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prvič",{"type":761,"children":762},"paragraph",[763,765,769,771,774,776,779,781,784,786,789,791,794,796,799,801,804,806,809],{"type":756,"value":764},"Prvo edicijo performansa ",{"type":756,"marks":766,"value":768},[767,758],"emphasis","Come and See",{"type":756,"value":770}," umetnice ",{"type":756,"marks":772,"value":773},[758],"esh",{"type":756,"value":775}," sem si ogledala maja v galeriji ",{"type":756,"marks":777,"value":778},[758],"DobraVaga",{"type":756,"value":780},", ko je bil izsek iz performansa prikazan v sklopu otvoritve skupinske razstave ob deseti obletnici galerije (kur. ",{"type":756,"marks":782,"value":783},[758],"Lucija Klauž, Špela Pečjak, Olja Simčič Jerele",{"type":756,"value":785},"). Kar je to edicijo razen krajše minutaže specifično zaznamovalo in razlikovalo od integralne verzije, premierno uprizorjene 19. 9. (na skrivni lokaciji), pa je bil pomensko izrazito zaznamujoč galerijski ambient, ki so ga med časom performansa zasedala tudi druga umetniška dela, ki so bila ob obletnici razstavljena. Hrbtenico in srce performansa predstavlja dramski tekst v avtorstvu esh, interpretacijo katerega prepusti drugemu glasu, na prvi ediciji je bila bralka ",{"type":756,"marks":787,"value":788},[758],"Hana Besjedica",{"type":756,"value":790},", v zadnji pa to vlogo zaseda ",{"type":756,"marks":792,"value":793},[758],"Gal Grobovšek",{"type":756,"value":795},", zvočna podoba pa je nadgrajena z glasbo v živo, ki jo soustvarjata še ",{"type":756,"marks":797,"value":798},[758],"Janže Šilc, Jakob Fifnja",{"type":756,"value":800}," in ",{"type":756,"marks":802,"value":803},[758],"Blaž Geohelli",{"type":756,"value":805},"; prav tako integralen del obeh dogodkov pa je bila tudi sprotna fotodokumentacija, za katero je skrbela ",{"type":756,"marks":807,"value":808},[758],"Iva Suhadolnik Gregorin",{"type":756,"value":810},".",{"type":761,"children":812},[813],{"type":756,"value":814},"Kar sledi, je seznam vtisov, ki sem si jih zapisala po prvem izseku performansa – fragmentarna dokumentacija prikazanega fragmenta:",{"type":761,"children":816},[817],{"type":756,"value":818},"vonj prsti // zlat konfet v obliki drobne zvezdice // majhen plastičen kozarček brinovca // pekoč občutek v ustih // prijeten sladkast vonj umetnega dima // oddaljena nostalgična glasba // od megle je že težko dihati // prijetno hladno je // nežen glas // a smo? // toliko je enih zgodbic // brnenje v ušesih (medtem mimo mene res prileti muha) // črna silhueta // umetnica-vojak-umetnica // fleš // obrabljena čelada // raketa, ki je priletela v bratranca // še več megle // fleš // fleš // zvok starega klavirja // vojna, ki je daleč // vojna, ki je čisto blizu // še vedno nežen glas me še vedno vodi // prsti, ki kopljejo po zemlji // kartonasta puška v rokah, umazanih od zemlje // pok // naročje, polno zlatih in srebrnih zvezdic in zemlje // plastične zvezdice se ti lepijo na potno kožo // posadila si bom jablano // fleš // grob // svetla luč čisto na koncu // konec? // konec",{"item":607,"type":751},{"item":618,"type":751},{"type":753,"level":528,"children":822},[823],{"type":756,"marks":824,"value":825},[758],"Med jablanami, 22.00",{"type":761,"children":827},[828,830,832],{"type":756,"value":829},"Prenovljeno in celostno verzijo ",{"type":756,"marks":831,"value":768},[767],{"type":756,"value":833}," pa sem si ogledala na njeni drugi in zadnji ponovitvi, 20. septembra. Po koncu dogodka sem se z esh in Galom Grobovškom za nekaj minut sestala med jablanami za hišo. Tako smo vsi še v svežem afektu dogodka skupaj reflektirali videno, obenem pa sem imela priložnost iz prve roke izvedeti več informacij o okoliščinah nastanka performansa, o vzgibih, ki so bili ključni za določene umetniške odločitve, in želenih poudarkih s strani umetnikov samih, kot bi mi jih bilo na voljo zgolj z branjem denimo napovednega teksta. Zaradi tega sledeči tekst mestoma vključuje tudi bolj poglobljeno osebno refleksijo oziroma razlago avtorjev performansa, ki sem se jo odločila preplesti z lastno interpretacijo.",{"item":629,"type":751},{"type":753,"level":528,"children":836},[837],{"type":756,"marks":838,"value":839},[758],"Dnevna soba, v kateri si že bil",{"type":761,"children":841},[842,844,846],{"type":756,"value":843},"V septembrski ediciji ",{"type":756,"marks":845,"value":768},[767],{"type":756,"value":847}," je galerijski ambient zamenjala privatna stanovanjska hiša na lokaciji nekje na ljubljanski periferiji. Hiša je majhna, dvonadstropna, z balkončkom in vrtom, polnim jablan, pred vrati je lesena miza s klopmi. Gre za hišo, ki si je ni težko priklicati pred oči, pravzaprav je nekakšen arhetip hiše starih staršev, vtisnjene v kolektivni spomin. Nič drugače ni niti, ko stopiš skozi njena vrata – leseni podboji, temen parket, kuhinja na levi in majhna dnevna soba, ki pričaka intimno skupino gledalcev, kakšnih 30 nas je bilo. Tokrat je ambient pristen in domač, v dnevni sobi imaš občutek, da si v točno takšni sobi že bil, usedeš se na rožast kavč oker barve, opazuješ police z vazicami in slikami, uokvirjen gobelin Zadnje večerje, veliko krušno peč in čipkaste zavese, skozi kuhinjska vrata vidiš na steni obešen portret Device Marije. Snovalci performansa so iz tega občutka domačnosti pravzaprav izhajali pri oblikovanju dramaturgije dogodka, poudarili so namreč, da domačnost hiše in dnevne sobe že sama kliče po družbenem momentu, druženju, spontanih pogovorih, in ne nujno po performativnem momentu, kar pa je ključno za atmosferski obrat, ki zareže v sicer udobno okolje. Vse, kar v sebi nosi potencial preobrata, ki sledi, pa je nekaj visečih okraskov iz zlatih resic, kvadratna zaplata prsti, med katero so pomešani lesketajoči se konfeti, in tehnična oprema – mikrofon in zvočniki –, ki, čeprav so tudi oni pokriti s čipkastimi prtički, v sobi iz nekega drugega časa delujejo kot nelagodni tujki. Tudi sprejem je topel in sproščen – začelo se je s podajanjem kozarcev brinovca in sproščenim pogovorom, pravzaprav pripovedovanjem zgodbic, h kateremu je vse navzoče povabil Gal Grobovšek, ki je publiko kot nekakšen konferansje uvedel v dogodek. In prav v to namensko ustvarjeno domačno in sproščeno vzdušje zareže vojna kot glasen pok in nato basovsko grmenje iz zvočnikov, ki trese vso hišo. Prijeten in spontan klepet pa zamenja dramski tekst, poln presunljivih in krutih podob. Tako performans gledalca pospremi po celem čustvenem spektru, iz veselega in domačnega te zbudi šok, ki služi kot vstopno mesto v obdelovanje kolektivne travme, ki ne pretrese le na razumskem nivoju, temveč zaradi efektivnega oblikovanja zvoka postane telesna izkušnja.",{"item":642,"type":751},{"item":653,"type":751},{"type":753,"level":528,"children":851},[852],{"type":756,"marks":853,"value":854},[758],"Vzletanje letal, kričanje saksofona in donenje cerkvenih zvonov",{"type":761,"children":856},[857],{"type":756,"value":858},"Kot najbolj konsistentna prezenca v dogodku se vzpostavi ambientalno oblikovana zvočna podoba, ki prepleta več vzporednih niti od glasbe do v živo izvedenih zvočnih efektov – ti pa dosledno podpirajo dramaturgijo gradacije od udobja do strahu in kaosa. Zvočniki, iz katerih ta glasba prihaja, so del scenografske podobe, bend pa je očem skrit. Skoznje najprej zveni prijetna melodija, nato pa vanjo zareže basovska frekvenca, ki spominja na vzletanje letal ali brnenje motorjev, pridružijo pa se ji še glasni poki in šumi. Zvok je pogosto na zgornji meji vzdržne jakosti, močne frekvence pa dajejo občutek, da se hiša okrog tebe trese, kot da se bo morda zdaj zdaj sesula sama vase. Zvok prihaja z vseh strani, ne le iz zvočnikov, pridruži se tudi zamolkel zvok razglašenega klavirja, ki se res nahaja v sosednji sobi hiše. Ustvarjalci so poudarili pomembnost tega, da zvočna podlaga nastaja v živo, kar ji doda določeno avro, hkrati pa jasno podčrta dejstvo, da ne gre za dejanske posnetke zvokov vojne, pač pa za njihov instrumentalni približek kot nekakšno distorzijo, ki postane del celostne atmosfere. Hkrati pa v glasbi prepoznavajo skoraj ritualističen moment, nastopajoči namreč dobijo neko avro, ne zavzemajo pa posebnih specifičnih identitet, nastopajo kot kolektivna vloga benda, zvočne podlage vojnega hrupa, iz katerega se kasneje izvije Vojna kot poseben subjekt, ki je hkrati razdeljen tudi med vse nastopajoče instrumentaliste. Edini inštrument, ki je publiki odkrit, je saksofon, na katerega prav tako igra Gal Grobovšek, katerega nekateri sicer poznamo kot glasbenika, namesto da bi iz inštrumenta, ki ga povezujemo z jazzom, plesom in zabavo, izvabljal lepe tone, pa ga sili v rezke zvoke, ki zvenijo skoraj kot kriki. Performer, ko bere tekst, iz sproščenega registra preklopi na govor, včasih celo deklamiranje in kričanje na mikrofon, kar ga iz prijetnega gostitelja spremeni v prezenco moči. Ko nastopi Vojna, je tudi ona ozvočena z mikrofonom, pritrjenim na konec puške, ki jo v roke dobi ena od obiskovalk – gesta, ki spominja na to, da odločitev, da v nekoga naperiš orožje, zveni nemogoča le v teoriji, ko to figura avtoritete od tebe zahteva, pa se izkaže za skorajda neizbežno. Celostna inštrumentalna podlaga jasno posnema hrup vojne, vendar je hkrati dovolj splošna, da omogoča imaginativno transportacijo v gledalčevo lastno podobo katastrofe. Dejstvo, da je dogodek v dnevni sobi privatne hiše, pa pomeni, da vanjo vdirajo tudi zvoki zunanjega sveta, med umetno ustvarjen hrup se prepletajo zvoki tistega, kar je še vedno zunaj – brnenje mimovozečih avtov, hrup ljudi in donenje cerkvenih zvonov v daljavi.",{"item":665,"type":751},{"type":753,"level":528,"children":861},[862],{"type":756,"marks":863,"value":864},[758],"Od osebnega h kolektivnemu",{"type":761,"children":866},[867,869,872],{"type":756,"value":868},"Osrednji navdih za performans predstavlja istoimenski kultni sovjetski antivojni film režiserja ",{"type":756,"marks":870,"value":871},[758],"Elema Klimova",{"type":756,"value":873}," (Pojdi in glej, 1985), pri čemer so umetniki poudarili, da niso stremeli k reinterpretaciji te filmske klasike, pač pa je film služil kot izhodišče zaradi občutkov, ki jih vzbuja, ter nekih osnovnih motivov, ki so jih po svoje interpretirali in aktualizirali. Poleg tega pa umetnica v napovedniku zapiše, da je njeno izhodišče avtobiografsko. Kljub tema natančno začrtanima sidriščema pa si performans prizadeva vzbuditi obči občutek katastrofe. S tem da se poslužuje kolektivnih in nezaznamovanih podob, pušča asociativno polje odprto interpretaciji posameznega gledalca. Podobno pa velja tudi za tekst, četudi ta sestoji iz bolj konkretnih fragmentarnih drobcev, ki so napisani v prvoosebni perspektivi, domnevamo lahko celo, da gre za spomine avtorice, vendar so opisani dogodki dovolj dislocirani, da vzbudijo nekakšen potujitveni občutek. Poslušalec se prej kot poskusu rekonstrukcije zgodbe iz fragmentov spomina prepusti polnjenju vrzeli z lastnimi občutki in asociacijami, ki jih vzbuja atmosfera groze, ki se gradi vzporedno v samem tekstu in v performativnem dogodku. Situacije v tekstu se tako odmaknejo od osebnih doživljajev in postanejo vstopno mesto v kolektivni spomin oziroma raje v kolektivno spominjanje osebnih zgodovin posameznega gledalca. Kot posebna specifika pa se zdi tudi dejstvo, da tekst, pisan v prvi osebi ednine ženskega spola, interpretira moški performer, s čimer je dosežena določena distanca. Ustvarjalci so to odločitev pojasnili predvsem s tem, da so zasledovali občutek direktnega dialoga med glasom performerja in glasom avtorice, prisotnim v tekstu, prek katerega pa se zorni koti na osrednjo temo lahko razpršijo, prvoosebni subjekt se zabriše in postaja anonimen, situacija postane kolektivna, glas performerja pa postane zgolj medij za posredovanje mnoštva različnih vlog.",{"item":676,"type":751},{"item":686,"type":751},{"type":753,"level":528,"children":877},[878],{"type":756,"marks":879,"value":880},[758],"Vojna nima obraza, Vojna ima tisoč obrazov",{"type":761,"children":882},[883],{"type":756,"value":884},"Osrednji vizualni motivi ostajajo konsistentni med obema edicijama performansa, prav tako pa se vpenjajo v siceršnjo rdečo nit umetničinega opusa. Njeno delo namreč že dalj časa spremljajo podobe vojaških uniform, rdečih jabolk, čelad, zvezd, temnih silhuet brez obrazov, vojne smrti. Že prizorišče samo pa nudi drug nabor (že omenjenih) predmetov – pohištva, arhitekture in dekorja –, ki evocirajo kolektivni spomin, so nosilci atmosfere in že zapisanega narativa, so predmeti, ki nakazujejo domačnost. Zato se poseben dogodek zgodi že v interakciji med danostjo prizorišča in umetničinimi scenografskimi intervencijami vanj. Prihod vojne v družinski dom pa je v performansu konkreten, vojno naredi v osebo, telo pa Vojni posodi kar umetnica sama. Njena Vojna nima obraza, vate strmi samo črna tančica, njeni lasje so dolgi, temni in se prepletajo v razkuštrane kite, nosi prevelik težek volnen plašč, s katerega na nekako naključnih mestih kot odlikovanja visijo zlate zvezdice, za pasom ji visita uniforma in kravata, glavo ji pokriva zarjavela, obtolčena in patinirana čelada. Vojna, ki se v performansu materializira, ni ena specifična vojna, ne nosi identifikacijskih emblemov, ki bi jo geografsko ali zgodovinsko določali, je kolektivni imaginarij vojne, je vojna, ki je vsenavzoča. Tudi kostumi ostalih nastopajočih niso vojaške uniforme, so srajce, kravate, hlače, ki na uniforme spominjajo, vendar jih je nemogoče vpeti v določen kontekst. Esh je kot vizualno vodilo pri oblikovanju kostuma pravzaprav definirala, da so se skušali približati občutku, da so se oblekli v to, kar bi lahko izbrskali iz omar v hiši, oziroma da so sledili estetiki najdenih predmetov.",{"type":753,"level":528,"children":886},[887],{"type":756,"marks":888,"value":889},[758],"Performans – predstava – cikel",{"type":761,"children":891},[892,894,896,898,901,903,905],{"type":756,"value":893},"Esh sem vprašala, zakaj prav medij performansa za obravnavanje izbranih tematik, še posebej z ozirom na to, da primarno izhaja iz vizualnih umetnosti, in kot glavni razlog je navedla, da se ji medij zdi najbolj ustrezen prav zaradi direktne telesne izkušnje, v katero prisili gledalca, hkrati pa je izbira medija pogojena subjektivno, saj je gledališče tisto, ki njo osebno najbolj gane. Ob videnem pa se mi je porodil tudi razmislek o sami žanrski oznaki dogodka. Performans namreč s seboj nosi poudarjen potencial neponovljivega (čeprav je seveda vsak dogodek živih umetnosti vedno svoja enkratna entiteta), kar se na primeru ",{"type":756,"marks":895,"value":768},[767],{"type":756,"value":897}," izkaže že v odnosu do prostora, ki bistveno usmeri izbiro izraznega jezika posamezne edicije performansa, kakor tudi ob spremembi sodelavcev, pa tudi ob dejstvu, da dogodek bistveno sooblikujejo njegovi obiskovalci. Hkrati pa gre za nekakšno bralno uprizoritev dramskega besedila, ki ostaja fiksno, nudi sidrišče, okrog katerega se zgradi scenarij performansa, njegov besedilni element ostaja vedno enak, ambientalni dejavniki in zvočna podoba pa so tisti, ki drugače zaznamujejo vsako ponovitev. Zaradi dejstva, da se je performans po prilagojenem scenariju zgodil že junija, kar bi lahko dojemali kot nekakšen ",{"type":756,"marks":899,"value":900},[767],"work-in-progress",{"type":756,"value":902},", ki pa je bil vseeno samostoječa zaokrožena celota, umetniki pa so pustili tudi odprte možnosti prihodnjih ponovitev, za katere velja sklepati, da bodo prav tako ključno odvisne od prostora, ki jih bo gostil, pa je ",{"type":756,"marks":904,"value":768},[767],{"type":756,"value":906}," mogoče dojemati kot cikel oziroma ustvarjalno kontinuiteto, ki jo povezuje dramski tekst, nove prostorske možnosti pa ustvarjajo nove performativne potenciale njegove izvedbe v živo.",{"item":696,"type":751},{"item":709,"type":751},{"item":722,"type":751},{"item":732,"type":751},"Came and Listened","came-and-listened",[914,917,921,924,928,931,934,938,942,946,949,953,956,959,963,966],{"attributes":10,"content":915,"tag":916},"Came and Listened | Beletrina Digital","title",{"attributes":918,"content":10,"tag":920},{"property":919,"content":911},"og:title","meta",{"attributes":922,"content":10,"tag":920},{"name":923,"content":911},"twitter:title",{"attributes":925,"content":10,"tag":920},{"name":926,"content":927},"description","Prvo edicijo performansa Come and See umetnice esh sem si ogledala maja v galeriji DobraVaga, ko je bil izsek iz performansa prikazan ...",{"attributes":929,"content":10,"tag":920},{"property":930,"content":927},"og:description",{"attributes":932,"content":10,"tag":920},{"name":933,"content":927},"twitter:description",{"attributes":935,"content":10,"tag":920},{"property":936,"content":937},"og:image","https://www.datocms-assets.com/110736/1793269022-came-and-listened_keyvisual.jpg?auto=format&fit=max&w=1200",{"attributes":939,"content":10,"tag":920},{"property":940,"content":941},"og:image:width","1200",{"attributes":943,"content":10,"tag":920},{"property":944,"content":945},"og:image:height","900",{"attributes":947,"content":10,"tag":920},{"name":948,"content":937},"twitter:image",{"attributes":950,"content":10,"tag":920},{"property":951,"content":952},"og:locale","sl",{"attributes":954,"content":10,"tag":920},{"property":955,"content":553},"og:type",{"attributes":957,"content":10,"tag":920},{"property":958,"content":29},"og:site_name",{"attributes":960,"content":10,"tag":920},{"property":961,"content":962},"article:modified_time","2026-10-29T14:55:58Z",{"attributes":964,"content":10,"tag":920},{"property":965,"content":35},"article:publisher",{"attributes":967,"content":10,"tag":920},{"name":968,"content":969},"twitter:card","summary",{"allArticleCategories":971},[972,977,979,984],{"id":973,"title":974,"slug":975,"children":976},"AMScPVlIR8KQtWEcieQb_w","Panorama","panorama",[],{"id":565,"title":567,"slug":566,"children":978},[],{"id":980,"title":981,"slug":982,"children":983},"ISaN_rOrTyanuF2q5nDXGQ","Kritika","kritika",[],{"id":985,"title":986,"slug":987,"children":988},"FHQJvkxPQ5-49sQA_Yitmg","Intervju","intervju",[],{"allArticles":990,"_allArticlesMeta":1123},[991,1012,1029,1043,1060,1077,1091,1105],{"__typename":992,"_firstPublishedAt":993,"id":994,"slug":995,"title":996,"author":997,"excerpt":998,"media":999,"category":1011},"ArticleRecord","2026-11-02T12:22:04+01:00","BueistQPTqWpq9PxGx4oaQ","jesensko-odrinjanje-listov-lisicje-trobente","Jesensko odrinjanje listov: LISIČJE TROBENTE","Uredništvo Beletrine Digital","Jesen ni le čas krajših dni in meglenih juter, temveč tudi čas odkrivanja. Zato smo pripravili izbor e-knjig, zvočnih knjig, filmov, člankov in podkastov za počasnejše raziskovanje zgodb, ki se skrivajo nekoliko globlje.",{"alt":1000,"url":1001,"width":572,"height":573,"mimeType":575,"responsiveImage":1002},"Ilustracija: Rok Klemenčič","https://www.datocms-assets.com/110736/1793615622-jesen-lisicka-gobe-06-thumb.jpg",{"srcSet":1003,"webpSrcSet":1004,"sizes":1005,"src":1006,"width":1007,"height":1008,"aspectRatio":584,"alt":1000,"title":10,"bgColor":1009,"base64":1010},"https://www.datocms-assets.com/110736/1793615622-jesen-lisicka-gobe-06-thumb.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1793615622-jesen-lisicka-gobe-06-thumb.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1793615622-jesen-lisicka-gobe-06-thumb.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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življenjepis, 1. del","Žiga Valetič","Med pisanjem kolesarske knjige Veter vedno piha v prsi sem za čim bolj popolno sliko prečesal kar se da veliko knjig s tega področja, ki so jih v zadnjih petdesetih letih napisali slovensko govoreči ljudje.",{"alt":1020,"url":1021,"width":572,"height":573,"mimeType":575,"responsiveImage":1022},"Zamazana fotografija kolesarja, ki drvi mimo objektiva","https://www.datocms-assets.com/110736/1793266617-kolesarski-zivljenepis-1-del-keyvisual.jpg",{"srcSet":1023,"webpSrcSet":1024,"sizes":1005,"src":1025,"width":1007,"height":1008,"aspectRatio":584,"alt":1020,"title":10,"bgColor":1026,"base64":1027},"https://www.datocms-assets.com/110736/1793266617-kolesarski-zivljenepis-1-del-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1793266617-kolesarski-zivljenepis-1-del-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 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Ena mojih ljubših je in lepo jo čuvam. 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Četudi sem že pred festivalom vedela, kdo vse bo nastopil ...",{"alt":1068,"url":1069,"width":572,"height":573,"mimeType":575,"responsiveImage":1070},"Ogledalo, navezano z žico","https://www.datocms-assets.com/110736/1792755611-sodobnistvo-na-preizkusnji-keyvisual.jpg",{"srcSet":1071,"webpSrcSet":1072,"sizes":1005,"src":1073,"width":1007,"height":1008,"aspectRatio":584,"alt":1068,"title":10,"bgColor":1074,"base64":1075},"https://www.datocms-assets.com/110736/1792755611-sodobnistvo-na-preizkusnji-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1792755611-sodobnistvo-na-preizkusnji-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1792755611-sodobnistvo-na-preizkusnji-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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