent a kind of devotional
exercise) and involves many helpers and
collaborators in the creation of a
living relationship with the work.
Lewis Biggs
| | Description Source: | "Liverpool Biennial Liverpool 06", exhibition catalogue | | Description Source Date: | 2006 | | Gender: | male | | Type: | person |
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