To Decide Where the Shadow Falls , 2024
Solo exhibition, research project and essay text Passage (2024)
Plečnik House - MGML (Museum and Galleries of Ljubljana)
18.10.24 - 26.01.25
In April-May 2024, I have been working and living in Ljubljana to immerse myself into the wonderful and strange universe that is the oeuvre of Jože Plečnik (1872-1957), this renowned Slovenian architect who’s studio house has now turned into a museum that is part of MGML Museums and Galleries of Ljubljana.
The residency resulted in the exhibition To Decide Where the Shadow Falls, including several new series of sculptures and photographs; and a new essay text that reexamines the life, myths and work of Plečnik through the lens of Slovenian apiculture (beekeeping) and Plečnik use of specific tree types in the city of Ljubljana.
Passage (2024) essay text accompanying solo exhibition To Decide Where the Shadow Falls can be read [HERE]
Prehajanje (2024) esejistično besedilo ob samostojni razstavi Odločiti se, kam pada senca si lahko preberete [TUKAJ]
Press text Plečnik House:
Within the exhibition projects of contemporary interpretation of Plečnik's heritage, this year we have invited Bart Lunenburg, an innovative and promising multidisciplinary artist of the younger generation, to participate. The project is a collaboration with RAVNIKAR, a contemporary visual arts gallery, and with the support of the Embassy of the Kingdom of the Netherlands in Slovenia and the Dutch foundation Mondriaan Fund for visual arts and cultural heritage.
As part of his international residency at the MGLC Švicarija in April and May 2024, the Dutch artist Bart Lunenburg has spent an extended period in Ljubljana researching, reinterpreting and recontextualising Plečnik's architectural heritage through his own perspective.
Lunenburg's multidisciplinary artistic practice is largely concerned with architecture and its associated visual imagery, the absence and presence of buildings, their memories and histories. By interweaving architectural history and heritage with his own personal observations, Lunenburg creates artistic pieces that explore the complex relationship between people and their natural and constructed environment. He first visited Ljubljana some time ago and instantly, without much prior knowledge, became fascinated with Plečnik and our treatment of his life and work. In To Decide Where the Shadow Falls Lunenburg reinterprets Plečnik’s oeuvre through architectural and ecological elements such as Slovenian tradition of apiculture and Plečnik's relation to certain tree species in Ljubljana, all the while connecting the architect’s material heritage with the enduring image of a hard-working private individual, a renowned figure of brilliant genius, embedded in the fabric of this city and country.
“Bart Lunenburg's artworks include subtle hints at specific buildings, a tree, a drawing tool, textile references, and anecdotes from Plečnik's life, ultimately seeking to understand how all of these aspects combined affect our perception of the (natural) landscape of Ljubljana – or, if we consider these elements in a more universal sense, of any city – to this day,” the curator Eva Simonič from the Ravnikar gallery wrote about the message of the exhibition. The artist Bart Lunenburg highlighted that, among other things, he was interested “in the question of to what extent the persona of a single architect, with his individual preferences, fears, desires, and political ideology, determines how we experience private and public spaces in a city. And in what way is the city an arena between, on the one hand, ‘buildings as sculptures by the architect’ and, on the other hand, a comfortable and pluralistic living environment? Or, simply put, how do we live in the sculptural dream of an architect? Sculptures that historically have almost exclusively been made by male architects?”
Ana Porok, curator of the Plečnik House, adds that Lunenburg “has sought to discover and reinterpret the narratives surrounding Plečnik's personality and creativity, being aware of his role as an external observer. His ability to intertwine various disciplines and create fresh perspectives in this well-explored field promises a unique experience that will encourage our visitors to rethink Plečnik's heritage and its significance in a contemporary context.”
The exhibition consists of several self-contained series composed of photographs and sculptures. Each series forms an autonomous spatial installation that is simultaneously connected to the others, meandering through the rooms of Plečnik House, which was once a secluded home for the architect but is now, in stark contrast, a museum dedicated to preserving both Plečnik's possessions and his spirit. The exhibition is both a poetic, visually driven interpretation, with the simple objective of creating beauty, an endeavour Plečnik would most likely approve of, as well as an attempt to map the network of both real and constructed histories concerning personal and sociopolitical circumstances that permeate the architect's extensive legacy.
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Solo exhibition, research project and essay text Passage (2024)
Plečnik House - MGML (Museum and Galleries of Ljubljana)
18.10.24 - 26.01.25
In April-May 2024, I have been working and living in Ljubljana to immerse myself into the wonderful and strange universe that is the oeuvre of Jože Plečnik (1872-1957), this renowned Slovenian architect who’s studio house has now turned into a museum that is part of MGML Museums and Galleries of Ljubljana.
The residency resulted in the exhibition To Decide Where the Shadow Falls, including several new series of sculptures and photographs; and a new essay text that reexamines the life, myths and work of Plečnik through the lens of Slovenian apiculture (beekeeping) and Plečnik use of specific tree types in the city of Ljubljana.
Passage (2024) essay text accompanying solo exhibition To Decide Where the Shadow Falls can be read [HERE]
Prehajanje (2024) esejistično besedilo ob samostojni razstavi Odločiti se, kam pada senca si lahko preberete [TUKAJ]
Press text Plečnik House:
Within the exhibition projects of contemporary interpretation of Plečnik's heritage, this year we have invited Bart Lunenburg, an innovative and promising multidisciplinary artist of the younger generation, to participate. The project is a collaboration with RAVNIKAR, a contemporary visual arts gallery, and with the support of the Embassy of the Kingdom of the Netherlands in Slovenia and the Dutch foundation Mondriaan Fund for visual arts and cultural heritage.
As part of his international residency at the MGLC Švicarija in April and May 2024, the Dutch artist Bart Lunenburg has spent an extended period in Ljubljana researching, reinterpreting and recontextualising Plečnik's architectural heritage through his own perspective.
Lunenburg's multidisciplinary artistic practice is largely concerned with architecture and its associated visual imagery, the absence and presence of buildings, their memories and histories. By interweaving architectural history and heritage with his own personal observations, Lunenburg creates artistic pieces that explore the complex relationship between people and their natural and constructed environment. He first visited Ljubljana some time ago and instantly, without much prior knowledge, became fascinated with Plečnik and our treatment of his life and work. In To Decide Where the Shadow Falls Lunenburg reinterprets Plečnik’s oeuvre through architectural and ecological elements such as Slovenian tradition of apiculture and Plečnik's relation to certain tree species in Ljubljana, all the while connecting the architect’s material heritage with the enduring image of a hard-working private individual, a renowned figure of brilliant genius, embedded in the fabric of this city and country.
“Bart Lunenburg's artworks include subtle hints at specific buildings, a tree, a drawing tool, textile references, and anecdotes from Plečnik's life, ultimately seeking to understand how all of these aspects combined affect our perception of the (natural) landscape of Ljubljana – or, if we consider these elements in a more universal sense, of any city – to this day,” the curator Eva Simonič from the Ravnikar gallery wrote about the message of the exhibition. The artist Bart Lunenburg highlighted that, among other things, he was interested “in the question of to what extent the persona of a single architect, with his individual preferences, fears, desires, and political ideology, determines how we experience private and public spaces in a city. And in what way is the city an arena between, on the one hand, ‘buildings as sculptures by the architect’ and, on the other hand, a comfortable and pluralistic living environment? Or, simply put, how do we live in the sculptural dream of an architect? Sculptures that historically have almost exclusively been made by male architects?”
Ana Porok, curator of the Plečnik House, adds that Lunenburg “has sought to discover and reinterpret the narratives surrounding Plečnik's personality and creativity, being aware of his role as an external observer. His ability to intertwine various disciplines and create fresh perspectives in this well-explored field promises a unique experience that will encourage our visitors to rethink Plečnik's heritage and its significance in a contemporary context.”
The exhibition consists of several self-contained series composed of photographs and sculptures. Each series forms an autonomous spatial installation that is simultaneously connected to the others, meandering through the rooms of Plečnik House, which was once a secluded home for the architect but is now, in stark contrast, a museum dedicated to preserving both Plečnik's possessions and his spirit. The exhibition is both a poetic, visually driven interpretation, with the simple objective of creating beauty, an endeavour Plečnik would most likely approve of, as well as an attempt to map the network of both real and constructed histories concerning personal and sociopolitical circumstances that permeate the architect's extensive legacy.
The exhibition contains of the following series of works:
Lights are on but nobody’s home (2024), Guidelines (2024) (installation),
Windows Should be Clean and White (2024), To Make Into a Bundle (2024), Guidelines (2024) (photo series)
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Research vitrine in the exhibition with studies, scale models and reference material
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Passage (2024) presented in the context of the exhibition on Plečnik’s student chairs
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Lights are on but nobody’s home (2024), Guidelines (2024) (installation),
Windows Should be Clean and White (2024), To Make Into a Bundle (2024), Guidelines (2024) (photo series)
Research vitrine in the exhibition with studies, scale models and reference material 
Passage (2024) presented in the context of the exhibition on Plečnik’s student chairs