Rdeči revirji

**Irwini** so leta 1987 dokončali veliko sliko z naslovom //Rdeči revirji// (350x420x40 cm), ki s pomočjo socrealistične grafike, premoga, krvi in zlata komemorira zgodovino in delo, umetnost in totalitarizem v osupljivem, nasilnem spoju 'ideologije in estetskega učinka.' V predavanju je Brejc analiziral njeno predzgodovino, lokalne vire in ikonografijo, družbene učinke, kolektivni recepcijski model in njen kultni status. \\ Posebno pozornost je posvetil 'slovenskim motivom' v njihovi laibachovski fazi, ki se izteče v veliki niz slik Slovenske Atene (1983-87). Rdeče revirje obravnava kot 'original', kot izvirno umetnino, onkraj utečenih postmodernističnih šablon (apropriacije, simulakri, recikliranje, nomadizem, ipd.). Slika je last [[http://www.factorb.si/likovna_zbirka/zbirka/teksti.php?tip=o_zbirki|Factor banke]] in je na ogled v avli prvega nadstropja [[http://www.pf.uni-lj.si/|Pravne fakultete]] v Ljubljani. Predavanje je bilo posneto 26. septembra 2007 v Galeriji Škuc v Ljubljani. //In 1987 the **Irwin** collective finished their grand painting entitled Red Districts (350x420x40 cm), which through social realist graphics, coal, blood and gold, commemorates history and work, art and totalitarianism, in a fascinating and violent unity of 'ideology and aesthetic effect'. In his lecture, Tomaž Brejc analysed the history underlying the painting, its local sources and iconography, social effects, collective reception model, and its cult status. He also focused on 'Slovenian motifs' in their Laibach phase, which culminated in a series of paintings entitled Slovenian Athens (1983--1987). He examined Red Districts as an 'original' work of art beyond established post-modernist models (appropriations, simulacra, recycling, nomadism, etc.).//