8. 11. 2006 – 12. 12. 2006
The first civilizations have respected and worshiped sexuality since it preserves humanity. Religion and politics have influenced our culture to that extension that it proclaimed everything connected with sex as unnatural. Freud explained: every impulse, conscious or not, that is stimulated by the human body and reaches the mind is sexual. Therefore, all human instincts that control the human behavior are sexual. The church and state have managed to oppress it by claiming sexuality is a sin. What they did is oppress the act that preserves the mankind. Of course, this oppression was sometimes reflected in art. Drago Tršar is one of the few artists, who does not care about the morals considering sexuality but creates full-blooded pieces instead.
dr. Jure Mikuž
Drago Tršar’s work is not provocative and has no intention to be. The artist is too wise and skillful to be interested in sensationalism or tempted by a predicted reaction of the audience. His erotic opus expresses a personal world, which surprisingly is not marked by trauma and feelings of anxiety but is relaxed and follows the quote joie de vivre. Not even when the casts are reminiscent of a death mask nor when death is actually mentioned and painted on a cast as a pirate flag with a skull. Though Tršar completely ignores and speaks ironically about death, his world is not superficial but extremely deep in all its cheerful extensions that find its final expression in the hymn of life.
Drago Tršar was born in Planina pri Rakeku in 1927. In 1944 he painted at the Goršet’s painting school and sculptured (his mentor was the sculptor Boris Kalin) – Tršar consequently got interested in sculpture. He graduated at the Academy for fine arts in Ljubljana (1951). His professors were Boris Kalin, Zdenko Kalin, Karel Putrih and Peter Loboda. He continued his studies in sculpture (his mentor was professor Frančišek Smerdu). In 1956/57, Tršar was the first scholar of the Prešeren fond in Italy, in 1953 he was the only sculptor in the group ‘Skupina 53’ (modern sculptors). An important turning point followed in 1957, when Drago Tršar concentrated on mass comprehension of the sculpture. With his problems of plastic, he became an internationally recognized sculptor who was invited to the most important international exhibitions (Venetian bienalle, Documenta in Kassel, Middelheim park in Antwerpen, the Gugenheim Museum in New York). In 1960 he became an assistant at the Academy for fine arts in Ljubljana, in 1967 a professor. Tršar was the chairman of the department of sculpture. He was one of the founders of the group ˝Grupa 69˝, in 1991 he became a member of the Slovenian Academy of Sciences and Arts. Besides sculpture, Tršar is interested in drawing, graphics and ceramics.