O razstavi / Teksti /
Umetniki / Kustosi
/ Zahvale / Mediji /
Fotodokumentacija
About the exhibition / Texts
/ Artists / Curators
/ Acknowledgments / Press
/ Photo-documentation
Tadej Pogačar: Zlati čevlji Times Squara, video, 4:24 min, 2002
Tadej Pogačar (1960) je študiral etnologijo in umetnostno zgodovino na Filozofski
fakulteti v Ljubljani, nato pa je študij nadaljeval na Akademiji za likovno
umetnost v Ljubljani. Leta 1990 je osnoval of Contemporary Art, od leta 1993
poznan po imenu P.A.R..A.S.I.T.E. Museum of Contemporary Art. Živi in dela v
Ljubljani.
www.parasite-pogacar.si/
2004
Seven Sinns, Museum of Modern Art, Ljubljana, Slovenia (E)
Marx Update, Ojo Atomico, Madrid, Spain (E)
The Future is Not What it Used to Be, Galerie für Zeitgenössische Kunst, Leipzig
(E)
Coalesce: With all due intent, Model Arts and Nilland Gallery, Sligo, Ireland
(E)
To Think Space, P74 Center and Gallery, Ljubljana (E)
Who if not we..., Time and Again, Stedelijk Museum, Amsterdam, Netherland (E)
Travelling Magazine Table, Art in General, New York, U.S.A. (E)
Sapecmakers, Lothringer dreizehn, München (E)
Unballanced Alocation of Space, Galerie für Zeitgenössische Kunst, Leipzig (E)
PR 04, Tribute to the Messenger, San Juan, Rincon, Puerto Rico, U.S.A. (P)
Trading Places, Pump House Gallery, London (PR) Windows, Kresija Gallery, Ljubljana
(E)
Venture, Gallery Gregor Podnar Kranj, Slovenia (E)
ARTEAST COLLECTION 2000+, Moderna galerija (Museum of Modern Art), Ljubljana
(E)
2003
e_shop II, http//www.parasite-pogacar.si
CODE:RED Sector Zagreb - Working Unite Z01, Gallery NOVA, Zagreb (with A. Planiscek)
(E)
A perfect Place, Austrian Cultural Forum, London (A),(PR)
Reconstructions - Documents II / Rekonstrukcije- Dokumenti II,
Gallery for Contemporary Art Celje, Slovenia (E)
AIR_port, take OFF 2, Into the city. Towards the borders, Forum Stadtpark, Graz
(E)
Siete gia li - L'arte contemporanea in Slovenia, Loggia dei banchi, Genova (E)
Brand New Letchworth, The Place, Letchworth Garden City, London (E)
Autonomous Territory II, Mexico City (A)
Museum of Modern Art, Constructed City II, Ljubljana (E)
The PLACE,The Artist as Entrepreneur, Letchwort Garden City,UK (E)
25.International Biennial of Graphic Arts, a book, Ljubljana (E)
ACF London, The Perfect Place (E)
3rd San Francisco SW Film and Video Festival, San Francisco (E)
Forum Stadpark, Graz (PR)
A+A, Venice, Intermedial (E)
Fundazione Ado Furlan, Pordenone, CODE:RED Italy (E)
ARCO Forum (PR)
City Gallery Nova Gorica, Slovenia, Urban Utopias, Urban Realities (E)
2002
Contemporary Art Gallery, Celje, Reconstructions - Document(E)
Museum of Modern Art, Ljubljana, Olympia from Moderna (E)
University of Maryland Baltimore, My Body is My Business, USA (PR)
Space 2 - Cifte Amam, Skopje, Macedonia (E)
Humboldt University, OSTENSIV, Berlin (E,P)
Künstlerhaus Klagenfurt, LINE.AT (E)
Apex Art, NYC (PR)
16 Beaver, NYC (PR)
CODE:RED USA, NYC (A,P)
Jyvaeskylae Art Museum, Jyvaeskylae, Finland (E)
Central House of Artist, Moscow; OSTENSIV (E)
ZKM Karlsruhe, CODE:RED; ARTEAST COLLECTION 2000+ (E)
S.M.A.C.K., Sofia, CODE:RED, Sex Worker (E)
Museo de Arte Carrillo Gil, Mexico City, Mexico; Do it ! (E)
2001
International Centre of Graphic Art, Ljubljana; Agent of Change - Documents
I (E)
49. Biennale di Venezia; CODE:RED, Sex Worker (cat.) (A,E)
Steirischer Herbst, Graz; Autonomous Territory /with KAVN/ (P,E)
Neuer Berliner Kunstverein, Berlin; VULGATA (cat) (E)
WUK, Kunsthalle Exnergasse, Vienna; What, How & for Whom? (E)
Galleria NEON, Bologna; Slovene Way (A, E)
Orangerie Congress, Innsbruck; ARTEAST COLLECTION 2000+ (E)
Slavonski Brod, Croatia; BORDERS 2001:SUSPENSE (A)
B2, Leipzig; OSTENSIV (P)
Neuer Berliner Kunstverein, Berlin; VULGATA (cat) (E)
Museum of Modern Art, Ljubljana (E)
2000
Museum of Modern Art, Ljubljana; U3 (cat) (E)
Contemporary Museum, Baltimore, USA; SNAPSHOT (cat) (E)
Hamburger Bahnhof, Berlin; After the Wall (P,E)
City Hall Gallery, Limerick, Ireland; Friends and Neighbours (P,E)
Museum of Modern Art, Ljubljana; Worthless (Invaluable) (E)
Casa des Artes, Vigo, Spain; New Paths (cat) (E)
Art Gallery, Slovenj Gradec; Tales of Two Cities (cat.) (E)
Art Gallery, Ravne na Koroškem, Slovenia; Tales of Two Cities (cat.) (E)
1999
Appartment Nicklas - Spanke, Cologne, Germany; project: Home Stories (cat) (E)
Gallery Škuc, Ljubljana; The Taste of City (E)
Moderna Museet, Stockholm; After the Wall - Art and Culture
in Post-Communist Europe (cat.) (P,E)
Gallery Škuc, Ljubljana; It´s Comfy (A)
1998
ZMNK Adlershof, Berlin; Observer/Secret Services (cat.) (A)
Buechenhausen Ausstellungsraum, Innnsbruck; Private (Praxis) (cat.) (A)
Gallery Škuc, Ljubljana; Do It ! (cat.) (E)
Ujazdowski Castle, Warshaw; Cartographers (E)
Ernst Museum, Budapest; Cartographers (cat.) (E)
1997
Art Pavilion, Zagreb; Cartographers (cat.) (E)
Museum of Modern Art, Ljubljana; U3 (A,E)
1996
Manifesta 1, Rotterdam (cat.) (E)
Museum Bochum, Bochum; The Collection of the P.A.R.A.S.I.T.E. Museum,
Slovene Art of the 90´s (cat.) (E)
Mucsarnok, Budapest; The Collection of the P.A.R.A.S.I.T.E. Museum,
Slovene Art of the 90´s (cat.) (E)
Tadej Pogačar in P.A.R.A.S.I.T.E. muzej sodobne umetnosti se predstavlja
z videodelom Zlati čevlji Times Squara, ki je del široko zasnovanega projekta
CODE:RED: to je večdisciplinaren, večmedijski, kolaborativni projekt, ki
problematizira in raziskuje neformalne modele ekonomije, samoorganiziranje,
globalno seksualno delo in trgovino z ljudmi. Dejavnosti, ki so se odvijale
med letoma 1999 in 2004, so predstavljene na različne načine. Delo Zlati
čevlji Times Squara, ki se je zgodilo prvega maja 2002 v New Yorku, je le
ena izmed javnih manifestacij v sklopu tega projekta (poleg tega še Pohod rdečih
dežnikov, Benetke, 2001 ter Slačenje z Marxom, Berlin, 2002). Akcija je izrabljala
akt hoje, ki je bila v tem primeru intimni akt in je bila vidna samo pazljivemu
mimoidočemu, saj je bil akter stopljen z množico obiskovalcev in turistov.
Obhodil je ves trg, pri tem pa na vrvici za seboj vlekel par zlatih ženskih
čevljev. Lokacija Times Squara ni bila izbrana naključno. To je pomembno
simbolno mesto seksualne industrije New Yorka, ki se je v drugi polovici osemdesetih
let prejšnjega stoletja spremenilo v simbol njenega kriminaliziranja in v začetku
devetdesetih simbol njenega izbrisa.
Tadej Pogačar pa se je tega področja dotikal tudi v številnih drugih projektih,
ki so bili večinoma izvedeni kot akcije v javnem prostoru. Ena najvidnejših
je bil vsekakor projekt Kralji ulice (1995), kjer pa se je dotaknil problematike
brezdomcev in odnosa do njih; podobno kot prostitutke je ta skupina popolnoma
marginalizirana, odmaknjena in celo kriminalizirana.