Metka Krašovec rodila se 1941, zanimljivo u blizini jedne od najstarijih ljubljanskih galerija Equarne. Unatoč burnom životu i čestim seljenjima studirala je na Akademiji za likovno umetnost u Ljubljani te se usmjerila za slikarstvo i grafiku u klasi prof. Gabrijela Stupice odnosno prof. Rika Debenjaka, a ’70-ih godina postala je stipendistica na Royal College u Londonu te poslije povratka u Sloveniju predaje na Akedemiji. 

Retrospektiva je raspoređena u pet velikih prostorija zapadnog krila Moderne galerije te pokriva više od četiri desetljeća neprekinutog i iznimno plodnog kreativnog izraza, predstavljajući sva ključna razdoblja u smislu različitosti sadržaja i stila, crteža i slika. 

Počevši od Crvenog perioda iz ranog razdoblja od 1970. do 1979. godine, u kojem se različitim osvjetljenjima i crvenom bojom želi dostići ono metafizičko u građevinama, izložba vodi do crteža i grafika s početka i neoklasicističkih radova s kraja 1980-ih. Od tih godina razvoj teče do “svježih” faza u kojima se tzv. neoklasicistički izraz razvija u prikazivanju gotovo ikonografskih anđeoskih figura u primorskom ozračju borovih šuma. Time su potvrđene riječi dr. Tomaža Brejca o Metki Krašovec koji je nekoć zapisao da je intelektualna domovina slikarice zasigurno Mediteran (Jadran). Izloženo je 65 slika velikog formata i 120 crteža na papiru, mnogi od kojih su posuđeni iz raznih slovenskih javnih i privatnih kolekcija čime je izložba značajno obogaćena. Djela su odabrana i prezentirana od strane kustosice Martine Vovk. Treba reći da je izložba popraćena bogatim katalogom na slovenskom i engleskom jeziku u kojemu su rad umjetnice i njen značaj svojim tekstovima potvrdili Petja Grafenauer, Miklavž Komelj, Andrej Medved, Tonko Maroević i Martina Vovk uz autobiografsku crticu Metke Krašovec te brojne reprodukcije.

Guided by Petja Grafenauer, Students from Kulturpunkt’s Journalistic School went to see the Damned Dam, a solo exhibition by Bosnian artist Lala Raščić. This interdisciplinary exhibition was set up in Jedinstvo, a former factory and a facility now governed by the Zagreb Centre for Independent Culture and Youth – Pogon. The exhibition – which was divided in two parts – presented an intermedial artistic project consisting of the artist’s video narrative of an epic drama on the first floor, recordings of a radio drama and a simulation of a raft in front of a video screen projecting waterfalls on the second plan of the three-dimensional space designed as a twodimensional image in three plans. While the first floor set-up of the space encompassed all the levels of this work-in-progress artistic project, the second part of the exhibition was framed as a documentation archive of the exhibition presenting all the levels of research and documentation materials.

Students had a meeting with the artist who presented her work and answered their questions followed by a Petja Grafenauer’s short introduction to the principles of the workshop and got tutorials for their written critiques. During the discussion on the exhibition, the students gave their impressions and sketched the direction in which they were to write their written assignments on the project. Their 500-word essays on the exhibition were due next morning. After reviewing their texts, students gathered, read each others texts and gave their comments on their colleagues’ works. The workshop ended with an individual discussion with the lecturer with remarks on their work and instructions for the further development of their reviews.