Ana Janež: Gledala sem, kako jih naplavlja

𝐀𝐧𝐚 𝐉𝐚𝐧𝐞𝐳̌: 𝐆𝐥𝐞𝐝𝐚𝐥𝐚 𝐬𝐞𝐦, 𝐤𝐚𝐤𝐨 𝐣𝐢𝐡 𝐧𝐚𝐩𝐥𝐚𝐯𝐥𝐣𝐚
1. 7.–26. 7. 2026
Stekleni atrij ljubljanske Mestne hiše

📌𝐎𝐝𝐩𝐫𝐭𝐣𝐞 𝐫𝐚𝐳𝐬𝐭𝐚𝐯𝐞: 𝐬𝐫𝐞𝐝𝐚, 𝟏. 𝐣𝐮𝐥𝐢𝐣 𝟐𝟎𝟐𝟔, 𝐨𝐛 𝟏𝟗. 𝐮𝐫𝐢
🔹Vodstvo po razstavi z umetnico in kuratorko: torek, 7. 7. 2026, ob 17. uri

Razstava predstavlja serijo slikarskih del, v katerih umetnica Ana Janež z reinterpretacijami motivov raziskuje večplastnost podob in pomenov ter njihovo berljivost. Kot osnovni vizualni gradniki v delih nastopajo meduze in druge naplavine, ki jih je umetnica našla ob obali, vendar te niso prikazane kot jasno določljivi in berljivi simboli. Z multipliciranjem fragmentiranih elementov manipuliranih digitalnih posnetkov, njihovim plastenjem in ponovnim konstruiranjem ter dodajanjem plasti vzorčastih tkanin in debelih nanosov barve umetnica ustvarja reliefne površine, ki jih lahko razumemo kot prispodobe spremenljivosti, fluidnosti in transformacije, procesa, v katerem nekaj izgubi svojo prvotno obliko. Razstava Gledala sem, kako jih naplavlja je tako proces opazovanja, v katerem se podoba ne stabilizira kot zaključena forma in kjer sta ključni logika zaznavanja in oblikovanja pomena. Kot naplavljanje so tudi dela in njihove interpretacije proces prehajanja, v katerem se nekaj šele oblikuje, namesto jasne interpretacije pa ostane občutek izmuzljivega.
(Vida Šturm)

𝐀𝐧𝐚 𝐉𝐚𝐧𝐞𝐳̌ (1997) je leta 2025 magistrirala iz slikarstva na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Svoja dela je predstavila na samostojnih razstavah v Layerjevi hiši v Kranju in galeriji DobraVaga v Ljubljani, sodelovala pa je tudi na številnih skupinskih razstavah, med drugim v Centru za sodobno umetnost v Celju, galeriji Tkalka v Mariboru, Slovenskem etnografskem muzeju, galeriji Equrna, Kinu Šiška v Ljubljani, galeriji Knifer v Osijeku in na umetnostnem sejmu POSITIONS v Berlinu. Leta 2026 je za magistrsko delo prejela nagrado Akademije za likovno umetnost in oblikovanje Univerze v Ljubljani.

𝘕𝘢𝘴𝘭𝘰𝘷𝘯𝘢 𝘴𝘭𝘪𝘬𝘢: 𝘈𝘯𝘢 𝘑𝘢𝘯𝘦𝘻̌, 𝘎𝘭𝘦𝘥𝘢𝘭𝘢 𝘴𝘦𝘮, 𝘬𝘢𝘬𝘰 𝘫𝘪𝘩 𝘯𝘢𝘱𝘭𝘢𝘷𝘭𝘫𝘢, 20𝘤𝘮𝘹20𝘤𝘮, 𝘢𝘬𝘳𝘪𝘭 𝘯𝘢 𝘵𝘬𝘢𝘯𝘪𝘯𝘪, 2026. 𝘍𝘰𝘵𝘰: 𝘝𝘰𝘳𝘢𝘯𝘤 𝘒𝘶𝘮𝘢𝘳
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=EN
𝐀𝐧𝐚 𝐉𝐚𝐧𝐞𝐳̌: 𝐈 𝐖𝐚𝐭𝐜𝐡𝐞𝐝 𝐓𝐡𝐞𝐦 𝐖𝐚𝐬𝐡𝐢𝐧𝐠 𝐀𝐬𝐡𝐨𝐫𝐞
1. 7.–26. 7. 2026
Glass Atrium, Ljubljana Town Hall

📌𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐨𝐩𝐞𝐧𝐢𝐧𝐠: 𝐖𝐞𝐝𝐧𝐞𝐬𝐝𝐚𝐲, 𝟏 𝐉𝐮𝐥𝐲 𝟐𝟎𝟐𝟔, 𝟕 𝐩𝐦
🔹Guided tour of the exhibition with the artist and curator: Tuesday, 7 July 2026, 5 pm

The exhibition showcases a series of paintings in which the artist reinterprets her motifs to explore the multiple layers of images and their interpretability. The works put forth amorphous, membranous, fragmented forms without clear hierarchies, opening up a field of perceptions and associations. The display plays with the idea of space, where meaning is never fully determined, always difficult to pin down; where the reading of the works remains incomplete, and instead of a definitive interpretation, the viewer is left with a sense of elusion, as if something is lacking.

The main references for the images—which appear in the works as soft, almost shapeless, diffuse forms—are jellyfish and other debris that the artist found along the shore. Rather than clearly definable and legible symbols, they are depicted as metaphors for shifting perception, fluidity, and transformation—the process of losing one’s original form. These new images function as remnants of a previous state, as traces of the original forms of debris emerging in new material form in the relief layers of the paintings. I Watched Them Washing Ashore is a record of observation in which the image refuses to stabilise into a finished form. Rather than a one-time event, washing ashore is a process of transition in which something is only just taking shape, with objects moving away from their original environment and becoming fragments of something that is no longer entirely definable, becoming traces, the exterior, or shell of a former state.

In her practice, the artist combines digital and painting techniques. By manipulating digital images, multiplying fragmented elements, layering and reconstructing them, and adding layers of patterned fabrics and thick applications of paint, she creates relief textures. Gradually, the forms no longer function as representations of specific objects or their original states. Instead, they are transformed into ambiguous visual systems that establish meaning partly through spatial arrangements and the relationships between individual elements. The focus is on the moment when, in the absence of a narrative, a new visual language and a new way of reading it emerge through the outer layer, texture, and traces of a previous state.

The forms may be familiar and recognisable, yet also alien and indefinable. As they cannot be firmly defined, they constantly shift between proximity and distance, between recognition and uncertainty. The works elude definitive interpretation, emerging as an open field of relationships, a labyrinth of riddles, speculations about records, and the filling in of gaps.

The decaying forms and their transformation—the ever-changing shapes of washed-up jellyfish, as well as the fragmented and reconstructed images and their indeterminacy—serve both as a motif and as the logic of perception. By allowing a new perception of reality, in which images and information are constantly changing, and their legibility and transmission are becoming increasingly complex, the works also raise the question of how, today, in an age of information, image, and digital transmission overload, meaning is constructed in the first place.
(Vida Šturm)

𝐀𝐧𝐚 𝐉𝐚𝐧𝐞𝐳̌ (1997) earned her master’s degree in painting from the Academy of Fine Arts and Design in Ljubljana in 2025. She has showcased her work in solo exhibitions at Layer House in Kranj and the DobraVaga Gallery in Ljubljana. She has also participated in numerous group exhibitions, including at the Center for Contemporary Arts in Celje, the Tkalka Gallery in Maribor, the Slovenian Ethnographic Museum, Equrna Gallery, and Kino Šiška in Ljubljana, the Knifer Gallery in Osijek, Croatia, and the POSITIONS art fair in Berlin. In 2026, she received an award from the Academy of Fine Arts and Design at the University of Ljubljana for her master’s thesis.

𝘊𝘰𝘷𝘦𝘳 𝘪𝘮𝘢𝘨𝘦: 𝘈𝘯𝘢 𝘑𝘢𝘯𝘦𝘻̌, 𝘐 𝘞𝘢𝘵𝘤𝘩𝘦𝘥 𝘛𝘩𝘦𝘮 𝘞𝘢𝘴𝘩𝘪𝘯𝘨 𝘈𝘴𝘩𝘰𝘳𝘦 , 20 𝘤𝘮 × 20 𝘤𝘮, 𝘢𝘤𝘳𝘺𝘭𝘪𝘤 𝘰𝘯 𝘧𝘢𝘣𝘳𝘪𝘤, 2026. 𝘗𝘩𝘰𝘵𝘰: 𝘝𝘰𝘳𝘢𝘯𝘤 𝘒𝘶𝘮𝘢𝘳