Janez Janša (born September 17 1958 as Ivan Janša in Ljubljana) is a Slovenian politician and president of the Slovenian Democratic Party since 1993. He has been the Prime Minister of Slovenia since November 9, 2004.
Janez Janša (born in 1973 as Žiga Kariž in Ljubljana) is Slovene visual artist.
Janez Janša represents the younger generation of artists, who problematise the field of painting through the use of media image and a free relationship with various technological processes. I would not say that his main interest is in expanding the field of painting, but that he is more interested in the ideology of painting itself. Janez Janša deconstructs the social role of painting and the position of the viewer. The thematic of his paintings most often rely on media, especially film, which continues to shape his perception most today. The most radical exhibition of his work took place at the 2003 Venice Biennale, when he hung his paintings in the homes of temporary owners. The paintings had build-in cameras that transmitted images to the gallery in real time. These were paintings from the series titled 'Terror=decor', which examines how both media and artistic imagery, especially modern imagery, changes into décor in the service of capitalism .
As a publicity stunt he officially changed his name to Janez Janša (the name of the Slovenian Prime Minister Janez Janša), together with Janez Janša (director) and Janez Janša (performance artist) in 2007.
Janez Janša (born in 1964 as Emil Hrvatin in Rijeka) is author, director and performer of interdisciplinary performances. He has studied sociology and theatre directing at the University of Ljubljana, Slovenia and performance theory at the University of Antwerp, Belgium.
His piece Cammillo - Memo 1.0: Construction of Theatre has been directed by himself at the Piccolo Teatro in Milan, Italy in 1998. Drive in Camillo has opened Manifesta 3, European biennale of contemporary arts in 2000. His latest pieces are We are all Marlene Dietrich for – Performance for soldiers in peace-keeping missions (with Erna Omarsdottir), the reconstruction of the piece from 1969 – Pupilija, Papa Pupilo and the Pupilecks in 2006 and Slovenian National Theatre in 2007. Recently, he performed in the improvisation project At the Table curated by Meg Stuart. He currently works on series of pilot performances dealing with the status of performance in neoliberal societies under the title Program!.
Janez Janša’s work includes also visual, media and performance art works. Among others are The Cabinet of Memories, a tear donnor session and interdisciplinary artistic and research project The First World Camp (with Peter Šenk), interactive performance Miss Moobille, and reconstruction action Mount Triglav on Mount Triglav (with Janez Janša and Janez Janša). He regularly curates interdisciplinary workshops around Europe and USA and he is the initiator of the organization P.E.A.C.E. - Peacekeepers' entertainment, art and cultural exchange (with Mare Bulc).
He has published numerous essays on contemporary theatre and art including the book on Flemish artist and theatre maker Jan Fabre . He has been editor in chief of the performing arts journal Maska (1999-2006). He has edited a reader of contemporary theatre theories , a reader of contemporary dance theories and several other titles.
Since 1999 he is the director of Maska, non-profit organization in publishing, production and education, based in Ljubljana, Slovenia.
As a publicity stunt he officially changed his name to Janez Janša (the name of the Slovenian Prime Minister Janez Janša), together with Janez Janša (artist) and Janez Janša (performance artist) in 2007.
Janez Janša (Born in 1970 as Davide Grassi in Bergamo) is a conceptual artist, performer and producer graduated from the Academy of Fine Arts of Milan, Italy. His work has a strong social connotation and is characterized by an inter-media approach. He is co-founder and director of Aksioma – Institute for Contemporary Art, Ljubljana.
His artistic outcome happened in 1996 with the urban installation “I Need Money to Be an Artist” realized first in Ljubljana, Slovenia and then in Venice, Italy. In 2001 he became President of the Management Board of “Problemarket.com – the Problem Stock Exchange”, a virtual platform on which shares of companies dealing with problems are floated. The following year Janša produced “machinaZOIS” an electromechanical patron that financially supports contemporary artists and artistic productions. Then he started the development of “DemoKino – Virtual Biopolitical Agora”, a virtual parliament that through topical film parables provides the voters with the opportunity to decide on issues that are becoming the essence of modern politics: the questions of life. In 2005 Janša established the platform “RE:akt!” that examines media's role in manipulating perceptions and creating (post)modern historical myths and contemporary mythology. A part of this platform is the project “Mount Triglav on Mount Triglav” by Janez Janša, Janez Janša and Janez Janša.
Parallely to these socio-political projects Janša investigated the field of Virtual Reality and neurofeedback technologies.
Between 2000-2002 he developed and performed with Darij Kreuh “Brainscore – Incorporeal Communication”, a performance for two operators, which act in a virtual reality environment through their avatars and between 2004-2007 he leaded the project “Brainloop”, an interactive performance platform which allows a subject to navigate a virtual space merely by imagining specific motor commands.
Janez Janša is co-editor with Ivana Ivković of the textual and pictorial reader “DemoKino – Virtual Biopolitical Agora” published by Maska and Aksioma in 2005.
As a publicity stunt he officially changed his name to Janez Janša (the name of the Slovenian Prime Minister Janez Janša), together with Janez Janša (director) and Janez Janša (artist) in 2007.
