kiparska postavitev na prostem / ambient installation of art in the open
Vrt Komenskega 8, Ljubljana, iz cikla Štirje letni časi na Vrtu / Pomlad 2007
Garden Komenskega 8, Ljubljana, From cycle Four seasons in the Garden / Spring 2007
28. 5. - 13. 6. 2007

Vrtni totemi
Morda je kipar Jože Tönig ljubezen do eksperimentiranja z materiali v svoje delo prinesel iz podiplomskega študija restavratorstva in konzervatorstva. Njegove “vrtne skulpture”, kipi namenjeni bivanju v zunanjem prostoru, nastajajo z nenavadnimi tehnikami prekrivanja nosilnih struktur iz odpadnih materialov z raznolikimi načini izrabe umetnih mas, ki jih kipar včasih že vnaprej premeša z barvo, včasih pa za eksplozivno barvitost svojih del poskrbi z naknadnimi barvnimi nanosi. Eksperiment je tudi nadaljnje bivanje Tönigovih del: izpostavljenost naravnim fenomenom, ki jih tu in tam okrušijo, jim izmijejo barvo ali še dodatno razbrazdajo površino. Vprašanje je, ali so “vrtni totemi” tako obstojni, da bomo lahko cenili njihovo starinskost, tisti poseben čar, katerega privlačnost je opisal Izidor Cankar v Uvodu v umevanje likovne umetnosti. Toda tudi process razpadanja ima za kiparja, ki se je del življenja intenzivno posvečal obnavljanju starih umetniških predmetov: “posebno vrednost, ki ni ne praktičnega ne znanstvenega, marveč čustvenega značaja”.1 Neumorni eksperimenti z nedragocenimi, včasih že uporabljenimi snovnostmi, ki se prav nič ne prilagajajo trendom sodobne umetnosti, so tisto, kar je pomembno v Tönigovem opusu. Kipar ne pristaja na dano, ne prisega na že preizkušeno tehnološko vedenje, ki ga kot restavrator dobro pozna, ampak išče nove možnosti doseganja razvejanih prostorskih oblik. Emotivno zaznamovane velike skulpture tematiko prevzemajo iz Tönigove fascinacije s starodavnimi (predvsem slovanskimi) božanstvi in navdušenja nad indijanskimi totemi. Iz naslovov skulptur kakršna je Divji ples terorizma (2005) pa je očitno, da ga razvnema tudi sodobna politična stvarnost. Kljub temu se zdi, da bi z literarnim branjem njegovih del le s pomočjo naslovov, močno omejili možna branja Tönigovih kipov in jim storili krivico. Če namigujejo na kiparjeva skrivna zanimanja, so ta vendarle samo izvor, prva ideja za konstruiranje prostorskih oblik, ki v svoji organski snovnosti morda razkrivajo tudi kiparjevo vezanost na naravo ali v skulpturi Opazovalec močno, skorajda primarno grobo človeško prisotnost v njej. Kipar, ki tudi ilustrira, ustvarja karikature in slike, deluje tudi kot pomemben element v družbenem okolju v katerem biva, ustvarja in večinoma razstavlja, saj njegovo delo Domžalsko skupnost opozarja na pomen vizualnega v revladujočem literariziranem okolju slovenskega kulturnega sveta. V vrtu ZDSLU se po dolgih letih tudi ljubljanski publiki ponuja možnost za širši pogled na Tönigovo delo zadnjih let.

Petja Grafenauer Krnc

Garden Totems
Perhaps sculptor Jože Tönig’s love for experimenting with materials in his work stems from his postgraduate studies in restoration and conservation. His “garden sculptures”, sculptures intended for exterior spaces, are created through unusual techniques of covering supporting structures made of waste material by various modes of using plastics, which he sometimes mixes in advance with paint, while, at other times, he provides for the explosive colourfulness of his works by later paint applications. The subsequent life of Tönig’s works is also an experiment: they are exposed to natural phenomena that chip off a piece here and there, leach out their paint, or additionally warp their surfaces. The question is whether “garden totems” will last long enough for us to appreciate their antiquity too, that special charm whose attraction Izidor Cankar described in Uvod v umevanje likovne umetnosti (‘An Introduction to the Understanding of Fine Arts’). But for the sculptor, who has intensely devoted part of his life to the restoration of old works of art, the process of dilapidation has “a special value which is not of a practical or scientific, but of an emotional nature”.1 The tireless experiments with worthless, sometimes even used materials that do not in the least follow the trends of contemporary art are what are important in Tönig’s work. He does not acquiesce to the given, does not swear by the pre-tested technological knowledge with which as a restaurateur, he is very well acquainted, but seeks for new possibilities of achieving diversified spatial forms. The emotionally charged large sculptures take their subject matter from Tönig’s fascination with ancient (especially Slavic) deities and an enthusiasm for Indian totem poles. The sculpture titles such as Divji ples terorizma (‘The Wild Dance of Terrorism’, 2005) make it obvious that he is also inspired by contemporary political reality. Despite this, it seems that with a literal reading of his works, with the aid of their titles alone, we would strongly limit the possible interpretations of Tönig’s sculptures and fail to do them justice. If they hint at the sculptor’s hidden interests, they are merely a source, the initial idea for constructing spatial forms that, in their organic materiality, perhaps also reveal his attachment to nature or, as in the sculpture Opazovalec (‘Observer’), a strong, almost primal and brute human presence in it. The sculptor, who also does illustrations, caricatures and paintings, acts as an important element in the social environment where he lives, creates and exhibits most of the time, because his work draws the attention of the Domžale community to the significance of the visual in the predominantly literary environment of the Slovene cultural world. After a long time, the Ljubljana public will be able to take a broader look at Tönig’s work in the garden of the Gallery of the Union of Slovenian Fine Artists’ Associations.

Petja Grafenauer Krnc

Opazovalec / Observer, 2006, mešana tehnika / mixed technique
Sirena / A Siren, 2005, mešana tehnika / mixed technique
Divji ples terorizma / The Wild Dance of Terrorism, 2005, mešana tehnika / mixed technique

Jože Tönig (1954) je rojen v Trzinu. Iz kiparstva in grafike je leta 1981 diplomiral na
Akademiji za likovno umetnost v Ljubljani pri prof. Dragu Tršarju in prof. Zvestu Apolloniu. Leta 1996 je zaključil podiplomski študij restavratorstva in konzervatorstva pri prof. Francu Kokalju. Do leta 1986 je poučeval umetnostno vzgojo na srednji šoli, od leta 1987 pa je samozaposlen v kulturi. Živi in dela v Domžalah.

Jože Tönig (1954) was born in Trzin. In 1981, he graduated in sculpture and graphics
from the Academy of Fine Arts in Ljubljana under Professor Drago Tršar and Professor Zvest Apolonij. In 1996, he completed postgraduate studies in restoration and conservation under Professor Franc Kokalj. Until 1986, he worked as a high school art teacher, but since 1987, he has been a selfemployed professional in culture. He lives and works in Domžale.

Izbrane samostojne razstave / Selected solo exhibitions:
1981 - Domžale, Zdravstveni dom / Health Centre
- Reka, Dom JLA
1989 - Domžale, Agrobar
2001 - Domžale, Modra galerija / Modra Gallery
2002 - Studenec, Letno gledališče / Summer Theatre
2003 - Domžale, Modra galerija / Modra Gallery
2004 - Kamnik, Galerija Pika / Pika Gallery
2005 - Domžale, Menačnikova domačija / Menačnik’s House
2006 - Domžale, Galerija Domžale / Domžale Gallery
- Domžale, Menačnikova domačija / Menačnik’s House
Izbrane skupinske razstave / Selected group exhibitions:
1979 - Ljubljana, Iskra
1985 - Rudnik, Galerija Repanšek / Janez Repanšek Gallery
1987 - Domžale, Galerija Domžale / Domžale Gallery
1990 - Domžale, Galerija Vera / Vera Gallery
1991 - Groblje, Drevored
2003 - Ljubljana, Majski salon / May Salon
- Ljubljana, Magistrat / Town Hall
2004 - Ljubljana, Majski salon / May Salon
- Ljubljana, Magistrat / Town Hall
2005 - Izola, Majski salon, Manziolijeva palača / May Salon, Manzioli House
- Ljubljana, Magistrat / Town Hall
2006 - Slovenska Bistrica, Majski salon / May Salon
- Maribor, Gosposka galerija / Gosposka Gallery
- Kamnik, Galerija Peroz / Peroz Gallery

naslov / adress:
Stobovska 16, 1230 Domžale
telefon / telephone: +386 (0) 1 72 11 433
gsm: +386 (0) 40 57 36 45
e-mail: joze_tonig@yahoo.com

Organizacija razstave in izdajatelj / Organization of the exhibition and publisher:
Društvo likovnih umetnikov Ljubljana, zanj / Represented by: Jože Vrščaj
Besedilo / Text: Petja Grafenauer Krnc
Prevod v angleščino / English translation: U.T.A. prevajanje; oblikovanje / Design: Dušan Muc;
priprava in tisk / DTP and printed by: Mat-Format d.o.o.; naklada / Print run: 300 izvodov / Copies; 2007
Ljubljana, Slovenija
1 Izidor Cankar, Uvod v umevanje likovne umetnosti, Slovenska Matica, Ljubljana 1926. 1 Izidor Cankar, Uvod v umevanje likovne umetnosti (An Introduction to the Understanding of Fine Arts),
Slovenska Matica, Ljubljana 1926. Razstavo je podprl Oddelek za kulturo in raziskovalno dejavnost Mestne občine Ljubljana / The exhibition has been supported by the City of Ljubljana
Komenskega 8, 1000 Ljubljana, tel.: +386 1 434 9465
e-naslov: info@dlul-drustvo.si, www.dlul-drustvo.si