Forma Viva / Božidar Jakac Art Museum

Kostanjevica na Krki, Slovenia 2023


Forma Viva is certainly an interesting concept of artistic creation. The creativity stimulated by symposium creation, defined by time and local resources, encourages a wide range of ideas, working potentials and creative experiences. My reason for participating in the symposium was primarily to reflect on Forma Viva as a whole. Looking at the multitude of artistic solutions by different artists that are scattered around the surrounding parks and fields is a kind of overview of the social record through time and space. To materialise the reflection, critique and contemporary articulation of wooden sculpture seemed reason enough. Hopefully, Shell will bring a continuity of change in this historical record of artistic interventions.

Shell has been a tree from the beginning and will remain a tree. I am not interested in how to reshape and transform it into a new, unrecognisable form with the artist’s signature. The aesthetics of the natural is a complex ideal. I am interested in the interiority of substance, its duration and its passing. That is why I halved, hollowed out and filled this large log, the remnant of an even larger tree, with artificial material. A material that is becoming the bond of civilisation – concrete. In this way, its interior is permanent, and the shell of the tree is left to time and the forces of nature. The decay and absence of the wooden shell brought about by nature will reveal the artificial core, the construct of the tree’s memory and the anthropogenic nature of conservation.


More about Forma Viva on: Božidar Jakac Art Museum

I Made This

I Made This

Photo: Jaka Babnik, Božidar Jakac Art Museum archive

Solo exhibition, Božidar Jakac Art Museum, former monastery church, Kostanjevica na Krki, Slovenia

24 September 2021-27 March 2022

The exhibition I Made This consists of spatial works created by Tomaž Furlan, sculptor and multimedia artist, who often addresses the complex relationships between humans, our environment and the everyday banalities. His latest work consists of a series of objects, with which he directly, materially and self-reflectively addresses the social dynamics between the so-called civilised society and its most common accessories. A series of sculptures, installations and spatial interventions created from robust materials, such as stone, terazzo concrete, marble and wood are on display in the Former Monastery Church.

Tomaž Furlan’s artistic practice is deeply interwoven with a humorous and ironic attitude to situations that an individual might face in his everyday life and that he is, in the spirit of the times, forced to solve in the manner of optimal efficiency. In 2005 he started constructing a series of absurd machines that share the name Wear, in which sculptured objects are used as body extremities and elements of set design in video performances. His sculptures and installations question the society of unavoidable effectiveness, in which there is no space for useless objects that do not have a practical and potentially monetary value. Furlan continues to question this topic in his most recent artworks. Within this exhibition he addresses the omnipresent idea of ‘common sense’, which is supposedly the criterion for rationality and efficiency. As a result, he presents seemingly trivial objects, which (possibly subconsciously) govern human lives. In his recognisable style, interwoven with self-irony and distanced from his own position, he exposes the absurdity of objects he created and the ideas that they represent. Due to their questionable functionality these seemingly common objects can be understood as merely (useless) works of art.

Miha Colnar

More on: Božidar Jakac Art Museum

Under the Surface, ARCOMadrid

Under the Surface, ARCOMadrid

Photo: P74 Gallery archive

Art fair ARCOMadrid, collaboration with P74 Gallery

26 February  – 1 March 2020

P74 Gallery proudly presents a dialogue between two remarkable artists of different generations: the innovative practice of the young Tomaz Furlan and the post-conceptual practice of the middle-generation Joze Barsi. In their work, they both deal with objectness (Barsi: from the deconstruction of the sculptural object in the mid-1990s to a shift to architectural explorations of space and their subsequent expansion into installation), the autonomy of the subject, and individualization. The title Under the Surface implies synonyms such as “basement”, “depths”, “belly”, “ground”, “groundwork”, “pedestal”, “rest”, “substructure”, etc. Tomaz Furlan and Joze Barsi both show a specific interest in the strategies of re-use: Furlan in the construction processes of his “machines” and Barsi in the post-conceptual re-examination process of copying the overlooked and ignored texts of political philosophy and art.

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Retrospective exhibition, Museum of contemporary art Rochechouart, Rochechouart, France
February 28 – June 7 2015


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Musée de Rochechouart