Plecnik cultural heritage and an image.
2.3.2013 – 30.4.2013
For a long time, the style of Plečnik’s work was difficult to define: its qualities were most transparently described by Post-modern theorists. They pointed out two things. The first one was Plečnik’s interest in detail, which he was taking from various and diverse architectural styles and from his own inexhaustible imagination. As we can often see, this master of architecture finalised and placed a personally very important fragment only at the very end of a project and thus vested his own, very personal mark upon it. In other words, Plečnik chose the place for some architectural elements only in situ,where the possible views of them became actual and final. Therefore we could name the second, an even more elusive quality a different or other perspective. Plečnik’s work and details are no different from other ingenious works of architecture: as a rule, they enable a multitude of gazes and interpretations and it is up to the observer to notice and appreciate them or not. But some are really special, excellent and exciting. The photographic tandem, Stane and Barbara Jeršič used a Post-modern photographic concept to reveal and enrich the above mentioned qualities of Plečnik’s work. With their visual sensitivity, they uncover selected details and less common views, which aren’t known even to the admirers or connoisseurs of Plečnik’s work. Their photographs reveal to us what is seems to be the artist’s secret itself: the secret of the architect, who created these seemingly hidden and guarded details and views; and the secret of the two photographers who froze them in time. Architecture and photography are two very different visual art forms, where both can truly and fruitfully meet only at the crossroads of their difference, impressiveness and idiosyncrasy. Then we realise that numerous qualities of architecture can be perceived only through an artistic photography. – Jure Mikuž