Boris Gaberščik - Fotografije

Boris Gaberščik - Fotografije

Regular price
Sale price
Regular price
Not available
Unit price
Secured and trusted checkout with:

Boris Gaberščik - Fotografije

The Prešeren Award Winners Gallery Kranj presents, exhibits, and collects artwork by artists, Prešeren Award (since 1947) or Prešeren Fund Award (since 1962) winners. The said recognitions are the highest national art awards, presented for exceptional art opuses or lifetime achievement in the field of the arts. To this day, 63 Prešeren and 98 Prešeren Fund Awards have been awarded, yet the winners include only four photographers.

Photography as a parallel artistic outlet is frequently resorted to, predominantly by
painters and graphic artists, including the Prešeren Award winners (Božidar Jakac,
Gojmir Anton Kos, Lojze Spacal, Stane Jagodič …). Zmago Jeraj was the first Award-winning artist to emphasize photography as an art form in his opus. Joco Žnidaršič was the first photographer to receive this Award in 1977, thirty years after the first Prešeren Award and twenty-five years after the first Prešeren Fund Awards were presented. He was followed by Stojan Kerbler (1979), Milan Pajk (1981), and Tone Stojko (1984). Thirty-four years elapsed before the Prešeren Fund Executive Board decided to honour another photographer with the Award. Long, far too long ...

Boris Gaberščik received the 2018 Prešeren Fund Award for his art photography,
in which he recorded his »minimalistic proclamation of reist philosophy« thro-
ugh two awarded cycles, namely: Solve et Coagula and Von Dieser Welt, created in
the last four years. The poetics of Boris Gaberščik’s photography, palpable in the
inner light of the objects, depicted in timeless space, remains true to its original
definition. It signifies the creation and re-creation of the new, art world, or, as his
colleague Milan Pajk phrased it in his exposé on the Award presentation: “Essen­
tially, photography is a snapshot of the real, but, in Gaberščik’s case, more of a reflection of the newly created, since the world as his images unveil it, had not existed before.” Mimesis, rather than poiesis lies at the core of Gaberščik’s art photography, mimesis as poesis, Poesis in black and white analog photography in large-scale camera format, the Poesis of deteriorated objects, a world one enters through his photographs.

Photography as an art form can only be defined by great photographers. Gaberščik seeks to resolve his perennial dilemma of whether he himself is either a photographer or an artist, through his artistic creativity, affirming himself as an outstanding photographer, to which the Award he recently received, attests.

Marko Arnež


Language: Slovenian, English
Text: Marko Arnež, Hana Čeferin, Renata Štebih
Size: 25 x 17 cm, pages 95
Binding: Hard
Publisher: Galerija Prešernovih nagrajencev Kranj, 2018