irwin - Galerija Gregor Podnar.

IRWIN
PORTFOLIO
Lindenstr. 35 | 10969 Berlin | Germany | tel. +49 30 259 346 51 | fax +49 30 259 346 52 | berlin@gregorpodnar.com | www.gregorpodnar.com
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Introduction
IRWIN works in a complex and subtle way with connections between art and ideology. Their work brings
together art historical references, such as Romanticism, Modernism or the Suprematism of Malevich, with
symbols taken from religion or totalitarian political systems, for example from the Nazi era or from Soviet
social realism. IRWIN has over time built a complex system of cross-references between their works and the
works of other artists.
The starting point for IRWIN is that different symbols have different meanings depending on place and time.
In order to examine and discover the meaning and the function of a symbol IRWIN starts work according to a
method or process they have developed themselves, the retro principle. This method means that in order to
understand the meaning and function of a symbol one needs to investigate its origin. A reconstruction of the
meaning of the symbol implies that the meaning of the symbol is changed retrospectively through the fact
that IRWIN juxtaposes and appropriates the symbols into new contexts. Thereby the symbols are given new
connotations. In many works IRWIN manifests the visual and ideological similarities between seemingly
different totalitarian systems, the history of art and of religion. Their work often embraces a warm humor and
in many of their works there are often marked ambiguities.
IRWIN together with NSK (the artist collective Neue Slowenische Kunst, founded in 1984, where the music
group Laibach is a member) can also be said to work with the question of the importance of culture when it
comes to the reconstruction of a nation. In this work IRWIN takes as their starting point the Slovenian culture
and the Slovenian nation. A nation that has to take into account the fact that it is situated, geographically as
well as culturally, between East and West, between Central Europe and the Slavic heritage. Collectively the
works of IRWIN deals with the European history of ideas and its ideological foundations, a political and
cultural heritage that has shaped Europe in the past and will shape Europe in the future.
Martin Schibli, on the occasion of the IRWIN-exhibition «What is art» at Kalmar Konstmuseum, Sweden, 2009
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Red Districts
Blood, coal, oil on canvas, wood, marble, aluminium, gold, iron, glass, 350 x 420 x 40 cm, 1987
Collaborators: Janez Knez, Tugo Susnik
(second of two variants)
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Laibach State
Wood, serigraphy on canvas covered with wax, silver leaves on wood, acrylic, tar; (Inside: aluminum cross,
oil color, poster, mirror). Approx. 110 x 80 x 20 cm, 1987 (Dušan Mandič)
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Nova Acropola
Wood, fur, serigraphy on wax paper, oil, plaster, 86 x 86 x 5,5 cm, 1988 (Roman Uranjek)
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IRWIN Icons
Exhibition view at Venice Biennal 2003, 1993 -2003
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Cup of coffee I (Replica)
Mixed media, 72 x 62 cm, 2003 (Andrej Savski)
Vade Retro
Mixed media, 93 x 69 cm, 1988 (Roman Uranjek)
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Bride (marvée)
Mixed media, 86 x 60 x 16 cm, 2004 (Dušan Mandič)
Malevich between two wars
Mixed media, 77 x 51 cm, 1984-2001 (Dušan Mandič)
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Deer (Icon)
Mixed media, 110 x 80 cm, 2003 (Miran Mohar)
Wheel of the Wheels
Wheel, chair, 140 x 55 x 55 cm, ed. of 4, 2000
(Borut Vogelnik)
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Black Square on Red Square
DVD, 3 min 15, Based on the action by Irwin and Michael Benson (footage of the Moscow TV and Kinteticon
Pictures), edited by Igor Zupe, ed. of 3, 1992-1997
On June 6, 1992 between 2 pm and 3 pm, the group Irwin and Michael Benson performed an artistic action
Black Square on Red Square in collaboration with N. Abalakova (Tot-Art), D. Ariupin, M. Breznik, S. Bugayev
(Africa), Charles, E. Cufer, B. Edelman, F. Fleck, J. Harten, J. Kollerova, V. Kesic, I. Koulik, E. and V.
Kurlandzev, G. Kurierova, I. Smirnova, K. Tschouvaschew, K. Turchina and D. Zivadinov.
The 30-minute action consisted of the spreading out of a 22 m x 22 m square made of black fabric in the
central part of Red Square in Moscow.
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Transcentrala New York, Moscow, Ljubljana
Cross (NY), Panorama (Ljubljana), Black Square on Red Square (Moscow)
3 photographs, each 120 x 112 cm (framed), ed. of 4, 1992-1997
Cross (1991), Black Square on Red Square (1992) and NSK Panorama (1997) are photographic documents
of three actions by the artistsʼ collective Irwin, realized in New York, Moscow and Upper Carniola, and
gathered together under the title Transcentrala. Three Suprematist symbols (cross, square and circle) were
temporally installed in three sites with ideological implications. Following their method of “retro-principle”, the
group re-contextualizes and deconstructs various motifs, symbols and signs from the field of art and politics.
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Exhibition view: Museum Ostdeutsche Galerie, Regensburg, 2002
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Corpse of Art
Mixed media installation (acrylic resin on wood, clothes, wax, flowers), variable dimension , first of two
versions, 2003-2004
The installation Corpse of Art copies the circumstances of the laying out of Malevichʼs corpse in his Leningrad
flat in May 1935: displaying it in the Suprematist coffin designed by his student, Nikolai Suetin, according to
Malevichʼs own concept. IRWIN shows the Black Square alone above the coffin – and leaves out the two
realistic images from Malevichʼs work, which flanked the Suprematist icon in the original arrangement. In this
way, IRWIN simultaneously radicalises and undermines Malevichʼs totalitarian claim to mould not only his
whole life but also his own death. As a symbol of the failure of his utopias of Suprematism, IRWIN erects a
memorial to them at the same time and makes Malevichʼs displayed corpse into the medium of his universal
ideas beyond his own death.
(Extract from exhibitionʼs texts of Medium Religion, ZKM Center for Art and Media, Karlsruhe, 2008)
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Was ist Kunst (Frank Stella)
C-print, plexiglas, aluminum, 161 x 231 cm, ed. of 3, 2002
Photo: Klaus Vyhnalek
«We donʼt consider ourselves as political artists, but rather we focus on how art itself is always political in
certain contexts. We work on icons and stick on just a few «motifs» (subjects). In our paintings we are not
interested in endorsing the idea of the supposed modernistic artistʼs freedom of choice in the subject. Real
freedom for us lies in the idea of restriction.»
IRWIN, festival THE INFLUENCERS, Barcelona, 2006
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Was ist Kunst (Tiflis)
Ilfochrome, 109 x 146 cm, ed. of 3, 170 x 222 cm, ed. of 5, 2007
Photo: Bojan Radovič
In collaboration with Georgian Army
Co-produced by TRAM foundation for One Stop project in the frame of Art Caucasus 2007
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Installation view at Cornerhouse, Manchester, 2004
Like to Like
100 x 118 x 6 cm (small size), ed. of 5, 2003-2004
Photo: Tomaž Gregorič
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Like to Like / the constellation of candles in the field corresponding to the constellation of the stars in
the sky
Photo reconstruction of the group OHO – action: The constellation of candles in the field corresponding to the
constellation of the stars in the sky 1970 (Milenko Matanović), ed. of 5, 2004
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Like to Like/ Mount Triglav
Photographic reconstruction of the group OHO – action: Mount Triglav from 1970 (Milenko Matanović, David
Nez, Drago Dellabernardina), ed. of 5, 2004
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Like to Like / Wheat and Rope
Photo reconstruction of the group OHO – action
Wheat and Rope from 1969, ed.of 5, 2003 (Milenko
Matanović)
Irwinʼs project called Like to Like (2003-2004) consists of six large-scale color photographs presenting actions
and projects in landscape. For anyone familiar with Slovene art after 1945, the images are easily
recognizable as projects of the group OHO.
Like to Like / water-air
Photo reconstruction of the group OHO – action
Family of fire, air and water: water-air from 1969, ed.
of 5, 2004 (Marko Pogačnik)
OHO was the most important Slovene neo-avant-garde group of the 60s and early 70s. The word itself is a
combination of oko (eye) and uho (ear) and is, at the same time, an expression of astonishment. Roughly,
OHOʼs activity could be divided into three main periods. In the first period (1969 – 1968), it functioned as a
multi- and inter-media movement (objects, drawings, film, books, actions, visual poetry, music, etc.) with a
broad range of members and collaborators. In the second period, OHO (1969 – 1970) was organized as an
art group, and its activities included contemporary and avant-garde art forms, from arte povera and process
art to land art, performance, body art, and conceptual art. In the last period (1970 – 1971), OHO was
transformed into a community and developed a specific type of conceptual art which aimed at establishing a
spiritual communication and ties between the members of the group and between the group and the world. In
1971, OHO – on the threshold of international success – decided to abandon art as a separate field and try
to find a synthesis of art and life by establishing a community in the village of Šempas.
Irwin re-staged six of OHO projects (originally carried out between 1968 and 1970) that all belong to the most
representative and best known OHO works. They appropriated OHOʼs projects not by using the original
photographs, but by re-staging original actions and by reproducing them on large-scale, perfectly executed
color photographs. This difference is strikingly accentuated by the use of the spectacular possibilities of
contemporary photography. The OHO artist (just as a number of other artists from that period) were never too
interested in producing lasting art objects. Their actions were ephemeral and often carried out without
audience. IRWIN transformed the compositions of the images (originally unimportant and accidental) into
recognizable art icons.
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Like to Like / Night, bow, burning arrows
Photo reconstruction of the group OHO – action Night,
bow,burning arrows from 1970, ed. of 5, 2004 (Andraž
Šalamun)
What they present, therefore, are not just OHO actions, but OHO as a phenomenon that already belongs to
the history of art and culture. OHO became such a phenomenon also through the process that placed the
documentary images on the position of works of art. This operation can be understood as a symptom of a
more fundamental operation, i.e. of codification and categorization of OHO. But they also point at the
relativity and instability of their meaning. With the change of the context, the same image, symbol, or form
can obtain very different connotations...
Dealing with OHO, Irwin also deal with themselves and their own practices and ideas. Some of these projects
deal with the idea of the collective artistic production, even a collective artistic body. Even those OHO
projects that could be described as works of process art use the model of “family” to describe relations based
on differences, sometimes oppositions or even conflicts, that result in a flexible, dynamic unity.
In his story “Pierre Menard, Author of the Quixote”, Borges described a late 19th century French writer whose
central work consists of rewriting parts of Cervantesʼ novel. “He did not want to compose another Quixote –
which is easy – but the Quixote itself,” writes Borges. “Needless to say, he never contemplated a mechanical
transcription of the original; he did not propose to copy it. His admirable intention was to produce a few
pages which would coincide – word for word and line for line – with those of Miguel de Cervantes.” When
Irwin re-stage OHO projects, these get a whole new set of references. The wheat field, for example, becomes
a reference to the Irwinʼs recurring motif of the sower. The actions dealing with the collective identity become
references to Irwinʼs collective artistic practice. Re-staging of OHOʼs Triglav project refers to numerous
Irwinʼs works that deal with images of mountains, and particularly to their interest in the ideological content of
the image of mount Triglav that is Slovene national symbol. As Borges says: “Menard (perhaps without
wanting to) has enriched, by means of a new technique, the halting and rudimentary art of reading: this new
technique is that of the deliberate anachronism and the erroneous attribution.
Extract from Like to Like by Igor Zabel, Ljubljana, September 2004
Like to Like / OHO
Photo reconstruction of the group OHO – action
from 1970, ed. of 5, 2004
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Namepickers
C-Print, 109 x 97 cm, ed. of 5, 1998 (In cooperation with: Marina Abramovic)
Photo: Bojan Brecelj
In a straightforward and simple way – and with an elegant allusion to prostitution – Namepickers points out
that the essence of the artwork is determined by the authorʼs name. Namely, rating of the artistʼs name
affects the market value of the work, and, retroactively, also his identity, which is perceptively – ironically –
completely identical in any case. Thus IRWIN is facing the perfidious logic of a market also capable of
capitalizing the speculative values of the author, even when these prove to be practically indefinable.
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IRWIN Live
Installation/performance at CCA, Warsaw, 1998 (Guest artist: Zbigniew Libera)
IRWINʼs paintings are hanged on the ceiling, the members of the group are suspended underneath and
discuss about their works.
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Golden Smile
C-print, 130 x 80 cm, ed. of 5, 2003
Photo: Tomaž Gregorič
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DA+DA
Video, duration 3ʼ51ʼ, 2010
Bischop M. Zlatanov reciting poems written for H. Ball, Cabaret Voltaire, Zurich 20.4.2010
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Dreams and Conflicts
ca 170 x 260 cm, ed. of 3, 2003
Photo: Igor Andjelič
In order to create the photograph Dreams and Conflicts, the group Irwin stayed overnight at the Venice train
station during the 50th Venice Biennial (2003). Their goal was to repeat a situation they had first experienced
in 1986 when the group unofficially exhibited parallel to the 42nd Biennial (1986) and had been sleeping at
the train station.
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The NSK State in Time
(NSK Embassy Moscow, May 10- 12, 1992)
The NSK (Neue Slowenische Kunst or New Slovenian Art) collective has a multiform history. In the early
1980s the fine art group Irwin, together with the music group Laibach, a theatre group Sester.
»The NSK State in Time« was established in the only way possible, as a virtual entity that had no real
territory (as it was said that it was precisely because of territorial concerns that we were witnessing the
Balkan war) but only the insignias of a real State – passports, flag, etc., – which were elaborated as
artefacts. From time to time, however, the »NSK State in Time« was displayed in real space. In the 1990s the
NSK State in Timeʼs Embassies and Consulates were inaugurated in private apartments and houses, hotel
rooms, and similar places to question the politics of space within/outside the Balkans/Europe and the Art
Institution. The group Irwin established the NSK Embassy in Moscow in a private apartment (address:
Leninsky Prospect 12, apt. 24) in May and June 1992. The facade of this residential dwelling was
embellished with the artistically articulated insignia of a state embassy. Spaces that had always been
considered as being outside the matrix of art and culture or at the margins of the system were suddenly
transposed into the centre of the art system. NSK Consulates were opened in Florence, Italy (1993), at the
Hotel Ambasciatori, and in Umag, Croatia (1994), in the kitchen of Marino Cettina, the Dante Gallery ownerʼs
private apartment.
The virtual NSK State tackles ambiguous procedures of codification and the system rules and principles that
serve to define historical coincidence and artificiality. This parallelism between art and the state poses radical
questions about the procedures and instructions that are at the base of the formation of the art system and
which are crucial for its reproduction. »The NSK State in Time« displayed an incredible discontinuity and
provoked an intensive public questioning in time and within time. In an attempt to emphasize the synthetic
dialectical moment developed in »The NSK State in Time«, I asked myself in the mid-1990s how we could
label this spiritual element of corporeality (the State in Time) and this corporeal element of spirituality
(embassies and consulates in concrete private spaces). I proposed that we define them as spectres.
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NSK Citizens from Nigeria NSK-Logo
2007
Filmed in London from May 5-7, 2007 by film maker and visual anthropologist Esben Hansen
(collaborator: Julie Boticello, anthropologist)
Duration: approximate 80 minutes (non-edited material) ens Sarajevo 2007
I stated, re-elaborating Jacques Derridaʼs The Spectres of Marx, that »The NSK State in Time« is the spectre
of the state; NSK Embassies are spectres of embassies. »The NSK State in Time« was a transposition, as
much as it was also a spectralization of the evacuation of specific historical, social and political spaces of
former Eastern Europe, of its present non-existing condition. Or it is possible to say that precisely because
NSK comes from a territory that is today described as “ex” or “former”, hence firmly grounded in time, NSKʼs
projects imply the re-constitution of its historical, art and cultural space through time. This is why NSKʼs
projects are so intricately involved in re-reading history, in the temporalization and spatialization of culture,
art and the social. With two symbols or indicators – the NSK cross originated within the artistic legacy of
Kasimir Malevich and the Nazi swastika – the virtual NSK State creates terrifying constructions and
narratives deeply rooted in politics.
Irwin reused the cross from Malevichʼs paintings, but emptied it of any spiritual meaning. It is possible to
explain this trajectory as being similar to what Heartfield did with the process of montage. There is something
paradoxical about this virtual state model and its possible (kitschy, That they are like an army is emphasized
by their uniform style of sober suits and ties. Behind their uniform they hide their role of maximizing the
efficiency of the capitalist machine. Through their mode of dress and in the way they function, they are a
normalized anomaly within the capitalist system in Japan. The effect of such juxtapositions is the
derealisation and the de-psychologisation of the reality of the Institution of Contemporary Art. This is politics
beyond simple dichotomies reusing the concept of the de-realisation [and depsychologisation] of art
(although we should be aware that the abstract positioning of art in contemporary capitalism insists on the
psychological moment and on the psychology of the individual artist). Juxtapositions like this result in a
diffracted picture of reality between art and army.
Irwin does not ask us to merely choose between two or more options within a set of coordinates (art vs. army,
etc.), but to change the set of coordinates itself. What we have to deal with here is the traumatic real, the re-
articulation and re-questioning of the position of the army in contemporary societies and art within the art
institution.
Irwin: NSK Guards by Marina Gržinić; Published in Camera Austria, Graz , no. 96/2006.
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NSK Garda
10 Iris Prints in Plexiglas boxes, from 1998 until 2007
100 x 140 cm; ed. of 3 + AP
50 x 70 cm; ed. of 5 + AP
NSK Garda is a project by group Irwin that started in 1998 in Tirana, Albania (NSK Guard Tirana) and was
later followed by identical realizations in Prague, Zagreb, Rome, Cetinje, Graz, Kyoto, Pristhina, Biskek and
Sarajevo.
All of the projects were organized through the cooperation between local art institutions and army
headquarters. The basic action is very simple: 4 soldiers are guarding the NSK flag, they have crosses on
the armbands and theyʼre standing there for one or two hours. The location is important; it has to be a public
place, square, etc. and is usually linked to the place where we exhibit.
Formally we see this project as some sort of tableau vivant of the real army wearing our and Malevich cross -
art society and army society are social structures that are usually on the opposite ends of the social
spectrum and very rarely mixed. As an art state NSK is in fact in some sort of parasitic relation with other,
normal states and in this project this is made visible.
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NSK Garda Tirana
In collaboration with Albanian Army
National Gallery, 21. 12. 1998
Ed. of 6
NSK Garda Graz
In collaboration with Austrian Army
Forum Stadtpark, 6. 10. 2001
Iris print, 140 x 100 cm
Photo: Wolfgang Croce
Ed. of 6
NSK Garda Zagreb
In collaboration with Croatian Army
Museum of Contemporary Art, 10. 12.2000
Photo: Igor Andjelič
Ed. of 6
NSK Garda Tbilisi
In collaboration with Georgian Army
TRAM (Transform Art Module) Foundation,
13. 10. 2007. Photo: Bojan Radovič
Ed. of 6
NSK Garda Prague
In collaboration with Czech Army
MXM Gallery, 15. 9. 2000
Photo: Igor Andjelič
Ed. of 6
NSK Garda Biskek
In collaboration with Kyrgyz Army
Kurama Art Gallery, 25. 4. 2004
Photo: Erkin Boljurov
Ed. of 6
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Retroavantgarde
Mixed media (collage, acrylic on paper), 120 x 200 cm, 1st version, 1996
The Retro-avantgarde project
All «isms» in art were coming from the west, while for us every «ism» was a product of fiction and we
managed to create our own: retro-avangarde. Somehow in the East the art system was lacking some of the
elements it had in the western society. So it was not a matter of opposing to something or reclaiming our own
space, but to build reality. Our condition was to construct our own condition.
IRWIN, festival THE INFLUENCERS, Barcelona, 2006
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East Art Map
The aim of East Art Map is to show the art of the whole space of Eastern Europe, to take artists out of their
national frameworks and to present them in a unified scheme. IRWIN would like to display the practical
fundamental relations between Eastern European artists there where they have not been documented, to
draw a sort of a clear and user-friendly map of the art of Eastern Europe rather than to get some theoretical
true thereof. History is not given. It has to be constructed.
The group worked over East Art Map project (www.eastartmap.org) from 1999 to 2005. The project is a sort
of a guidebook through the contemporary art of Eastern Europe and its relations with Western arts, social
and political history. Initially, Irwin invited a group of 24 eminent art critics, curators and artists from the
different ex-socialist Central, Eastern and South-Eastern countries to perform and to show 250 crucial art
projects and artworks from their respective countries. Upon the results thereof, in 2006, it published the
project book. The next step, technically as well as conceptually, was to transfer the EAM onto Internet and to
open it up for contributions by its users, the general public and specialists being invited to participate in
discussion, which may, for sure, change the topography of the map.
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Monochromes
With the exhibition Monochromes, the group only appears to be moving away from visible references to
artistic and political ideologies; in fact, the referencing of “pure,” abstract art is, above all, a commentary on
the history of modernism with all its disjunctures and conflictual potential, as well as, of course, a way of
receiving modernist principles, and Irwinʼs own recent history, in the present time.
From the perspective of art history, monochromatic painting has appeared in a variety of different contexts in
modernism. The common element was the treatment of images as the objects of an understanding in which
painting was most often viewed as research into optical and psychophysical phenomena. Monochromism
appears in the first decade of the twentieth century in the works of Kazimir Malevich and Aleksandr
Rodchenko as the negation of the aesthetic understanding of painting; later, it appears, in less radical but no
less spiritualized forms, in the work of Yves Klein, not to mention the broader tradition of abstract painting
from Piet Mondrian, Josef Albers, and Ad Reinhardt to Frank Stella and Barnett Newman and other European
and American abstractionists.
Press release of the exhibition Monochromes, 2008 at Galerija Gregor Podnar, Berlin
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Dada magazine 4-5, (1918)
Paper, siver leafs, cloth, bitumen, plaster, 40 x 31 x 6 cm, 2010
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Multiple Hugo Ball (4/4)
Mixed media, ed. of 5 + AP, 79 x 59 x 6 cm, 2010
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Yellow Monochrome
Lego bricks, wood, fabric, 91 x 71 x 6 cm, 2007 (Miran Mohar)
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Green Monochrome- Sower
Oil on canvas, 77,5 x 87 cm, 2007 (Andrej Savski)
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From Light to Darkness
Wood, silver leaves, epoxy, 85 x 59 x 9 cm, 2007 (Dušan Mandič)
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Monochrome – green
Painting on wood, plaster, Plexiglas box (covered with a
lenticular screen), 91 x 72 cm, 2008 (Andrej Savski)
Irwin-Monochrome. Icon Deer III
Acrylic on canvas, 60 x 60 cm, 2008 (Roman Uranjek)
Monochrome – Yellow
Oil on panel, 40 x 29,5 x 5,5 cm, 2007 (Borut Vogelnik)
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Irwin – Copper Monochrome
Print, copper, 150 x 100 cm, 2008 (Roman Uranjek)
Irwin-Monochrome. Icon Cross
Acrylic on canvas, 150 x 100 cm, 2008 (Roman Uranjek)
Grey Monochrome (3D)
Lenticular screen, silver leaves, cloth, 89 x 69 x 6 cm, 2007
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Irwin Monochrome – I.K.Blue
Pigment, aluminum, 76 x 51 x 5,5 cm, 2008 (Roman Uranjek)
Monochrome
Bischop Metodij Zlatanov of Macedonian
orthodox church, holding an Irwin
Monochrome: Pure red color (dedicated
to A.Rodschenko, 1921)
Iris print, wood, canvas, 109 x 79 cm, 2008
(Dušan Mandič)
Watercolour on Iris print, 72 x 93 cm, 2007 (Borut Voglenik)
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IRWIN
Founded in 1983
Dušan Mandič, Ljubljana 1954
Miran Mohar, Novo Mesto 1958
Andrej Savski, Ljubljana 1961
Roman Uranjek, Trbovlje 1961
Borut Vogelnik, Kranj 1959
Irwin is also a cofounder of NSK in 1984
Selected solo exhibitions
2012
NSK Passport Office, MoMA, New York, USA
Was ist Kunst Hugo Ball, Elaine Levy Project, Bruxelles, Belgium
2011
Was ist Kunst Hugo Ball, Galerija Gregor Podnar, Ljubljana, Slovenia
NSK Passport Holders, Acik Ekran New Media Center, Instanbul, Turkey
NSK Folk Art, SKUC Gallery, Ljubljana, Slovenia
East Art Map, Atelje Dado, Cetinje, Montenegro
2010
First NSK Citizens Congress, Haus der Kulturen der Welt, Berlin, Germany
State in Time, Dolenjski museum, Novo Mesto, Slovenia
Cabaret Voltaire, Zürich, Switzerland
The Israeli Center for Digital Art, Holon, Israel
NSK Passport Holders, Center for contemporary art, Lagos
2009
NSK Passport Holders, Moderna Galerija/T5. Ljubljana, Slovenia
NSK Passport Holders, Tri Postal, Lille, France
Was ist Kunst, Kalmar Konstmuseum, Kalmar, Sweden
State in Time, Kunsthalle Krems, Austria
Paintings and Photographies, Galerie Grita Insam, Vienna, Austria
2008
Monochromes, Galerija Gregor Podnar, Berlin, Germany
Black Square on the Red Square, The Crouch - Art Basement Project if the Institute of Contemporary Art, Sofia,
Bulgaria
State in Time, Aarhus Kunstbygning, Aarhus, Denmark
East Art Map, Pinchuk Foundation, Kiev, Ukraine
2007
History Re-constructed, Culturgest, Lisbon, Portugal
2006
East Art Map, Collegium Artisticum, Sarajevo, Bosnia and Herzegovina
Like to Like, Galerie Grita Insam, Vienna, Austria
Selected Works, Erika Deak Gallery, Budapest, Hungary
Akank sanat Gallery, Instanbul, Turkey
2005
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East Art Map, Karl Ernst Osthaus Museum, Hagen, Germany
Like to Like, Gheto, Split, Croatia
Neil Rector NSK Collection, (together with NSK) Frye Art Museum, Seattle, USA
Like to Like, Art Centre Lazareti, Dubrovnik, Croatia
2004
Hysteria and two of her female friends, Galerija Škuc, Ljubljana
Like to Like, Artspace, Sydney, Australia
Like to Like, Experimental Art Foundation, Adelaide, Australia
East Art Map, Project Arts Centre, Dublin, Ireland
Like to Like, Cornerhouse, Manchester, UK
2003
Retroprincip, Künstlerhaus Bethanien, Berlin; Karl Ernst Osthaus Museum, Hagen; Museum of Modern Art,
Belgrade, Serbian
Galerie Inge Baecker,Cologne, Germany
2002
Rekapitulacija, Museum Ostdeutsche Galerie, Regensburg, Germany
Sound Icons, Galeria Bonomo, Rome, Italy
2001
Self-portraits and Projects, Retroavantgarde, Galeria Bonomo, Bari, Italy
2000
Irwin Live, Museum of Modern Art, Ljubljana, Slovenia
Privatization of Time, Museum of Contemporary Art, Zagreb, Croatia
Interiors of the Planit, Ursula Noordung, Retroavantgarde, Galerie Rabouan Moussion, Paris, France
1998
Three Projects, ICA Ujazdowski Castle, Warsaw, Poland
Transnacionala Vienna, Galerie Grita Insam, Vienna, Austria
1997
Interior of the Planit, Tramway, Glasgow, UK
Transnacionala Barcelona, Sala Montcada de la Fundacio La Caixa, Barcelona, Spain
1996
Transnacionala (conceptualized journey from East to the West Coast), project "Conversation at the Castle",
Atlanta, USA
Interior of the Planit, Ludwig Museum Budapest, Budapest, Hungary
1995
The Interiors of the Planit, Anonimus Gallery, Ljubljana, Slovenia
Project Proposal for the NSK Embassy in Beijing, Galerie Bleich-Rossi, Graz, Austria
1994
Project Proposal for the NSK Embassy in Beijing, Galerie Inge Baecker, Cologne, Germany
NSK Konzulat Umag, Galerija Dante, Umag, Slovenia
1993
Irwin-NSK Embassy Moscow Interior, Center on Contemporary Art, Seattle, USA
Transcentrala, Old Poverplant, Ljubljana, Slovenia
1992
La Geografia del Tempo, Galleria Carini, Florence, Italy
NSK Embassy – Moscow, Apt Art and Ridzina Gallery, Moscow, Russia
1991
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Kapital, Pittsburgh Center for the Arts - National Gallery, Pittsburgh; New Langton Arts, San Francisco, The Institute
for Contemporary Arts, Clocktower Gallery, New York; District of Columbia Arts Centre, Washington D.C.USA
1990
Kapital, Galerija Equrna, Ljubljana, Slovenia
Selected group exhibitions
2012
One Sixt of the Earth. Ecologies of image, MUSAC, Castilla y Leon, Spain
The Present and Presence, Musuem of Contemporary Art Metelkova, Ljubljana, Slovenia
2011
Night of Museums and Galleries, Plovdiv, Bulgaria
The Global Contemporary. The Art Worlds after 1989. ZKM, Center for Art and Media, Karlsruhe Germany
Dada Moscow, Artplay Design Center, Moscow, Russia
Ensayos de geopoetica, Mercosur Biennal, Porto Alegre, Brasil
Impossible Community, The State Museum of Contemporary Art of the Russian Academy of Arts, Russia
A Slodown at the Museum, Extra City, Kunsthalle Antwerpen, Germany
The international. MACBA, Museum of contemporary Art, Barcelona, Spain
European Triennial of Small Sculpture. Galerija Murska Sobota, Slovenia
Il corpo metafora di unʼesperienza. CIAC, Centro Italiano Arte Contemporanea, Foligno, Italy
2010
Things evoke feelings, CSW Center for Contemporary Art Ujazdowski Castle, Warsaw, Poland
Taipei Biennial 2010, Taiwan
Wealth of Nations, Spike Island, Bristol, United Kingdom
The Promises of the Past. A discontinuous history of art in Eastern Europe, Pompidou Centre, Paris
Heimtat Donovina, Museum Moderner Kunst Kärnten, Klagenfurt, Austria
Quartet–Four Biennials Reflected in Prints, International Centre of Graphic Arts (MGLC), Ljubljana. Curated by
René Block, Berlin, Germany
2009
La Fondazione Cassa di Risparmio di Modena, Italy
3rd Moscow Biennial for Contemporary Art at Red October Chocolate Factory, Moscow, Russia
Modernologies, MACBA, Barcelona, Spain, traveling to Museum of Modern Art, Warsaw, Poland
A pair of Left Shoes, Bochum Musem, Germay. Travel to: Museum of Contemporary Art of Zagreb, Croatia
Utopics, 11e Exposition Suisse de Sculpture, Biel, Switzerland
RE:akt! Reconstruction, Re-enactment, Re-reporting MNAC, Bucharest. Travel to:
SKUC gallery, Ljubljana, and Museum of Modern and Contemporary Art, Rijeka
Europe XXL, Tripostal, Lille, France
2008
1st Brussels Biennial for contemporary art, Brussels, Belgium
Taipei Biennial, The Taipei Art Museum, Taiwan
Medium Religion, ZKM, Karlsruhe, Germany
Here is Every, Four Decades of Contemporary Art, MoMA, New York, USA
Signs of Change; Social Movement Cultures 1960s to Now, Exit Art, New York, USA
The Renaming Machine, P74 Center and Gallery, Ljubljana, Slovenia
Kontakt… Works from the Art Collection of Erste Bank Group, Institute of Contemporary Art – Dunaujvaros,
Hungary
Genau+Anders – Mathematik in der Kunst von Dürer bis Sol LeWitt, MUMOK, Vienna, Austria
Less is less and more is more, that´all, CAPC Musée d´Art Contemporain, Bordeaux, France
The Art World, Unit 40, London, UK
2007
Erste Bank Collection, MoCAB Museum of Contemporary Art, Belgrad, Serbian
Not-quite/Not-right, Galerija Herman Pečarič, Piran, Slovenia
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Grow Your Own, Palais de Tokyo, Paris, France
Das Schwarze Quadrat. Hommage an Malewitsch, Hamburger Kunsthalle, Hamburg, Germany
Not-quite/Not-right, Foto galerija, Ljubljana, Slovenia
Not-quite/Not-right, Pilonova galerija, Ajdovščina, Slovenia
Locally Localized Gravity, ICA Philadelphia, Philadelphia, USA
One Stop, Tram, Tbilisi, Georgia
2006
Eye on Europe, MOMA, Museum of Modern Art, New York (cat.), USA
Kontakt … works from the Collection of Erste Bank Group, MUMOK, Museum Moderner Kunst Stiftung Ludwig,
Vienna (cat.), Austria
Normalisation, Rooseum Center for Contemporary Art, Malmö, Sweden
The Sun on the Wall, Arsenals, (Trajectory series, LCCA), Riga, Latvia
Essence of Life Art, The State Russian Museum, St. Petersburg, Russia
Interrupted Histories, Moderna galerija, Ljubljana, Slovenia
On Difference 2, Stuttgart Kunstverein, Stuttgart, Germany
Political Realities, Heidelberger Kunstverein, Heidelberg, Germany
2005
Collective Creativity, Fridricianum, Kassel, Germany
7th Sharjah biennial, Sharjah, United Arab Emirates
Istanbul Biennial, Istanbul, Turkey
Politike Slikarstva, Cankarjev dom, Ljubljana, Slovenia
2004
Berlin – Moscow / Mocsow – Berlin, Historical Museum, Moscow, Russia
Venture, Galerija Gregor Podnar, Kranj, Slovenia
EV+A Biennial, Limerick, Ireland
…and Others, Kyrgyz National Museum of Fine Art / Kurama Art Gallery, Bishkek, Kyrgystan
The Post_Communist Condition, Kunst-Werke, Berlin, Germany
The beauty of failure / The failure of beauty, Joan Miró Foundation, Barcelona, Spain
Lodz Biennial, Warshaw, Poland
Il Buon Governo dellArte, Modern and Contemporary Art City Museum, Bergamo, Italy
2003
Individual Systems, Biennial of Venice, Venice, Italy
2002
Museotopia, Karl Ernst Osthaus Museum, Hagen, Germany
(Un)painted, Essel Museum, Vienna, Austria
State Museum of Contemporary Art, Thessaloniki, Greece
2001
U3, Vulgata, Museum of Modern Art Ljubljana, Slovenia
Artisti Asuonati, Flash Art Museum, Trevi, Italy
Europa 2000, Palazzo della triennale, Milano, Italy
Le Tribu delarte, Galeria Moderna e Contemporanea, Rome, Italy
Oko in njegova resnica, Museum of Modern Art Ljubljana, Ljubljana, Slovenia
Vulgata, Neuer Berliner Kunsverein, Berlin, Germany
Jahresgaben 2001, Kölnischer Kunstverein, Cologne, Germany
2000+ Arteast Collection, Kongresscentrum, Innsbruck, Austria
Diesseits und Jenseits des Traums, Sigmund Freud Museum, Wien, Austria
2000
Das Fünfte Element/Geld oder Kunst, Kunsthalle Düsseldorf, Düsseldorf, Germany
Osmica v horizontali, Cankarjev Dom, Ljubljana, Slovenia
Lautre moitie de lEurope, Jeu de Paume, Paris, France
1999
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After the Wall, Moderna Museet, Stockholm, Sweden
Stop the Violence, Art Academy in collaboration with MAK, Vienna, Austria
1997
Istanbul Biennial, Instanbul, Turkey
This Art is Recycled, Škuc Gallery, Ljubljana, Slovenia
Alpenblicke, Kunsthalle Wien, Vienna, Austria
U3, Museum of Modern Art Ljubljana, Ljubljana, Slovenia
1996
Manifesta, Boyman Museum, Rotterdam, Netherlands
Interpol, Institute for Contemporary Art and Architecture, Farbfabrik, Stockholm, Sweden
Discord: Sabotage of Realities, Hamburg Kunstverein, Hamburg, Germany
1995
The Collection of the P.A.R.A.S.I.T.E. Museum, Kunsthalle, Budapest, Hungary
1993
Padiglione NSK, Biennale di Venezia, Venice, Italy
Art in the Measure of the World, Kunsthalle Kiel, Kiel, Germany
1992
Molteplici Culture, Convento di S.Egidio, Rome, Italy
First Hand Art, Regina Gallery, Moscow, Russia
Identität: Differenz, Neue Galerie, Graz, Austria
1991
Slovenske Atene, Moderna galerija, Ljubljana, Slovenia
Vanderlieder, Stedelijk Museum, Amsterdam, Netherlands
1990
Fra-Yu-Kult,Monastery Široki Brijeg, Lištica; 369 Gallery, Edinburgh, UK
Team Spirit, Neuberger Museum, State University of New York, New York, USA
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