15 MARCH - 8 APRIL 2011

Curator: Marko Košan
Produced by: Aksioma – Institute for Contemporary Art, Ljubljana
Co-produced by: Koroška Gallery of Fine Arts
Executive producer: Marcela Okretič
All exhibited works painted by: Viktor Bernik
Supported by: the Ministry of Culture of the Republic of Slovenia, the Municipality of Ljubljana and the Municipality of Slovenj Grade

Janez Janša, Janez Janša and Janez Janša tackle collectively the issue of the politics of painting for the first time. The project Signature consists of twenty-seven paintings, which were commissioned by the Janšas and painted by the artist Viktor Bernik.

Each one of them depicts the signature Janez Janša painted in thick acrylic paint. The paintings, assembled in nine triptycs, differ from one another visibly only due to the manual manufacture of the image of each signature. When the viewer pays closer attention to the signature on each triptych, it becomes clear that the difference ensues from the combination of the signatures of the authors of the project.

It seems as if each triptych has been conceived by different authors. In the twenty-seven paintings, we encounter four different combinations of words, that is, four variations of the names and the surnames Davide Grassi, Emil Hrvatin, Janez Janša and Žiga Kariž.

In the book of the same title, which will be available at the gallery, Petja Grafenauer points out that the painting project Signature by the three Janšas raises the question of authorship, which is still perceived as a highly individual matter in fine arts and which is considered the expression of the work of the artist genius himself.

Is the author the artist who created the work, or the artists who signed it? And who is the signatory, and how many of them are there? Is Emil Hrvatin a different author from the same person with the name Janez Janša? What are the market and the cultural value of these two triptychs? Are they the same or different?

The theorist Miško Šuvaković situates the exhibition “Signature” within the broader project Janez Janša, in which Janez Janša, Janez Janša and Janez Janša continue the practice of “exploring, testing and reorganising the structure of human naming. The naming and designation, that is, the mediation by virtue of the name for communication and identification purposes, have become the central topic of their artistic exploration of the human condition (conditio humana)”.