AKC Sokolc (2005–2018)
“Sitting at the threshold of Sokolc — barefoot, brush in hand. A still moment from the days when art, community, and rebellion breathed as one.”
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AKC Sokolc was more than a project — it was a living, breathing art organism that shaped my path as an artist and human being. Based in an abandoned historic theater house built in 1875 in Novo mesto, Slovenia, this space became our self-organized cultural zone, open to all who came with honest intention and wild creativity.
Here, I learned by doing — painting, sculpting, welding, tattooing, body painting, horror make-up, and more. But most of all, I learned how to create in a collective. The experience taught me leadership, teamwork, and the irreplaceable magic that happens when people build something together without funding or official approval — only with passion and trust.
Over 13 years, Sokolc hosted hundreds of art projects, concerts, performances, exhibitions, and humanitarian actions. We transformed forgotten spaces into a vibrant community hub, where alternative voices were not just heard — they were celebrated. The artists and musicians who passed through left behind more than artworks: they left stories, friendships, and spiritual imprints.
In 2014, when devastating floods struck Croatia, Bosnia, and Serbia, we helped organize and deliver over 30 tons of humanitarian aid to the most affected areas. In 2017, during the refugee crisis, we once again mobilized to help. These were moments that reminded us art and activism can — and should — walk together.
Eventually, as tides shifted in local politics, the project came to a quiet end. The building was cleared, and much of what we built was lost. But what remains is far greater — a cultural memory, a generation of artists forged in fire and freedom, and the knowledge that something truly special happened there.
To this day, I carry the spirit of Sokolc with me into every project I do. The lessons learned inside those walls live on through the lines I draw, the forms I shape, and the people I work with.
Here, I learned by doing — painting, sculpting, welding, tattooing, body painting, horror make-up, and more. But most of all, I learned how to create in a collective. The experience taught me leadership, teamwork, and the irreplaceable magic that happens when people build something together without funding or official approval — only with passion and trust.
Over 13 years, Sokolc hosted hundreds of art projects, concerts, performances, exhibitions, and humanitarian actions. We transformed forgotten spaces into a vibrant community hub, where alternative voices were not just heard — they were celebrated. The artists and musicians who passed through left behind more than artworks: they left stories, friendships, and spiritual imprints.
In 2014, when devastating floods struck Croatia, Bosnia, and Serbia, we helped organize and deliver over 30 tons of humanitarian aid to the most affected areas. In 2017, during the refugee crisis, we once again mobilized to help. These were moments that reminded us art and activism can — and should — walk together.
Eventually, as tides shifted in local politics, the project came to a quiet end. The building was cleared, and much of what we built was lost. But what remains is far greater — a cultural memory, a generation of artists forged in fire and freedom, and the knowledge that something truly special happened there.
To this day, I carry the spirit of Sokolc with me into every project I do. The lessons learned inside those walls live on through the lines I draw, the forms I shape, and the people I work with.
NEAKADEMIKA
(pesem pesnika in člana AKC Sokolc - Janeza Bršca, posvečena umetnikoma Nejcu Smodišu in Sebastjanu Šeremetu)
(pesem pesnika in člana AKC Sokolc - Janeza Bršca, posvečena umetnikoma Nejcu Smodišu in Sebastjanu Šeremetu)
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Ko roka v roko seže,
ko se talent s talentom združi, ko pogled in dar vsem sanjam služi, pot s potjo se veže. Ko se vežeta poti brez cilja in peljeta v polje sreče, takrat je cilj prav vsaka milja in za vsakim ciljem nov se vleče. Ko je ena pot do zmage in boj s platnom se začne, jima svet deli laži, ukane, a njunih sanj ne stre. In v času, ko jima svet zadaja rane, krona trnova je njun simbol, vsako delo nas v dušo zadane, ter upom mladim sta idol. |
V sliki beremo jim čustva,
ter aspekt z vsebino, načrtno zapeljevanje ljudstva, ter vodstvo z giljotino. Izvedba perfekcije slikarstva, stoji na plodnih tleh, ne zanimajo ju pota gospodarstva, a ob akademstvu ju prevzame smeh. Povedal bi, da smo le pleme, ki vstalo je zato, da se bori. Dodal bi še, da smo kakor otrok, ki nikoli več se ne rodi. Ko nekoč država vam kip bo namenila, po možnosti skoparila za vsak cent. Takrat z neba bo slišat glas:«Boljšega bi naredila!« Tako zelo prepričana v svoj talent. |
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NEAKADEMIKA (“Non Academics”)
(A poem by Janez Bršec — dedicated to the artists Nejc Smodiš and Sebastjan Šeremet) Translation from Slovene by ChatGPT, with care and respect When one hand reaches for another, When talent unites with talent, When gaze and gift serve all dreams -- Then path meets path, and both move forward. When aimless paths intertwine And lead into fields of joy, Then every mile becomes a goal, And beyond each one, a new one grows. When there’s but one path to victory, And the battle with canvas begins, The world throws lies and traps at them -- Yet still, their dreams remain unshaken. In times when the world strikes deep wounds, A crown of thorns becomes their symbol. Each of their works pierces the soul, And to young hopes, they are an idol. |
In paintings, we read their emotions, Layered with meaning and critique, They expose the seduction of crowds, And leadership by guillotine. Their execution, pure perfection -- Rooted in fertile ground. They care not for paths of the rich, And the academy only makes them laugh. I’d say we are just a tribe, Risen only to resist. I’d add — we are like a child That never again will be born. And someday, when the state erects their statue, Likely pinching pennies for every cent, A voice from the sky will be heard: “I could have made it better myself!” So sure of its own grand talent... |
ALTERA ART TEAM – BURNING MAN
(Slovenia, Canada, USA · 2008–2012)
Altera Art Team members:
Miranda Lipovšek “Guma Vila” · Marko Lipovšek “Dizzy Strings” · Tanja Maraš (Pandemonium Clothing)
Slavko Trivković (performance artist) · Rok Capuder “Šlosart” · Pregelj “Domusextremus”
Nejc Smodiš “Ns-Art” · Sebastjan Šeremet – Soultret
Altera Art was born in 2008 in Slovenia as a group of young, alternative, and multicultural artists and sculptors who decided to merge their skills into a unified creative force.
The team worked between Slovenia and Toronto (Canada), establishing a functional workshop at 91 Brandon Ave. This studio was fully equipped for metal, wood, textile, and mixed-media production — including plasma cutting, blacksmithing, and welding.
We specialized in creating special effects (fire, makeup, latex), costume design, sculptural interior/exterior pieces, and custom constructions ranging from staircases and railings to film props and installations. Our materials included metal, wood, rubber, glass, textile, stone, and even fire, sound, and performance.
Our largest collaborative project was a monumental installation titled WWW (World Wide Web) — a giant metal spider, designed and built in Toronto, then transported across North America to Black Rock City, Nevada, where we installed it at the Burning Man Festival 2012.
This was a project of true devotion and teamwork — a creative pilgrimage into the desert.
Miranda Lipovšek “Guma Vila” · Marko Lipovšek “Dizzy Strings” · Tanja Maraš (Pandemonium Clothing)
Slavko Trivković (performance artist) · Rok Capuder “Šlosart” · Pregelj “Domusextremus”
Nejc Smodiš “Ns-Art” · Sebastjan Šeremet – Soultret
Altera Art was born in 2008 in Slovenia as a group of young, alternative, and multicultural artists and sculptors who decided to merge their skills into a unified creative force.
The team worked between Slovenia and Toronto (Canada), establishing a functional workshop at 91 Brandon Ave. This studio was fully equipped for metal, wood, textile, and mixed-media production — including plasma cutting, blacksmithing, and welding.
We specialized in creating special effects (fire, makeup, latex), costume design, sculptural interior/exterior pieces, and custom constructions ranging from staircases and railings to film props and installations. Our materials included metal, wood, rubber, glass, textile, stone, and even fire, sound, and performance.
Our largest collaborative project was a monumental installation titled WWW (World Wide Web) — a giant metal spider, designed and built in Toronto, then transported across North America to Black Rock City, Nevada, where we installed it at the Burning Man Festival 2012.
This was a project of true devotion and teamwork — a creative pilgrimage into the desert.
WWW sculpture on 2:22
Live Painting Performance with STROJ MACHINE
(Slovenia · 2009–2010)
Thanks to a connection from musician and friend Jaka Berger, I joined forces with visual artist Nejc Smodiš to collaborate with the Slovenian industrial music group StrojMachine — known for their powerful rhythm-based performances using steel drums and mechanical sound.
In April 2009, we performed live painting during their concert in Ljubljana’s Festival Hall Cvetličarna. Suspended from the ceiling, we painted a 3-meter by 5-meter canvas in under one hour — a raw, kinetic fusion of paint and percussion.
Our second performance followed a month later in Kranj, at the alternative venue Izbruh - Bazen, where we created two separate paintings by the edge of a deserted swimming pool, each echoing the industrial energy of the music.
A third collaboration took place in August 2009 at Trnfest, one of Slovenia’s well-known summer festivals.
Finally, in 2010, we invited StrojMachine to perform during the opening of our joint exhibition at the KCJT Cultural Center in Novo mesto — closing the circle between visual and musical expression.
This collaboration was a powerful experience in breaking the borders between disciplines — where sound shaped the brushstroke, and painting amplified the rhythm.
In April 2009, we performed live painting during their concert in Ljubljana’s Festival Hall Cvetličarna. Suspended from the ceiling, we painted a 3-meter by 5-meter canvas in under one hour — a raw, kinetic fusion of paint and percussion.
Our second performance followed a month later in Kranj, at the alternative venue Izbruh - Bazen, where we created two separate paintings by the edge of a deserted swimming pool, each echoing the industrial energy of the music.
A third collaboration took place in August 2009 at Trnfest, one of Slovenia’s well-known summer festivals.
Finally, in 2010, we invited StrojMachine to perform during the opening of our joint exhibition at the KCJT Cultural Center in Novo mesto — closing the circle between visual and musical expression.
This collaboration was a powerful experience in breaking the borders between disciplines — where sound shaped the brushstroke, and painting amplified the rhythm.
WACKEN – W:O:Art Visual Art Tent (Germany · 2015)
In 2015, I was honored to be one of the invited artists at Wacken Open Air, the world’s largest metal festival, contributing to the W:O:Art Tent — the festival’s visual art zone curated by the Wacken Foundation.
For the occasion, I created a unique artwork featuring the Wacken logo and skull motif — a tribute to the raw spirit of the festival and its metal roots. The piece demanded over 300 hours of detailed work and was accompanied by several poster prints that were also on display.
A preparatory sketch of the artwork was exhibited in the Artist Village, where it caught the attention of several iconic musicians. As a special gesture, the glass cover of the final framed piece was signed by members of The Boss Hoss, TSO (Trans-Siberian Orchestra), Cannibal Corpse, In Extremo, and Sepultura — enhancing its symbolic and collector’s value.
The artwork was later auctioned and sold to a private collector in Germany, with proceeds going to support emerging artists in the heavy metal and rock scene.
This experience united my long-standing love for metal music and visual storytelling in a truly epic way.
Special thanks to my friend Kristjan Resetič, tattoo consultant and supporter of underground art scenes, who helped connect me with the Wacken project. He was also instrumental in the early days of my Mora Tattoo Studio in Slovenia.
For the occasion, I created a unique artwork featuring the Wacken logo and skull motif — a tribute to the raw spirit of the festival and its metal roots. The piece demanded over 300 hours of detailed work and was accompanied by several poster prints that were also on display.
A preparatory sketch of the artwork was exhibited in the Artist Village, where it caught the attention of several iconic musicians. As a special gesture, the glass cover of the final framed piece was signed by members of The Boss Hoss, TSO (Trans-Siberian Orchestra), Cannibal Corpse, In Extremo, and Sepultura — enhancing its symbolic and collector’s value.
The artwork was later auctioned and sold to a private collector in Germany, with proceeds going to support emerging artists in the heavy metal and rock scene.
This experience united my long-standing love for metal music and visual storytelling in a truly epic way.
Special thanks to my friend Kristjan Resetič, tattoo consultant and supporter of underground art scenes, who helped connect me with the Wacken project. He was also instrumental in the early days of my Mora Tattoo Studio in Slovenia.
TRIPTIH (Slovenia – AKC Sokolc · 1.0 / 2012 · 2.0 / 2014 · 3.0 / 2017)
Together with Nejc Smodiš and Igor Obradinovič, we developed the idea of a live-painted triptych — a collaborative artwork made of three connected pieces, created as a public event.
Each Triptych edition took place in the gallery space of AKC Sokolc, beneath the art studios where we worked. Over the span of one month, the gallery transformed into an open creation space. Local musicians performed live in the evenings, creating a vibrant, immersive atmosphere where sound and visual art merged into a shared experience.
At the end of each project, the finished triptych was auctioned:
This project remains one of the clearest expressions of what AKC Sokolc stood for: community, creativity, and compassion in action.
Each Triptych edition took place in the gallery space of AKC Sokolc, beneath the art studios where we worked. Over the span of one month, the gallery transformed into an open creation space. Local musicians performed live in the evenings, creating a vibrant, immersive atmosphere where sound and visual art merged into a shared experience.
At the end of each project, the finished triptych was auctioned:
- 2012: Sold for €2,700
- 2014: Sold for €3,000
- 2017: Sold for €3,300
This project remains one of the clearest expressions of what AKC Sokolc stood for: community, creativity, and compassion in action.
MASKS AND CARNIVALS (Slovenia, Croatia, Serbia, Germany, Austria, Canada)
It all began with paper mâché masks — a playful experiment between Nejc Smodiš and me. What started as fun quickly evolved into a distinctive art form, leading us across borders and into the heart of festivals, exhibitions, and street performances throughout Slovenia, Germany, Austria, Croatia, Serbia, and Canada.
In our hometown, we organized independent carnivals and even hosted a cabaret at AKC Sokolc, blending costume, theatre, and satire in a surreal, handcrafted atmosphere.
Our passion for eerie, theatrical expression caught attention — notably at the Grossmann Fantastic Film & Wine Festival, where we were invited multiple times alongside the SMK Collective and Altera Art Team (2008, 2009, and 2011).
The intersection of sculpture, painting, and horror aesthetics became a creative playground. When art is allowed to disturb, provoke, and surprise, it reveals its primal strength — and I’ve always been drawn to that raw edge.
In our hometown, we organized independent carnivals and even hosted a cabaret at AKC Sokolc, blending costume, theatre, and satire in a surreal, handcrafted atmosphere.
Our passion for eerie, theatrical expression caught attention — notably at the Grossmann Fantastic Film & Wine Festival, where we were invited multiple times alongside the SMK Collective and Altera Art Team (2008, 2009, and 2011).
The intersection of sculpture, painting, and horror aesthetics became a creative playground. When art is allowed to disturb, provoke, and surprise, it reveals its primal strength — and I’ve always been drawn to that raw edge.
SOULTRET GRAFFITI (Airbrush, spray can, and brush — mixed technique graffiti on wall)
I’ve been painting on walls since kindergarten — it’s where my instinct to paint big first found a surface. Today, I still seek out walls, especially in clubs, squats, autonomous zones, and abandoned buildings where freedom of expression breathes.
Although I’ve crossed paths with graffiti culture, I don’t consider myself a traditional graffiti artist. I rarely use spray cans and almost never use stencils — except occasionally for smoke or fire effects. My tools of choice are airbrush and brush, which allow me to create more detailed, layered, and painterly graffiti pieces.
Some of my wall artworks are already lost to time and renovation, but you can still visit and experience pieces in:
Although I’ve crossed paths with graffiti culture, I don’t consider myself a traditional graffiti artist. I rarely use spray cans and almost never use stencils — except occasionally for smoke or fire effects. My tools of choice are airbrush and brush, which allow me to create more detailed, layered, and painterly graffiti pieces.
Some of my wall artworks are already lost to time and renovation, but you can still visit and experience pieces in:
- Club Kotlovnica – Kamnik
- Metelkova Mesto – Ljubljana
- Train Station Squat – Kranj
- Pekarna MC – Maribor
MADAME BUTTERFLY BALLET European Capital of Culture – Salzburg, Austria / Novi Sad, Serbia – 2021
A co-production between the Serbian National Theater (Novi Sad) and Europa Ballet (St. Pölten), this project was part of the official program for Novi Sad – European Capital of Culture.
My Role: Painting the Scenography
I was invited to this production by my good friend Markus Gössler, who introduced me to Prof. Peter Breuer — a legendary name in European ballet. Together, we developed a visual scenography concept that captured the cultural and emotional contrasts between Japan and the USA — the core tension in Madame Butterfly.
All Japanese scenes were visualized through hand-painted aquarelles, which we photographed and animated using stop-motion and other video techniques. These painterly animations became the living backdrop of the stage.
For the American sceneries, we created stylized video material and additional artworks that were printed and used on stage panels and promotional materials. The final production featured more than 2 hours of original video content, projected onto a massive stage canvas measuring 17m x 9.5m — including back, front, and side projections that blended seamlessly with the choreography.
I provided all of the original paintings. Markus transformed them into synchronized digital animations. Peter guided the emotional tone and theatrical timing. The result was a unique visual world — poetic, layered, and deeply atmospheric.
A New Dimension in My Art Journey
This was my first experience designing scenography for a ballet or theatre production, and it opened a new world for me. Collaborating with Prof. Peter Breuer was not only a creative honor — it was a turning point. Even after the premiere, Peter continued to support my artistic journey with heartfelt encouragement and valuable advice.
- Premiere: May 14, 2021 – Stage “Jovan Đorđević,” Serbian National Theater, Novi Sad
- Choreographer & Director: Prof. Peter Breuer (Germany/Austria)
- Video Design & Technical Realization: Markus Gössler (Austria)
- Paintings in Projections: Sebastjan Šeremet (Slovenia)
- Assistant Choreographer: Dominik Vaida (Austria)
- Costume Design: Y. T. (Japan)
- Costume Assistant: Katarina Stanivuković (Serbia)
My Role: Painting the Scenography
I was invited to this production by my good friend Markus Gössler, who introduced me to Prof. Peter Breuer — a legendary name in European ballet. Together, we developed a visual scenography concept that captured the cultural and emotional contrasts between Japan and the USA — the core tension in Madame Butterfly.
All Japanese scenes were visualized through hand-painted aquarelles, which we photographed and animated using stop-motion and other video techniques. These painterly animations became the living backdrop of the stage.
For the American sceneries, we created stylized video material and additional artworks that were printed and used on stage panels and promotional materials. The final production featured more than 2 hours of original video content, projected onto a massive stage canvas measuring 17m x 9.5m — including back, front, and side projections that blended seamlessly with the choreography.
I provided all of the original paintings. Markus transformed them into synchronized digital animations. Peter guided the emotional tone and theatrical timing. The result was a unique visual world — poetic, layered, and deeply atmospheric.
A New Dimension in My Art Journey
This was my first experience designing scenography for a ballet or theatre production, and it opened a new world for me. Collaborating with Prof. Peter Breuer was not only a creative honor — it was a turning point. Even after the premiere, Peter continued to support my artistic journey with heartfelt encouragement and valuable advice.
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