Knjiga - Aksioma

28 in Žiga Kariž. Z njihovimi kombinacijami se na dvehnot end with the fourth triptych. The fifth triptych at the 29ravneh pletejo raznolike pomenske strukture. Najprejje tu podpis v funkciji podobe na platnu. Pomembno je,da je ta podpis le podoba podpisa, kar projekt poudarivizualno in vsebinsko. Da gre za podobo, gledalec razbereiz velikosti, predvsem pa iz slikarske pastoznostiakrilnega nanosa črne barve, ki tvori podpis na sliki.Dejstvo, da so Janez Janša, Janez Janša in Janez Janša tapodpis – podobo na sliki v slikanje zaupali četrti osebi –slikarju, dodatno opozarja, da gre za podobo podpisa, inne za podpis sam. Vse podpise/podobe je ustvaril umetnikViktor Bernik, ki se v projektu predstavlja z imenomin priimkom, torej ne kot ustvarjalec podpisa v senci,ne kot nekakšen slikarski gost writer, ampak kot avtor.Toda vendarle je Bernik tu avtor v službi drugih avtorjev– dveh Janezov Janš in Žige Kariža, bivšega JanezaJanše, ki je zdaj Janez Janša le še pod psevdonimom. Tisi avtorstvo projekta zagotovijo z lastnoročnimi podpisivseh devetih triptihov. Napetost, ki nastane, zastavljavprašanje avtorstva, ki je v slikarstvu – kljub Warholu– še danes pojmovano izrazito individualno in velja zaizraz lastnoročnega dela umetnika genija. Je torej avtorexhibition is signed by Emil Hrvatin, the sixth by DavideGrassi and the seventh by Žiga Kariž. The artists signed thecomposition of the eighth triptych with their given namesEmil Hrvatin, Davide Grassi and Žiga Kariž, which theyhad used in their artistic opuses until they changed theirnames into Janez Janša in 2007. So, will the foundation ofworks by Janez Janša in a few decades declare this triptycha market and cultural fraud, because the artists signed it bydeparting from their standard decision to use the namesand the pseudonym Janez Janša within the Janez Janšaproject? The last triptych is the “official Slovenian” triptych,so to speak; it is such that its authenticity could be confirmedby the Registry Office of the Republic of Slovenia. Itis signed by Janez Janša, Janez Janša and Žiga Kariž.In the twenty-seven paintings we see four differentcombinations of words, that is, four variations on namesand surnames: Davide Grassi, Emil Hrvatin, Janez Janšaand Žiga Kariž. With their combinations, diverse semanticstructures are woven on two levels. First, there is the signaturein the role of image on canvas. It is important thatthis signature is only an image of signature, which is whatumetnik, ki je delo ustvaril, ali umetniki, ki so delo 9 Marina Gržinić, „Fromthe project emphasises in a visual way as well as in a wayBiopolitics to Necropoliticsand the Institutionpodpisali? In kdo je podpisnik ter koliko jih je? Je Emilthat concerns content. The fact that we are dealing with anHrvatin drugačen avtor od iste osebe z imenom Janeza of Contemporary Art“,image is discernible from the size and, above all, from theBiopolitics, NecropoliticsJanše? Kolikšna je tržna in kulturna vrednost tega inand de-coloniality, št. 14,painterly pastiness of the acrylic layer of the black paint, ofonega triptiha? Sta si enaki ali se med seboj razlikujeta? Pavillion, Bukarešta 2010,which the signature in the painting consists. The fact thatstr. 35–48, in Marina Gržinić,„Na senčni straniJanez Janša, Janez Janša and Janez Janša entrusted a fourthNapetost, ki nastaja med podpisi podobami in podpisisignaturami, zastavlja vprašanja avtorstva in avtorskih Alp“, Maska, Ljubljana, št.person, a painter, with painting this signature – a painting113-114, pomlad 2008, str.pravic. Vprašanje se seveda še razširi v širšem projektu 66–72.within the painting – is an additional warning that we areJanez Janša. Ta je tako kompleksen, da ga nekateri piscidealing with an image of the signature and not the signatureitself. All signatures/images were created by the artist10 Glej npr.: Blaž Lukan,banalizirajo v „pošastni triglavi projekt Janša“ in ga skušajo„Projekt Janez Janša“,brati na enostavni linearni ravni. 9 Vendar pa projektViktor Bernik, who appears in the project with his nameAmfiteater, 1,1 (2008),str. 71–86, in Rok Vevar,jasno kaže, da se ne uresničuje prek družbenokritične „Več kot nas bo, hitrejeand surname, that is, not as a “shadow” creator of the signatures,bomo na cilju!“, Večer,izjave niti kot nadaljevanje prekomerne identifikacije 10 ,1. 9. 2007, str. 12.kakršno je uporabljal del ljubljanske alternativne in sub-not as a painterly ghost writer of sorts, but ratheras an author. And yet, Bernik here appears as the author