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JOŽE KUMER

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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.