Dušan Mandić: È stata un'impresa orrenda, come se la Slovenia avesse vinto la Coppa del Mondo

Dušan Mandić, a member of the Slovenian art collective Irwin, has unveiled his personal diary titled The Painter’s Diary, which chronicles the period from 1984 to 1990—a time he describes as one of boundless energy, desire for change, and a longing for alternatives. The work, presented through a series of reflections and artistic interpretations, captures the intense creative output of the group during this era. Mandić, who has participated in nearly 800 exhibitions over four decades, approximately 200 of them solo, uses the diary to explore the methodologies, conflicts, and philosophical undercurrents that defined the Irwin collective's approach to art. He highlights how their ideas were prolific yet constrained by limited resources and time. Mandić’s diary spans the years 1984 to 1990, a period marked by rapid shifts in political and cultural landscapes across Europe. During this time, the Irwin collective was known for its experimental and conceptual works that challenged traditional notions of art. The diary serves both as a documentation of these efforts and as a tribute to the alternative paths they pursued. It references key figures such as Kazimir Malevič, Ivan Batič, Miroslav Knez, Slavoj Žižek, Jacques Lacan, and even mundane elements like a plow and a cup of coffee, illustrating the diverse influences that shaped the collective’s vision. The diary is part of a broader exhibition that includes contributions from other artists associated with the Irwin collective. These works reflect the group’s ongoing engagement with themes of identity, power structures, and the role of art in society. Mandić emphasizes that the diary is more than just a record, it functions as a kind of memorial, preserving the spirit of innovation and resistance that characterized the collective’s early years. In addition to Mandić’s work, the international gathering of self-taught artists took place in Trebnje, where ten artists from Slovenia and abroad showcased new pieces. Among them was Zdenka Bukovec, a retired art teacher who chose to focus her contribution on the motif of chickens, a subject she had previously grown tired of. However, having registered for the event with this theme, she felt compelled to continue exploring it. “I didn’t want to come to the camp and experiment with something completely new, which might not have worked well,” she explained. “If I signed up with chickens, then I must create chickens here too.” The event featured a range of artistic expressions, including works by Bulgarian artist Georgi Georgiev and others from around the world. Each participant brought unique perspectives, reflecting the diversity of the global self-taught art community. The exhibition highlighted the continued relevance of unconventional approaches to creativity, emphasizing the value of personal expression outside formal training. The presentation of Mandić’s diary coincides with renewed interest in the legacy of the Irwin collective, whose influence extends beyond Slovenia into international art circles. Their conceptual works have been exhibited globally, often sparking discussions about the boundaries of art and its relationship to social and political contexts. Mandić’s diary adds another layer to this narrative, offering insights into the internal dynamics and motivations that drove the collective’s groundbreaking projects. Art critics and curators have noted that Mandić’s work provides a rare glimpse into the creative process behind some of the most influential contemporary artworks. By documenting the challenges faced by the collective, such as financial constraints and the need to constantly reinvent themselves, he offers a nuanced understanding of the pressures that accompany artistic innovation. His reflections also touch on the philosophical debates that surrounded the group’s practices, drawing connections between their work and broader intellectual movements of the time. As the exhibition continues, visitors will have the opportunity to engage with both Mandić’s diary and the wider body of work presented by the participating artists. The event underscores the enduring significance of self-expression and the importance of preserving the histories of artistic movements that challenge conventional norms. The exhibition runs through the end of the month, with additional programs planned to further explore the themes raised by the participants.