VečerIndependent🔒CenterFactual 95Objective 939 days agoThe article discusses an exhibition titled 'Mehka polja' (Soft Fields) by artist Slađana Matić Trstenjak at the artKIT gallery. The exhibition explores themes of perception, memory, and color through abstract compositions that blend texture, light, and materiality. The artworks are described as creating a contemplative atmosphere where viewers experience a slow, immersive engagement with the visual elements. The text emphasizes how these pieces invite reflection rather than immediate interpretation, allowing the viewer's understanding to develop gradually. The exhibition is part of a series of three spaces managed by KIBLA.
Bias read (Center): The article focuses on an art exhibition and does not engage with political topics, figures, or policies. It provides descriptive commentary on the artistic process and themes without taking a stance or showing bias toward any political perspective.
Why factuality (95): The article provides detailed descriptions of the exhibition and the artist's work, aligning closely with the cross-source consensus on the themes and style of Slađana Matić Trstenjak's art. It accurately represents her artistic approach as described by Nina Šardi and does not introduce any unverifi
Why objectivity (93): The tone is largely descriptive and analytical, focusing on the visual and conceptual aspects of the artwork. While there is some poetic language, it remains appropriate for an art review and does not show clear bias or favoritism toward any particular interpretation.
VečerIndependent🔒CenterFactual 80Objective 857 days ago Permanent remains of Europe at the Gallery raum AU in Slovenj GradcThe article announces an exhibition titled 'Vztrajni ostanki Evrope' (Persistent Remains of Europe) by artist Peter Rauch, which will open on July 31, 2026, at Galerija raum AU in Slovenj Gradec. The exhibition is part of the 'Popotovanje po Arte Utile' project, a research residency at the studio of Pin Poggi, aimed at exploring his ideas and work. Rauch, an architect, photographer, and lecturer, focuses on the myth of Europe and the foundations of our culture through his art. In his statement, Rauch explains that he collects fragments of construction waste and transforms them into new materials, embedding meaning into them. The exhibition will run until September 18, with curator Jernej Kožar (KGLU) overseeing the display.
Bias read (Center): The article discusses an art exhibition focused on cultural themes and does not involve any political figures, policies, or contentious issues. It provides factual information about the event, its context, and participants without showing any ideological bias or framing that would suggest a leaning.
Why factuality (80): The article accurately describes the exhibition by Peter Rauch, including details about the project, the artist, and the collaboration with institutions. The information matches what would be expected from a gallery announcement. Minor inconsistencies may exist due to the nature of art exhibitions,
Why objectivity (85): The article maintains an objective tone, presenting the artist’s statement and background without personal commentary. It focuses on the exhibition itself and the collaborative efforts, avoiding any subjective interpretation or emotional appeal.
Photography is my way of lifeThe article discusses a photography exhibition featuring images taken by the photographer, including a notable photograph of a sculpture of Ivan Grohar in Sorica with the Northern Lights in the background. The photographer describes how this particular image was captured during autumn 2024 after he learned that the aurora borealis would be visible in Slovenia. He traveled to Sorica without a clear plan but eventually set up his equipment near Grohar’s sculpture, capturing the image over 15 seconds while additionally lighting the sculpture to avoid it appearing as just a silhouette. The exhibition aims to showcase the breadth of the photographer’s work across different genres, both professional and personal. It marks the first time the photographer has not been involved in selecting the exhibited photographs, as curator Miha Colner made the selections based on a review of the photographer’s online portfolio and social media content.
Bias read (Center): The article focuses on a cultural event, specifically a photography exhibition, and does not engage with political issues, officials, policies, or contested topics. There is no framing or slant detectable in the content provided.
Why factuality (60): This article focuses more on personal experience and artistic perspective rather than objective historical facts. It describes a specific photographer's process and emotions during a shoot, which may not align with the broader context of the exhibition. While it contains factual elements about the l
Why objectivity (65): The tone is more subjective and personal, focusing on the photographer's experience and feelings. This introduces a level of emotional engagement that may skew the reader's perception, making it less objective compared to the previous articles.
Yuri Selan: A tribute to the Alpine landscape that also opens up a painterly reflection on colourThe article discusses an art exhibition by painter Jurij Selan titled 'Gore,' which showcases his artistic cycle inspired by the Slovenian Alpine landscape. The exhibition takes place at the Glass Atrium of the City House in Ljubljana until September 10th. Selan's work explores fundamental questions of visual form, particularly focusing on color as a foundational element of painting. The exhibition is accompanied by a round table discussion on mountain landscapes in Slovenian art, featuring Selan and art historian Bernarda Stenovec. The piece emphasizes Selan's personal connection to nature and his academic background in fine arts.
Bias read (Center): The article presents an objective overview of an art exhibition and does not engage with politically charged topics. It focuses on cultural and artistic content rather than political discourse, making it apolitical in nature.
Second part of the exhibition Ljubljana '71The second part of the exhibition 'Grafika Ljubljana '71 – Žirovnica' opened in Čopova rojstna hiša in Žirovnica on Saturday evening. The exhibition, which began in June, continues the narrative about Zoran Kržišnik and the significant graphic map of 'Grafika Ljubljana '71'. It features works by seven recognized Slovenian artists including Vladimir Makuca, Bogdan Borčić, Metka Krašovec, Gorazd Šefran, Marjan Pogačnik, Karl Zelenk and Dževad Hozе. The event was attended by director Matjaž Koman and artist Andrej Jemec.
Bias read (Center): The article reports on a cultural exhibition without any political commentary or framing. It presents factual information about the exhibition, its participants, and its location without taking a stance or showing bias.
The international art biennial on the Big MountainThe 13th International Visual Arts Biennale Velika Planina will take place from August 5 to August 8, 2026, at Stahovica near Mali Planina. The event invites visitors to witness the creation of artworks, interact with artists, and experience the atmosphere of high mountain scenery. On August 6, at 5 PM, attendees will have the opportunity to view paintings and explore the life and work of architect Vlasta Kopač, whose unique design has left a lasting mark on the pastoral settlement of Velika Planina.
Bias read (Center): The article discusses a cultural event focused on art and architecture, with no mention of political figures, policies, or contentious issues. It provides factual information about the biennale and its activities without any apparent ideological framing or bias.
An art installation that sees and illuminates the invisible work of everyday womenAn artist named Ana Škarjak Kotar has opened an exhibition titled 'Who Cares?' at the Kocka Gallery in Nova Gorica. The installation explores themes of care work and motherhood, highlighting the often-overlooked labor performed by women. The exhibit features performers dressed in red uniforms who move silently through the space, symbolizing the division of a single body into multiple locations simultaneously. The installation includes sensory elements such as milk, cleaning products, and coffee, emphasizing the physical exhaustion associated with reproductive labor. Through this artwork, Škarjak Kotar brings attention to the invisible nature of caregiving work and its impact on the female body.
Bias read (Center): The article discusses an art exhibition focused on cultural themes related to motherhood and caregiving. It does not engage with political issues, policies, or figures directly. The content is descriptive and analytical of the artistic expression without any apparent ideological slant.
Slovenia
