ANA MALNAR
Be coming
Samostojna razstava
Galerija Media Nox
Odprtje: 29. 10. 2025 ob 18. uri
29. 10. - 20. 11. 2025
Kuratorka: Rebeka Tašič
Ana Malnar: Be coming
Ana Malnar (Maribor, 2001) je leta 2024 diplomirala na Oddelku za slikarstvo na Akademiji za likovno umetnost in oblikovanje v Ljubljani, kjer trenutno nadaljuje magistrski študij. V študijskem letu 2024/2025 se je v okviru študentske izmenjave izobraževala na École nationale supérieure des Arts visuels de La Cambre v Bruslju. Deluje predvsem na področju slikarstva, pri čemer se naslanja tudi na elemente videa in performansa. V njenih delih odseva raziskovanje razmerij med telesom, spominom in občutjem. Sodelovala je na mnogih razstavah doma in v tujini.
Umetnica se na razstavi predstavlja s slikarskimi deli moškega telesa, tako akti kot portreti. Gre za tehniko olja na platnu z dodajanjem peska. Slike so grajene, dejanja, ki jih sestavljajo pa sodelujejo v tem, da jih osmišljajo. Poteze čopiča v delih s svojo zabrisanostjo namigujejo na brisanje mej med subjektom in gledalcem. Prav tako je prej omenjeni nanos peska kot tančica kože, ki pozdravlja in pomni vsako sled dotika. Ob tem se odraža tudi subtilnost barve kot zavedanje o čutnosti in intimi, ki je predstavljena. V delih je pomemben in tudi namemben trenutek, v katerem je subjekt ujet - gre za trenutek v vrhuncu užitka in izraža zanos po nečem že znanem a še vedno željnem.Tako je gledalec kot ob padcu zakulise soočen z bitnostjo trenutka in morda soočenjem s samim sabo.
Subjekti na slikah so zabrisani, identiteta, ki se skriva za barvo in zanosom čopiča, je neznana. Ravno ta anonimnost pa išče pomen in ime v opazovalcu. S tem tudi sam opazovalec postane igralec v makrokozmusu umetničinega sveta, kjer postane opazovan on.
Dela Ane Malnar gledalca zapeljejo tudi v njen svet gole izpostavljenosti. Prepletajo se občutki v v odnosih, ki jih gradi v svojem življenju, kar se kaže predvsem v ranljivosti del samih. Tovrstni odnosi in občutja do nas samih in do sočloveka za umetnico predstavljajo prehode med lastno in tujo izkušnjo, predvsem med njeno in moško intimo. Skozi raziskovanje ključnih vprašanj o ljubezni, frustraciji in odvisnosti pronica čustvena surovost umetničinega razmišljanja. Tako lahko trenutki ujete na slikah Ane Malnar delujejo kot zajem diha. Zajet in ujet je trenutek, ko človek ne pričakuje zunanje perspektive, kar ustvarja tenzično dinamiko med pravzaprav tremi osebami – likom, gledalcem in umetnico – njenim razmišljanjem, opazovanjem in raziskovanjem človeške reakcije.
Portreti in akti tako s tehniko kot izpovednostjo gradijo plasti in rušijo meje med lastnim zavedanjem in esenco slike. Soočajo nas z nesigurnostjo, šokirajo in hkrati vabijo k ponovnem zazrtjunesigurnost, šokirajo in hkrati vabijo k ponovnemu zazrtju. Podobe postajajo neki tuj izraz lastnega doživljanja in dajejo predpostavko za prelivanje in izlivanje doživljanja.
Ob preletu del pa morda naletimo tudi na družbeno vprašanje dojemaja in predstavljanja moškega telesa, akta v primalnem trenutku iz ženske perspektive, kar lahko daje predpostavko za vprašanje, kako pa to vidimo, čutimo in dojemamo sedaj? /Rebeka Tašič
Ana Malnar: Be coming
Ana Malnar (Maribor, 2001) graduated in 2024 from the Department of Painting at the Academy of Fine Arts and Design in Ljubljana, where she is currently pursuing her master's degree. In the 2024/2025 academic year, she studied at the École nationale supérieure des Arts visuels de La Cambre in Brussels as part of a student exchange program. She works primarily in the field of painting, drawing on elements of video and performance. Her works reflect her exploration of the relationships between the body, memory, and emotion. She has participated in numerous exhibitions at home and abroad.
The artist is displaying paintings of the male body, both nudes and portraits. She uses oil on canvas with added sand. The paintings are built up, and the actions that build them contribute to giving them meaning. The brushstrokes in the works, with their blurred edges, suggest the erasure of boundaries between the subject and the viewer. Similarly, the aforementioned application of sand is like a veil of skin that welcomes and remembers every trace of touch. This also reflects the delicateness of color as an awareness of the sensuality and intimacy that is presented. An important and significant moment in the works is the moment in which the subject is captured—a moment of peak pleasure, expressing a longing for something already known but still desired. Thus, the viewer is confronted with the essence of the moment and perhaps with themselves, as if falling behind the scenes.
The subjects in the paintings are blurred, their identities hidden behind color and brushstrokes. It is precisely this anonymity that seeks meaning and a name in the beholder. In this way, the beholder himself becomes a player in the macrocosm of the artist's world, where he becomes the observed.
Ana Malnar's works also draw viewers into her world of raw exposure. They intertwine feelings in the relationships she builds in her life, which is particularly evident in the vulnerability of the works themselves. For the artist, such relationships and feelings towards ourselves and our fellow human beings represent transitions between her own and others' experiences, especially between her own and male intimacy. Through her exploration of key questions about love, frustration, and dependence, the emotional rawness of the artist's thinking shines through. Thus, the moments captured in Ana Malnar's paintings can act as a breath of fresh air. The moment when a person does not expect an external perspective is captured and captured, creating a tense dynamic between three people – the character, the viewer, and the artist – her thinking, observations, and explorations of human reactions.
Portraits and nudes use both technique and expressiveness to build layers and break down the boundaries between self-awareness and the essence of the image. They confront us with uncertainty, shock us, and at the same time invite us to look again. The images become a kind of foreign expression of one's own experience and provide a basis for the overflowing and outpouring of experience.
When reviewing the works, we may also encounter the social issue of the perception and representation of the male body, the act in its primal moment from a female perspective, which may raise the question of how we see, feel, and perceive it now. /Rebeka Tašič
KATALOG
