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.
Why factuality (85): The article provides clear and factual information about the second part of the 'Grafika Ljubljana '71' exhibition in Žirovnica, listing the participating artists and the continuation of the story about Zoran Kržišnik. This aligns with the cross-source consensus and lacks any misleading or exaggerat
Why objectivity (85): The article is written in an objective manner, simply reporting the facts about the exhibition and its participants without injecting personal opinion or emotional language.
VečerIndependent🔒CenterFactual 85Objective 859 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 (85): The article accurately reports on the exhibition of Ane Škarjak Kotar's installation in Gallery Kocka, describing the concept behind the work and quoting curator Tia Čiček. The details match the cross-source consensus and appear well-supported.
Why objectivity (85): The article presents the exhibition in a balanced and neutral manner, focusing on the conceptual framework and the artist's intent without showing favoritism or emotional bias.
VečerIndependent🔒CenterFactual 85Objective 808 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 (85): The article provides specific details about the exhibition 'Vztrajni ostanki Evrope' by Peter Rauch, including the venue (Galerija raum AU in Slovenj Gradec), opening date (last day of July), and context within the 'Popotovanje po Arte Utile' project. It also mentions previous residents of the resid
Why objectivity (80): The article maintains a neutral tone, presenting facts about the artist, his work, and the exhibition without overt bias or emotional language. However, it includes direct quotes from the artist, which may slightly influence the perception of neutrality.
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.
Why factuality (80): The article gives a detailed description of the exhibition 'Mehka polja' by Slađana Matić Trstenjak, including the venue (artKIT), the artistic approach, and a quote from curator Nina Šardi. While the information is generally accurate, some aspects of the description are interpretive rather than str
Why objectivity (80): The article uses descriptive and somewhat poetic language to convey the atmosphere and themes of the exhibition. While not overly biased, the tone leans toward appreciation of the artwork, which may slightly affect perceived objectivity.
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.
Why factuality (80): The article provides a detailed account of the photographer's experience and the background of the exhibition, including the location (Sorica) and the technical process involved in capturing the Northern Lights. While the narrative is engaging, it contains more personal reflections than strict factu
Why objectivity (75): The article has a more personal and reflective tone, incorporating the photographer's own experiences and emotions. This makes it less objective compared to other articles, though it still presents factual elements about the exhibition and the photographs.
The exhibition of Anna Škarjak Kotar is held at the Kocka Gallery in NovomogThe article announces an exhibition by Ane Škarjak Kotar at the Nova Gorica gallery 'Kocka' in Slovenia. The event is part of the gallery's programming and highlights the work of local artist Ane Škarjak Kotar. No further details about the exhibition's content, duration, or specific artworks are provided beyond the announcement.
Bias read (Center): The article reports on a cultural event related to a local artist and gallery, which is not a politically charged subject. As such, it does not exhibit any discernible ideological leaning.
Why factuality (75): The article reports on an art exhibition by Aneta Škarjak Kotar at the Novo mesto gallery 'Kocka'. It provides basic information about the event but lacks specific details such as dates, times, or more context about the artist or the exhibition itself. Since there is no primary source, factuality is
Why objectivity (80): The tone remains neutral and informative, focusing on reporting the event without expressing personal opinion or bias. The language is straightforward and does not attempt to influence the reader’s perspective.
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.
A century of the self: Oliver Pilić delves into the issue of reproducing one's own imageThe exhibition 'Stoletje jaza' (Century of Selfie) by visual artist Oliver Pilić explores the reproduction of self-image through auto-portraits, a traditional and historically significant iconographic motif. The exhibition at Galerija Kresija features multiple auto-portraits arranged spatially to create a multi-layered timeline of fictional yet formally structured and life-connected dissection. Pilić combines modern digital technologies like digital photography and smartphone apps for image manipulation with traditional graphic techniques such as woodcutting. The exhibition runs until September 3rd and highlights Pilić's ongoing exploration of visual structures, transformation of form, and experimentation with contemporary art media.
Bias read (Center): The article discusses an art exhibition focused on visual arts and does not engage with political issues, figures, policies, or elections. It provides factual information about the exhibition, the artist, and his techniques without any apparent ideological framing or bias.
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