Razstava
| Koprodukcija | V sodelovanju z / in collaboration with Občino Piran, Obalnimi Galerijami Piran, Gledališčem Glej in programom Boundary / Municipality of Piran, Coastal Galleries Piran, Glej Theatre and the Boundary Crossing Programme |
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Ustvarjalci
| Mentor / Mentor | Marko Čeh |
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| Sodelujoči umetniki in umetnice / Participating Artists | Manuel Brajnik, Kalina Naskovski Perne, Anja Papuga Sam Scheuermann, Kristian Zupan |
Prva razstava na Festivalu FUGA 2025 pomeni pomembno razširitev festivalske vizije. Odpira prostor umetniški raziskavi, ki izhaja iz metodologije Boundary Crossing in raziskuje meje med gledališčem, vizualno umetnostjo in utelešeno izkušnjo. Umetnice in umetniki skozi raznolike prakse razmišljajo o vprašanjih glede krhkosti telesa, politične prisotnosti, identitete, institucionalne travme, tišine kot prostora odpora in mitološke preobrazbe. Razstava ustvarja polje napetosti, kjer se pomeni ne zaključijo, ampak vztrajajo – kot vprašanje: Kaj ostane od nas, ko preživimo? Vsebinska izhodišča razstave temeljijo na festivalskih predstavah, toda ne gre zgolj za ilustracijo gledaliških del, temveč za vzporedni premislek. Razstava obiskovalca vabi k prisotnosti v razpoki, med vidnim in nevidnim, med strukturo in razkrojem, med posameznikom in kolektivom. V tem prostoru vmesnosti lahko predolgo preslišani glasovi ponovno zazvenijo.
The first visual arts exhibition at FUGA Festival 2025 marks a significant expansion of the festival’s vision. It opens a space for artistic research grounded in the Boundary Crossing methodology, exploring the porous borders between theatre, visual art, and embodied experience. Through diverse practices, the participating artists reflect on questions of bodily fragility, political presence, identity, institutional trauma, silence as a space of resistance, and mythological transformation. The exhibition creates a field of tension, where meanings do not conclude but persist — as in the central question: What remains of us after we survive?
The exhibition is not a mere illustration of the festival’s performances but a parallel inquiry. It invites the viewer to remain present in the crack — between the visible and invisible, between structure and collapse, between the individual and the collective. In this in-between space, voices long silenced may finally be heard again.
