Split Identities:
Objects at the Interstice of Art and Design

Every three years, Murska Sobota – a small-scale Slovenian city of 20,000 inhabitants, at the interstice of three countries (Hungary, Croatia, Austria) - plays center stage to an international art event. Among the plethora of biennials and triennials worldwide, the European Triennial of Small-Scale Sculpture in Murska Sobota plays an historic and unique role. From its origins in 1973 as a Yugoslavian Biennial for small sculpture to its repositioned focus on European small-scale sculpture and its transition to a triennial format in 1999, sixteen editions have taken place. It is notably one of two major events dedicated to small-scale sculpture – the other one, perhaps better known to a “Western European” public, taking place in Fellbach, Germany since 1980. The Slovenian triennial distinguishes itself through its purely European focus, linking former Eastern and Central Europe with Western Europe.

Since 2001, the Gallery has named an artistic director to conceive a theme for the Triennial: first “Architectural Small-scale Sculpture” (2001, curated by Christoph Brockhaus), then “Renaissance of the Statuette” (2004, curated by C. Brockhaus), and most recently “Joke, Satire, Irony and Serious Meaning” (2007, curated by Thomas Deecke). Each edition united thirty artists proposed by curators from about a dozen countries selected by the artistic director.

Under the new leadership of Robert Inhof, who has succeeded Franc Obal as director of the Art Gallery of Murska Sobota in 2008, the European Triennial of Small-Scale Sculpture has further refined its concept and updated its organizational framework. The role of the artistic director has been strengthened: as sole curator of the exhibition, he/she now has full autonomy in the artistic choices, resulting in a tighter and more consistent overall exhibition. The French curator based in Germany, Katia Baudin, has been invited to curate the 17th edition of the Triennial.

For Katia Baudin, the challenges of curating this particular triennial have been multiple. Her goal has been to select a theme that relates inherently to the local context: the geographic border situation of Murska Sobota and its oscillating identity as an Hungarian, Yugoslavian and now Slovenian city; the traditional economic characteristics - from potters villages to the rise and fall of the textile industry; a local population relatively isolated from other major cities, less familiar with cutting edge developments in contemporary art (making it necessary to choose works that are more visual in nature and easily understandable – that the spectator can identify with).

Another aspect also needed to be defined to come up with an adequate theme: what is “small-scale sculpture”? Rare are those artists that limit themselves today to small-scale sculpture, or even to one medium – be it painting, sculpture, photography or video. In a conceptually-based artworld, the artist chooses the technique, and ensuing size that is best adapted to his or her artistic project, from a tiny object to a huge outdoor sculpture. However, certain types of sculptures are almost always small in size: the model or the maquette for large scale works (sculpture or architecture), and the figurine. In both cases, these small-scale sculptures are rarely of purely autonomous nature – more often they are miniature sketches of larger, final works.

However, there is perhaps one artistic 3-dimensional sculptural form which could be considered as small-scale and autonomous in nature: the object. The unique character of the object resides in its direct and active relationship with the human body or subject. Of smaller scale, it can be held, manipulated, worn or intimately looked at. While the object in its functional form has long inspired designers, over the past two decades, an increasing number of artists have shown an active interest in creating everyday objects while designers have crossed the other border by creating objects that question functionality and refuse categorization. Today, it is not rare for designers to exhibit at art galleries (Matali Crasset at Ropac, Marc Newson at Gagosian) or for artists to create furniture or objects for international furniture makers (Atelier van Lieshout for Moooi). Is it art or is it design? Is it a sculpture or is it a lamp?

“Split Identities: Objects at the Interstice of Art and Design” will explore these complex relationships that reflect our own lives in a world driven by the possession of objects. It will unite works by about 25 major artists and designers from a dozen countries throughout Europe that examine the “dys/functional” object through different perspectives. While focusing on contemporary positions, certain “historic” references will be included – such as Marcel Duchamp and his groundbreaking Readymade sculptures. Many of the artistic positions included in the exhibition question the modernist mottos “Form follows function” (Sullivan) and “Ornement is a crime” (Adolf Loos), although they ultimately pursue the interdisciplinary orientation of the modernist ideal, elevating the applied arts to the same level as the fine arts. The complex interplay between local and global, tradition and innovation has also been a subject of increased interest not only for designers and artists, but also for industry. This Triennial will thus focus on some of the most fruitful relationships between creators and artisans or traditional industries in Europe by presenting the resulting unique objects (ex. Glassfab bohemian Glass project by Matali Crasset, new projects for Nymphenburg and Kahla on occasion of the 300th anniversary of European porcelain production). Ultimately, this exhibition aims to explore the object in all its forms, both temporary and permanent – from sculpture to jewelry, fashion, and tableware; from postcards to comestible (eatable) objects.

For the first time, a designer has been invited to create a specific, user-friendly environment to “house” the objects in the exhibition, questioning the manner in which small-scale sculpture – in particular objects – can be displayed. The Paris-based Austrian designer, Robert Stadler has been invited to create a unique exhibition design that will be an integral part of the exhibition itself and a specific contribution to the theme.

Although the exhibition will be shown predominantly in the Art Gallery of Murska Sobota, certain artistic events and temporary projects will also take place outside of museum doors.

This triennial exhibition aims at crossing many borders, including those that separate art from everyday life!

The exhibition will be accompanied by a catalogue (Slovenian, English).