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Valujoča harmonija / Undulating Harmony
Galerija ZDSLU, Komenskega 8, Ljubljana
27. decembra 2006 - 12. januarja 2007
Valujoča harmonija
 Že dobrih petindvajset let je akademski slikar Jože Kumer pri
slikanju pokrajin, figur, tihožitij in portretov zvest klasičnemu
slikarstvu,
pri čemer pa je njegovo ustvarjanje
podrejeno lastnim zamislim, domišljiji in pravilom. Največkrat
uporablja kredo in pastele, pri večjih slikah pa vse pogosteje
akrilne barve. Poleg tega se ukvarja tudi s kiparstvom, z ilustriranjem
knjig in oblikovanjem. Loteva se različnih nalog in pri uresničevanju
svojih likovnih in tematskih zamisli uporablja različne slogovne
elemente, da bi čim bolje izrazil svoje videnje sveta in odnos
do njega. Avtor se zna ozreti okoli sebe, predvsem pa je hkrati
kot slikar sposoben sestopiti vase. Notranja svoboda mu že od
vsega začetka omogoča neodvisnost od trenutnih likovnih smeri
in uporabo
lastnega likovnega jezika. Izoblikoval je avtonomno likovno govorico
in ikonografijo, ki v osnovi izhaja iz konkretnih dogodkov, krajev
in predstav ter realnih izkušenj, dojemanj in podoživljanj, vendar
se
likovno uresničuje v brezčasnosti slikarskega polja, v likovnem
vesolju stiliziranih oblik.
Za motivno izhodišče je takoj po končanem študiju izbral človeško
figuro, ki jo navadno prikaže polno, čutno v razkošno izbrani
barvni paleti. Podobe figuralnega cikla
se običajno oblikujejo v osrednjem prostoru posamezne figure
(Flora, 1990) ali dialogu figuralnega para, ki je v sliko postavljen
kot
nekakšen fiktiven lik. »rte in oblike bolj ali manj prepoznavnih
motivov so večinoma podrejene klasično ekspresionističnim in
analitično kubističnim vzorom. Te slike so telesa najrazličnejših
oblik in
barvnih vrednosti (Florino ogledalo, 1990). Kadar pa slikar hoče,
da gledalec ob njegovi podobi občuti zamaknjenje ali celo nadčutno
povzdignjenje, dodaja več beline med sončno
ubrane, rumeno-pastelne barvne ploskve. Telesa žensk - včasih
so to zanj skrivnostne Sirene - so erotično samozavestna, ekspresivno
silovita, obrazi pa večinoma nerazpoznavni ali jih sploh ni.
Tako
stilizirane figure so v zadnjih letih pravzaprav nekakšna ogledala
slikarjeve duše, ki namesto realističnega figuralnega odseva
skozi barve sončnih juter prikazuje lastna čutenja in občutja
(Jutranje
hrepenenje, 2000).
Tematsko je v Kumerjevem slikarstvu ves čas navzoča tudi pokrajina,
tako pripovedni cikel kot njene abstraktnoasociativne izpeljanke
(Nerojene zore, 1997). Slike umetnikovih pokrajin so subtilna
pripoved o svetu. Slikar ga globoko podoživlja ali izsanja
in vizualizira
v duhovne, imaginarne, abstraktne pokrajine, ki jim le včasih
s kakšnim detajlom ali z arhitekturnim izsekom skuša pridati
občutje
realnosti (Kapitelj, 1999). Rojevajo se nove pripovedi, poletne
pokrajine v barvah ljubezni, strasti in lepih želja. Z barvami
na različne načine lovi svetlobo, ob
kateri šele v vsej razgibani paleti zaživijo barve dolenjskih
gričev, svetlo pastelne barve pomladnega cvetja in nežno rjavih
gredic,
poletno osončenih krošenj dreves in jesenskih trav, barve duše
in srca. Svetloba, ki značilno opredeljuje slikarjev izraz,
leži v bleščeče poudarjenih belinah in se spontano sprošča
v značilnem
ozračju pokrajinskega motiva. Kontura je še navzoča kot nezbledeli
spomin, gestualnost prehaja v gosto barvno ploskev, senčna
dopolnila osvetljujejo ravnine in v zanimivi izvedbi kubičnosti
s ploskovnim
se nalagajo arhitekturne krajine (Zapis jutranjih senc, 2001)
ali ravninske
razsežnosti.
Ko Kumer slika pokrajino, odslikava svojo notranjo
podobo; ko upodablja dražljivo žensko telo, slika užitek
ob pogledu na lepoto telesa in se hkrati predaja užitku
samega akta slikanja; ko se v njegovih abstrahiranih podobah
podnevi lovijo najlepši metulji ali se v jutra prebujajo
vilinske podobe,
izslikava hrepenenje. Zanj je
slikanje igra, ki v bogastvu prepletov črt, barv in oblik
neprikrito razkriva zapletenost slikarjevega notranjega sveta,
njegovih
občutij, želja in hotenj, hkrati pa se fizični proces
slikarstva v njem dogaja tudi kot izkušnja med realnostjo ekstaze
in njene
ekspresije.
V ustvarjalnem procesu se postopoma
kristalizira likovni jezik, ki ga slikar premišljeno nadgrajuje.
Največkrat po notranjem vzgibu nastale skice s svinčniki
ali pasteli izčiščuje in preoblikuje, dokler ni zadovoljen z zasnovami
oz.
podobami pred seboj, nato pa se loti slikanja z akrilnimi
ali
včasih tudi oljnimi barvami.
Cikel velikih slik je zadnja
tri leta nastajal
z željo po odkrivanju in iskanju nenavadnih, neobičajno
povezanih elementov. Pri izbranih motivih tega cikla slik je
kompozicija uravnotežena in čvrsta. »eprav je ponekod čutiti nemir
mogočnih,
celo masivnih elementov, jih slikar večinoma umiri z
oblostjo
posameznih, v prostoru slike harmonično prepletajočih
se ploskev. Podoba, ki
spominja tako na mehke oblike ženskega telesa kot na
rahlo valujočo pokrajino, je izslikana v posebnem ozračju slikarjeve
prevzetosti
nad harmonijo oblik. Njegov pogled objema tako čutnost
objemov in dražljivost telesnih oblik kot veličino lepote in
slikovitosti
narave. Enkrat jo vidi bolj realistično, drugič jo stilizira,
ponekod se kaže poenotena v monokromne odtenke, drugje
je nejasna
in abstrahirana,
vendar barvno harmonična in kompozicijsko skladna. Barvitost
večine slik v tem ciklu ni preveč močna, odvija se v
nekontrastnem pastelnem
spektru, ki v transparentnih prehodih zanimivo zaživi
skozi ustvarjeno svetlobo. »utiti je neki drugi svet, prostor
slikarjeve drugačne
vizije. Mogoč v tišini ali ob tihi glasbi.
V dvodimenzionalnem
ekranu cikla štirih velikih dvojnih podob (2003) na vezanih
ploščah je navzočih precej ploskovnih elementov, ki na
svojevrsten način
tvorijo prostorskost. Nov likovni prostor je zgovoren
na svoj
način: z drugačno sporočilnostjo, barvno razgibanostjo
in s strukturno živahnostjo na nenavadnih nosilcih velikih
podob, zaključenih
z različno odrezanimi robovi. Celoten prostor
vsake od štirih spojenih dvojic slik je ožarjen z notranjo
svetlobo, ki prihaja iz samega slikovnega
telesa. Pri teh dvojnih
slikah, ki v sebi nosijo sporočilo ženskega in moškega
principa,
ima barva prednost pred obrisno shemo. Barvni zasloni
na podobah prevzemajo določeno vlogo figur, s čimer je
poudarjena
ekspresivnost.
Tu barva - enkrat sončna ali toplo rjava (Premisa rasti),
drugje blago modro-zelena (Dotik z nočjo) ali neskončno
modra - spregovori
tako o enavzočnosti resničnosti kot slikarjevem spominu,
njegovih asociacijah, izkušnjah in sanjah. Asociativno
berljivi akti,
ki tudi v tem ciklu ne
predstavljajo žensk ali moških po modelu, so bolj kot
kdajkoli spojeni z mehko valujočo podobo pokrajine. V
njej je skrit
ustvarjalni žar umetnika, ki se odziva na okolico in
dogajanje okoli sebe
tako s tankočutnostjo risarja kot z umirjeno energijo
slikarja žive
palete, estetske ubranosti in organske povezanosti z
naravo.
V vse bolj ponotranjeni minimalizaciji deskriptivnih
elementov pri novem ciklu malih slik (2005), kjer je
likovni jezik
kompleksen in barvno najbolj pogumen, pušča slikar
možnost različnega razumevanja svojih slik. Avtorjeva
poteza ne odslikava dejanske strukture mehkih pokrajinskih
pobočij,
ampak
se odzove s transparentnimi
in z vibrirajočimi abstraktnimi zdrsi in potegi barve,
hkrati pa pri ustvarjanju upošteva strukturo papirja
kot trepetav
liričen element. Te njegove male asociativne pokrajine
so
kot pesmi spreminjajoče se duše (Košček neba, 2005).
Likovna poetika s posebnim nadihom zelenih in modrih
površin, ki
je navzoča v tem
ciklu manjših slik, v ozračju prisojnih ali osojnih
modrin diha s posebnim občutjem obrečnih in travniških
vonjav.
Verjetno slikar
prav s transparentnimi deli na slikah, ki dajejo podobam
nadih
nostalgije, opominja na minevanje in na oddaljujočo
se resničnost, hkrati pa tudi v naslovih razkriva svoj
pozitiven
odnos do
življenja.
Na eni strani Kumerjeve podobe razkrivajo
razum, ki zahteva analizo,
primerjavo in iskanje paralel ter razglabljanje o
likovni teoriji, na drugi strani pa čustvo, ki napeljuje h
krhki občutljivosti
in k vse bolj rahločutnemu sprejemanju vidnega in
doživetega. Slikar,
ki se sicer ne izmika teoretičnim razmišljanjem,
se pred platnom, papirjem ali kakšnim drugim slikovnim
nosilcem
nezavedno prepusti tistemu notranjemu vzgibu, ki
odpira njegova najgloblja čustva (Ležeča pokrajina,
2006).
A zdi se, da
pred praznim prostorom, v katerega bo
projiciral podobo, ne občuti osamljenosti, odtujenosti
ali zapuščenosti, niti strahov, temveč predvsem čistost
lepote
in ljubezni ter
polnost veselja do življenja.
Tatjana Pregl Kobe
Spogledovanje z luno / Flirting with the Moon, 2003,
akril na deski / Acrylic on a wooden board, 50 x 200 cm
Dotik z nočjo / Touching the Night, 2003, akril na deski / Acrylic on a wooden
board, 50 x 200 cm
Kljubovanje času
/ Defying Time, 2003
akril na deski / Acrylic on a wooden board, 50 x 200 cm
Dvojnost / Duality, 2003
akril na deski / Acrylic on a wooden board, 50 x 200 cm
Jutranja daritev / The Morning Offering, 2005
akril na papirju / Acrylic on paper, 23 x 33 cm
Košček neba / A Piece of Sky, 2006
akril na papirju / Acrylic on paper, 26 x 36 cm
Premisa rasti / The Premise for Growth, 2003
akril na deski / Acrylic on wooden board, 50 x 200 cm
Sočasnost
/ Simultaneity, 2003
akril na deski / Acrylic on wooden board, 50 x 200 cm
Mik demokracije / The Appeal of Democracy,
2005
pastel na papirju
/ Pastel on paper, 43 x 60 cm
Jože Kumer
Rojen sem v Novem mestu leta 1953. Že v času osnovne šole so ugotavljali
mojo likovno nadarjenost, ki me je vodila k globljemu spoznavanju
likovnega področja in k odločitvi, da sem zapustil delo v tovarni
zaradi študija na Akademiji za likovno umetnost v Ljubljani. Tam
sem leta 1982 diplomiral pri prof. dr. Milanu Butini in prof. Andreju
Jemcu iz slikarstva.
Nato sem 6 let poučeval likovno umetnost na srednješolskem centru v Novem mestu.
Kot samostojni slikar delujem od leta 1987 v Dolenjskih Toplicah, kjer z družino
živim.
SAMOSTOJNE RAZSTAVE
1976 Galerija Krka, Novo mesto
1987 Galerija Ante Trstenjak, Ljutomer
1988 Galerija Commerce, Ljubljana
1989 Mural Art Galery, Cleveland, ZDA
Galerija Dolenjskega muzeja, Novo mesto
1990 Likovni salon, Kočevje
Galerija Vekoslav Karas, Karlovac
Posavski muzej, Brežice
Galerija ob Dravi, Ptuj
1991 Vila Katarina, Ljubljana
Galerija Mini Art, »rnomelj
1993 Galerija Mak, Maribor
1994 Galerija Gospodična, Novo mesto
1995 Galerija Gospodična, Novo mesto
1996 Ministrstvo za gospodarske odnose, Ljubljana
Galerija Geoplin, Ljubljana
1997 Galerija Eros, Ljubljana
Galerija Vodnikove domačije, Ljubljana
1998 Razstavišče Mestne občine Novo mesto
Galerija Krka, Novo mesto
1999 Ganglovo razstavišče v Metliškem muzeju
Šolski center Novo mesto
2000 Zdravilišče Šmarješke Toplice
Osnovna šola Žužemberk
Dolenjska banka Šentjernej
2001 Kulturni dom Ivana Cankarja, Vrhnika
Galerija Dolenjskega muzeja, Novo mesto
2002 Hudičev turn, Soteska
2003 Kulturni center Janeza Trdine, Novo mesto
Hudičev turn, Soteska
žužemberški grad, Žužemberk
Restavracija Bolnišnice v Novem mestu
2004 Razstavišče Barbara, Velenje
2005 Galerija MIK, Ljubljana, Celje
Kulturni center Janez Trdina, Novo mesto
2006 Galerija ZDSLU, Ljubljana
SKUPINSKE RAZSTAVE
1979 Beograd, s študenti Akademij za likovno umetnost
1983 Galerija Dolenjskega muzeja
1984 Galerija Josip B. Benković, Herceg Novi
1985 Galerija Ante Trstenjak, Ljutomer
1986 Galerija Krka, Novo mesto
1987 Galerija Riharda Jakopiča s člani DSLU-ja, Ljubljana
Labodov Ex-tempore, Novo mesto
1988 Piranski Ex-tempore
1990 Galerija Dolenjskega muzeja
1991 Medregionalne razstave, BiH
Medregionalne razstave: Murska Sobota, Novo mesto,
Celje, Kranj, Ajdovščina
1992 Slikarska kolonija v Svečah, Avstrija
1993 1. Slovenski bienale ilustracije, Ljubljana
1995 2. Slovenski bienale ilustracije, Ljubljana
1997 Bihać
1999 Osnovna šola Žužemberk
Kolonija v Abitantih v Istri, Portorož
2000 Hotel Kokra, Kranj
2001 Zdravilišce Dolenjske Toplice
Kiparska kolonija, Dolenjske Toplice
Slikarska kolonija , Maribor
2002 Osnovna šola Žužemberk
2.Kiparska kolonija Dolenjske Toplice
1.Ex-tempore Dolenjske Toplice
2003 Ex-tempore premogovnika Velenje
Narodni dom, Novo mesto
Avla Zavarovalnice Tilia, Novo mesto
Likovna kolonija Kum
Likovna kolonija v Juriju , Maribor
3. Kiparska kolonija Dolenjske Toplice
2. Ex-tempore Dolenjske Toplice
Narodni dom Novo mesto
2004 Kulturni center Janez Trdina, Novo mesto
2005 Kulturni center Janez Trdina, Novo mesto
Mestna galerija BihaE
2006 7. Slovenski bienale ilustracije, Ljubljana
Kulturni center Janez Trdina, Novo mesto
Undulating Harmony
For more than twenty-five years, Jože Kumer has remained faithful to the traditional
art of painting in depicting his landscapes, portraits and still lifes;
however, he follows his own ideas, imagination and rules. He mainly uses chalk
and pastels, and acrylics for larger paintings. He also does sculpting, book
illustration and design, takes on different creative tasks and uses different
stylistic elements to realise his
artistic and creative ideas, and to express his view of and relationship to
the world. Kumer can take in his surroundings, but above all, as a painter
he can reach inside himself. Since the beginning of his artistic career, an
inner light has facilitated his independence
of spirit, of current artistic trends and the use of a unique artistic approach.
He has created an autonomous artistic discourse and iconography based on concrete
events, places, concepts, real-life experiences, views and beliefs, but the
visual element
realises itself in the timelessness of the painting field, in the visual artistic
universe of stylised depiction.
After he had finished his studies, the human
figure became his main motif. It is usually depicted as full and sensual,
in a voluptuous palette of colours. In his
figural series the images are usually shaped in the centre of each figure
(Flora, 1990) or through a dialogue between a pair of figures which
are set in the
painting as fictitious characters. The lines and shapes of more or less recognisable
motifs are usually subordinate to classic expressionistic and analytic Cubist
models. These paintings present bodies of different shapes and colour values
(Flora’s Mirror, 1990). But when he wants the viewer to feel enraptured or
even metaphysically elevated, he adds more white to
the harmonious yellow pastel surfaces. The bodies of women - sometimes he
sees them as mysterious Sirens - are erotically self-confident,
expressive and forceful,
while their faces are usually unrecognisable or even absent. These stylised
figures have recently become mirrors of the painter’s soul, which instead
of realistically reflecting the figures, depicts inner feelings
through the colours
of sunny mornings (Yearning in the Morning, 2000).
One of the subjects which
has always fascinated Kumer is landscape, which is depicted through a narrative
cycle or its abstract associations.
(Unborn Dawns, 1997). The paintings are a subtle story about the world.
He feels it deeply, crystalises it in his dreams, or visualises
it as spirited
imaginary abstract landscapes to which a detail or an architectural element
brings a touch of reality (Chapter, 1999). New stories are born, summer
landscapes bathe in the colours of love, passion and good wishes.
Kumer uses colours to
catch different qualities of light, and in the broad spectre of colours
Dolenjska hills come to life, the bright colours of spring flowers
and delicate brown
flowerbeds, the summer light playing in the tree leaves, and the colours
of the soul and the heart.
The characteristic light which defines Kumer’s work lies in accentuated
whites, and spontaneously relaxes in the atmosphere of a landscape
motif. The contour
is
like an unfaded memory, gestuality transforms into a dense colour surface,
shades cast light on the planes, and at an interesting intersection of
cubicalness and
planeness, an architectural landscape is shaped (Recording Morning Shadows,
2001).
When Kumer paints landscapes, he reflects his inner image; when
he depicts an attractive female body, he paints the pleasure of
seeing the beauty
of the body, while succumbing to the pleasure of painting itself;
during the day,
when the most beautiful butterflies are
caught in his abstract paintings, or fairytale images are born into
mornings, he paint yearning. For him, painting is a game, which
through the richness
of lines, colours and shapes clearly shows the complexity of the painter’s
inner world, his feelings, wishes and
dreams, while at the same time the physical act of painting is an experience
somewhere between the reality of ecstasy and its manifestation.
During
this creative process, an artistic language gradually shapes
itself, and is then
carefully upgraded by the painter. Following his inner motifs the
pencil or pastel sketches are made clearer or reshaped until he
is
satisfied with the
design or shape, and then he starts painting with acrylic or sometimes
oils.
For the last three years, he has been painting a series
of big paintings which
have been inspired by his wish to discover unusual or unusually
connected elements. The motifs in this cycle are painted in harmonised
and unyielding compositions.
Even though sometimes the tension of imposing, even massive, elements
can be felt,
usually he tones them down through individual, harmoniously entwined surfaces.
The image, which reminds one of the soft shapes of a woman’s body
and an undulating landscape, is depicted in the special atmosphere produced
by the painter’s poetic passion
for the harmony of shapes. His gaze captures the sensuality of hugs, the attractiveness
of body contours, the magnitude of beauty, and the picturesque elements of
nature. Sometimes the gaze is more realistic, sometimes more abstract, sometimes
it is
reflected in monochrome tones, while sometimes it is unclear and abstract,
but harmonious in colour and composition. The colourfulness of most of the
paintings
does not dominate; it is an uncontrasted pastel spectre, which comes to life
in interesting ways through light. At this point, another world can be felt,
the space of his vision, especially when observed in silence or accompanied
by low music.On the two-dimensional screen which is featured in the cycle of
four double images (2003), there are many
surface elements which uniquely create a feeling of spaciousness. This new
visual sphere is telling: it has a different message, uses different colours
and a more lively structure; it features unconventional holders for large images
with trimmed edges. The whole space of
each of the four amalgamated pairs is lit by an inner light, which emanates
from the visual body. These double paintings carry the message of a female
and male principle, and the colour is more significant than the shape. Colour
screens on the images assume
the role of figures, which adds to the expressiveness. The colour - sunny or
warm brown (The Premise for Growth), gently blue and green (Touching the Night)
or infinitely blue - evoke the lack of reality and the painter’s memory, associations,
experiences and
dreams. Nudes, which were not based on a model, are more than ever united with
the soft undulating images of landscape, which carries the creative power of
the artist, and reacts to the environment and events through the sensibility
of drawing, peaceful energy, colourful vividness, and aestheticism of a painter
who is organically bound to nature.
Through more inner and minimalised descriptive elements in a
new cycle of small paintings (2005), and with a complex and colourfully
daring visual language,
he enables different interpretations of the paintings. He does
not depict the actual structure of a soft landscape, but uses transparent
and vibrating abstract
strokes, while at the same using the structure of the paper,
which becomes a lyrical element. These tiny landscapes are like
the poems of a changing soul
(A Piece of Sky, 2005). The visual poetics carry a hint of green
and blue surfaces and breath by feeling the smells of pastures
and rivers.
On the one hand, Kumer’s
images reveal a rationale which demands a search for parallels
and consideration of theoretical issues, while on the other,
there is a feeling
which suggests a fragile sensitivity and sensitive absorption
of the visual and of experience. Given a canvas, paper or some
other surface, Kumer (who
also considers theoretical issues) subconsciously allows his
inner motif, which brings out his inner-most feelings, to lead
the way (Lying Landscape, 2006).
However, it seems that confronted by an empty space in hich
he will project an image, he does not feel lonely, estranged or
deserted,
nor does
he experience fear, but mainly the purity of beauty, love and
joy of life.
Tatjana Pregl Kobe
Jože Kumer
I was born in 1953 in Novo mesto. Already in the primary
school, teachers noticed my talent for fine arts, which led me to
embark on a journey of exploration and, consequently, leave my job
in a factory to become a student at the Academy of Fine Arts in Ljubljana.
In 1982, I graduated in painting under professors Milan Butina and
Andrej Jemec.
The following six years I worked as an art teacher at the Secondary School Centre
in Novo mesto, and since 1987 I have been a freelance painter. I live with my
family in Dolenjske toplice.
SOLO EXHIBITIONS
1976 Krka Gallery, Novo mesto
1987 Ante Trstenjak Gallery, Ljutomer
1988 Commerce Gallery, Ljubljana
1989 Mural Art Gallery, Cleveland, USA
Gallery of the Dolenjska Museum, Novo mesto
1990 Kočevje Fine Arts Salon
Vekoslav Karas Gallery, Karlovac
Posavski Museum, Brežice
Drava Gallery, Ptuj
1991 Vila Katarina, Ljubljana
Mini Art Gallery, »rnomelj
1993 Mak Gallery, Maribor
1994 Gospodična Gallery, Novo mesto
1995 Gospodična Gallery, Novo mesto
1996 Ministry of Economic Relations and Development,
Ljubljana
Geoplin Gallery, Ljubljana
1997 Eros Gallery, Ljubljana
Gallery of the Vodnik’s Homestead, Ljubljana
1998 Municipal Exhibition Centre Novo mesto
Krka Gallery, Novo mesto
1999 Gangl Gallery of the Bela Krajina Museum, Metlika
Secondary School Centre, Novo mesto
2000 Šmarješke Toplice Health Spa
Žužemberk Primary School
Dolenjska banka, Šentjernej
2001 Ivan Cankar Cultural Centre, Vrhnika
Gallery of the Dolenjska Museum, Novo mesto
2002 Devil’s Tower, Soteska
2003 Janez Trdina Cultural Centre, Novo mesto
Devil’s Tower, Soteska
Žužemberk Castle
Restaurant of the Novo mesto Medical Centre
2004 Barbara Exhibition Centre, Velenje
2005 MIK Gallery, Celje, Ljubljana
Janez Trdina Cultural Centre, Novo mesto
2006 Union of Slovene Fine Arts Associations Gallery,
Ljubljana
GROUP EXHIBITIONS
1979 Belgrade, with students of academies of fine arts
1983 Gallery of the Dolenjska Museum, Novo mesto
1984 Josip B. Benković Gallery, Herceg Novi
1985 Ante Trstenjak Gallery, Ljutomer
1986 Krka Gallery, Novo mesto
1987 Rihard Jakopič Gallery, with members of the Union
of Slovene Fine Arts Associations, Ljubljana
Ex-tempore Labod, Novo mesto
1988 Ex-tempore Piran
1990 Gallery of the Dolenjska Museum
1991 Intraregional exhibitions, Bosnia and Herzegovina
Intraregional exhibitions: Murska Sobota,
Novo mesto, Celje, Kranj, Ajdovščina
1992 Painters’ Week in Suetschach, Austria
1993 1st Slovenian Biennial of Illustration, Ljubljana
1995 2nd Slovenian Biennial of Illustration, Ljubljana
1997 Bihać
1999 Žužemberk Primary School
2000 Abitanti Fine Arts
Workshop in Istria, Portorose
Kokra Hotel, Kranj
2001 Dolenjske Toplice Thermal Spa
Dolenjske Toplice Sculpture Workshop
Painting Workshop, Maribor
2002 Žužemberk Primary School
2nd Dolenjske Toplice Sculpture Workshop
1st Ex-tempore, Dolenjske Toplice
2003 Velenje Coal Mine Ex-tempore
Narodni dom, Novo mesto
Foyer of Tilia Insurance Company Building, Novo
mesto
Kum Fine Arts Workshop
Jurij Fine Arts Workshop, Maribor
3rd Dolenjske Toplice Sculpture Workshop
2nd Ex-tempore, Dolenjske Toplice
2004 Janez Trdina Cultural Centre, Novo mesto
2005 Janez Trdina Cultural Centre, Novo mesto
BihaE City Gallery
2006 7th Slovenian Biennial of Illustration, Ljubljana
Janez Trdina Cultural Centre, Novo mesto
Jože Kumer
Valujoča harmonija / Undulating Harmony
Galerija ZDSLU, Komenskega 8, Ljubljana
27. decembra 2006 - 12. januarja 2007
Kustosinja razstave / Curator
Tatjana Pregl Kobe
Organizacija razstave / Organized by
Umetniški svet Društva likovnih umetnikov Ljubljana / Art Council
of the Ljubljana Fine Artists Society,
Zanj /on its behalf
Dušan Muc
Izdajatelj / Publisher
Društvo likovnih umetnikov Ljubljana / Ljubljana Fine Artists Society,
Komenskega 8, Ljubljana, T: 01 434 94 65, E: info@dlul-drustvo.si
Zanj / on its behalf
Alenka Vidrgar
Besedilo / Introduction by
Tatjana Pregl Kobe
O avtorju / About the Author
Jože Kumer
Prevod / Translation
U.T.A. Prevajanje
Oblikovanje / Design
Dušan Muc
Priprava in tisk kataloga/ Prepress and print
Mat-Format, Ljubljana
Naklada / Print run
300 izvodov / copies
Ljubljana, Slovenija
2006
CIP - Kataložni zapis o publikaciji
Narodna in univerzitetna knjižnica, Ljubljana
75(497.4):929 Kumer J.
KUMER, Jože, 1953-
Valujoča harmonija = Undulating harmony : [Galerija ZDSLU, 27.
december 2006 - 12. januar 2007] / Jože Kumer ; [besedilo Tatjana
Pregl Kobe ; prevod Tina Škoberne]. - Ljubljana : Društvo likovnih
umetnikov = Fine Artists Society, 2006
230783488
Razstavo je podprl Oddelek za kulturo in raziskovalno dejavnost
Mestne občine Ljubljana.
The Exhibition was sponsored by the City of Ljubljana.
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