Milan Eric and Zvonko Choh are known to us primarily as excellent draftsmen. Kostanjevica's exhibition entitled 'The Longing for light' in their work provokes a shift from drawing installations, which with unusual, witty, even improvised combinations of drawings were created in dialogue with the exhibition grounds to installation in space. The kostanjevica installation is a holistically designed ambience that takes inspiration from the architectural and symbolic logic of space, while at the same time perverting it with artistic intervention and translating it into a different experience area. In the space of the monastery Basilica, the artists created an alternative "architectural" situation by hanging and intertwining transparent white ribbons from the ceiling and walls, as if drawing in the air. Assembled in a grid, these fill and agitate the normally vacated church space. On the one hand, their structure follows the rhythm of architectural elements, pointed arches, bundle columns and vaults, while maintaining an idiosyncratic play of forms.
Photo: Tomaz Grdin, GBJ archive
Milan Erič in Zvonko Čoh sta nam poznana predvsem kot izvrstna risarja. Kostanjeviška razstava z naslovom Koprnenje po svetlobi v njunem delu izzove premik od risarskih instalacij, ki so z nenavadnimi, duhovitimi, tudi improviziranimi kombinacijami risb nastajale v dialogu z razstavišči k instalaciji v prostoru. Kostanjeviška instalacija je celostno zasnovan ambient, ki se navdihuje pri arhitekturni in simbolni logiki prostora, hkrati pa jo z umetniško intervencijo sprevrača in prevaja v drugačno doživljajsko območje. V prostoru samostanske bazilike sta umetnika ustvarila alternativno »arhitekturno« situacijo, tako da sta s stropa in sten, kot da bi risala po zraku, izobesila in prepletla transparentne bele trakove. Sestavljeni v mrežo ti zapolnijo in razgibajo običajno izpraznjen cerkveni prostor. Na eni strani njihova struktura sledi ritmu arhitekturnih elementov, šilastih lokov, snopastih stebrov in obokov, hkrati pa ohrani samosvojo igro oblik.
Foto: Tomaž Grdin, arhiv GBJ
