Jernej Kožar, Breda Škrjanec, 2001

"In this brief description, I will tackle one aspect of pictures in the Vogue series. The rigid and affected postures of the artist in the picture have much in common with the monumental iconography of the great dictatorships of the 20th century. These pictures are depictions of a time which is no more. A more detailed analysis shows that what we have here is a time loop:
Vrabič uses a contemporary design from cover of the fashion magazine Vogue and glues his image over it, thus joining two moments: the contemporary cover of Vogue and some sort of a timeless, Irwinesque self-presentation. We face a representational hole, a temporal discontinuity. The imagery used is realistical, although disrupted in time. The concept of realism is expanded with the component of time. The images function in time as well as in space. Because of the discontinuity of space or time, this picture leaves behind the concept of realism.
The area of copyright is also a very important aspect of these works. Many questions present themselves, from artistic licence to intelectual property. It seems that the owners should not agitate themselves too much when an artist uses their cover in a very precise and analytical manner, bringing us the result: an everyman in a place that is set aside for special women, chosen in accordance with an ideal of beauty, and Vogue certainly has the power to contribute to the chosen ideal of beauty. Vrabič made a move similar to the painters of Gothic period, daring to include their features in pictures of strictly fixed iconographical layout - near the saint or even near the Virgin, in the place reserved for a man of noble birth..."

Jernej Kožar, curator, Koroška Gallery of Art, Slovenj Gradec

First published in M'ARS, Magazine of the Museum of Modern Art Ljubljana, Year XIII, 2001, No. 1-2

English translation: Luka Kocbek


"In his series Vogue Sašo Vrabič toys with the name and front cover of the famous magazine, illegally appropriating it for his artistic purposes. The artist compares this appropriation and subsequent work within the framework of the recognizable, firmly established logo of Vogue magazine, which publishes pictures and contents that are typical of the consumer world of haute couture, to the functioning of a computer virus. In this way he justifies his research and the destruction or transformation of patterns within the framework of a famous logo. By probing into the existing postulates of the magazine, he undermines the old ones and constructs new ones. In this sense we could say he surpasses the actions of a virus, which only demolishes the existing world, while Sašo Vrabič makes it better, or at least humorously plays with the ruins."

Breda Škrjanec, curator, MGLC, Ljubljana
First published in 24th International Biennial of Graphic arts catalogue, Ljubljana, MGLC, Ljubljana, 2001

Image: Sašo Vrabič, Vogue, digital print on paper, mounted on a wall, Museum of Modern Art, International biennial of Graphic Arts Ljubljana, 2001