the lovest, revisited
08. 06. – 14. 06. 2018

With selected art posters and a documentary film, the lovest, revisited presents the project the lovest, which lived and breathed from 2011 to 2014. Strategically and in terms of content, it is a continuation of the project I’m Culture, with which the visual artist JAŠA left a significant mark on the Triennial of Contemporary Art in Slovenia in 2010, curated by Charles Esche. The artist developed a strategy of the relationship towards the entire exhibition and space, focusing on the unused areas. He carried out a series of events that took place in all areas and functional groups. They were set in the between-space, the coat check and the non-functional café, among the toilets, next to the lecture hall and elsewhere, opening up a chaotic world, diametrically opposed to the orderly exhibition aesthetic that dictated the walls of the gallery one floor up. The entire happening attracted a new, younger audience to the Museum of Modern Art, excitedly paying close attention to the happening, full of fun, humour, subjugation, destruction and shock. With the intervention nearly merging with the space, it seemed a shame for the project to come to a sudden end.

A mere two weeks after the conclusion of the triennial, the project evolved into a new one, called the lovest. Together with his collective, the artist established an alternative entrance through the window, allowing visitors to enter and exit freely, and painted the windows of the gallery basement in bright colours. With both interventions, he aimed to soften the façade of the “old lady” and/or the dilemma that turned many away before even entering the gallery. He soon moved his studio into the gallery, building form and structure on a daily basis and leaving his doors open during the official gallery opening times. The installation attaining a satisfactory form was followed by organised events that soon competed with all the other Friday night gatherings. The period coincided with a broader “renaissance” of the club scene in Ljubljana and elsewhere. Over time, the lovest became an excellent instrument of active experimentation in combining individual media into a whole of events that – regardless of the debauchery, happening, concert, dancing, performance or other raging – always ended with the same words by the legendary gallery doorman: “The museum is closing.” The author aimed to utilise the form of a club or party as an artistic form, a participatory Gesamtkunstwerk. As he adds today: “Speaking about the lovest is speaking about life as we saw and lived it.”