{"id":8441,"date":"2022-04-19T01:05:13","date_gmt":"2022-04-19T01:05:13","guid":{"rendered":"https:\/\/zeptermuzej.rs\/?p=8441"},"modified":"2022-04-19T01:05:13","modified_gmt":"2022-04-19T01:05:13","slug":"majda-kurnik","status":"publish","type":"post","link":"https:\/\/zeptermuzej.rs\/en\/majda-kurnik\/","title":{"rendered":"MAJDA KURNIK"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpqsvx7c-df6c089ade3b7fb45e250942f415052a\">\n.avia-image-container.av-kpqsvx7c-df6c089ade3b7fb45e250942f415052a img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpqsvx7c-df6c089ade3b7fb45e250942f415052a .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-kpqsvx7c-df6c089ade3b7fb45e250942f415052a av-styling- avia-align-center  avia-builder-el-0  el_before_av_layout_row  avia-builder-el-no-sibling '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-6312 avia-img-lazy-loading-not-6312 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/majda1.png\" alt='' title='majda1'  height=\"463\" width=\"282\"  itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div>\n<\/div><\/div><\/div><!-- close content main div --><\/div><\/div><div id='av-layout-grid-1'  class='av-layout-grid-container av-145098-81142c67ee4e07e7b47b2dd7af6d57dc entry-content-wrapper main_color av-flex-cells  avia-builder-el-1  el_after_av_image  avia-builder-el-last  grid-row-not-first  container_wrap sidebar_right'  >\n<div class='flex_cell av-342x0-573d092b10da78219aa23e09b501e5f1 av-gridrow-cell av_one_fifth no_margin  avia-builder-el-2  el_before_av_cell_three_fifth  avia-builder-el-first '  ><div class='flex_cell_inner'><\/div><\/div><div class='flex_cell av-2or7w-e32334517c27b3267011c1bc9172e54c av-gridrow-cell av_three_fifth no_margin  avia-builder-el-3  el_after_av_cell_one_fifth  el_before_av_cell_one_fifth '  ><div class='flex_cell_inner'><section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p style=\"text-align: center;\"><strong>MAJDA KURNIK<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>(1920-1967)<\/strong><\/p>\n<p>Fifty years have passed since the death of Majda Kurnik, the painter. Slovenia did not know well this exceptional paintress and intellectual, who had many artistic talents \u2013 for music, acting and painting. She chose painting. One can conclude on the basis of the facts from her life and the preserved documents, now kept in the Majda Kurnik Collection of Gallery Velenje, that her life, spent far from her family, was divided. Her family roots were deeply set in \u0160ale\u0161ka and Gornja Savinjska valley in Slovenia, while she began her artistic development in the School of Painting run by Mladen Josi\u0107. Later she enrolled the Academy of Fine Arts in Belgrade (today, the Faculty of Fine Arts).<\/p>\n<p>The Second World War deeply affected Majda Kurnik and her family. She first lost her brother and then her sister and she became a member of the Propaganda department of the Third Army and the only woman painter in that department. In her drawings and paintings she recorded the happenings on the front and around it. Each paper she could lay hands on she ennobled with figures, objects, landscapes and imbued with an artistic form.<\/p>\n<p>After the war she continued with the same activity during the voluntary youth work assignments transporting them through her notes into history.<\/p>\n<p>We can suppose that some sketches were made in Slovenia before her move to Serbia. However, the first public presentation of her works was of those produced during the Second World War. In improvised hospitals, at the front or in the rear, she drew faces and scenes that are precious not only because they are valuable documents of her work but also because as artistic records of a sad history. Her sovereign strokes in pencil or coal recorded numerous tragic, emotional or joyful events during the battles, during short intervals for rest or nursing, happening in the unpredictable circumstances of the war period. Until the end of the war, her works were predominantly made on paper, in pencil, coal, Indian ink, sepia, watercolour or gouache. She set on her journeys abroad thanks to the support and help of her parents, first to Rome and then to Venice. After Italy, she went to Paris, and this had a direct impact on her works produced in the style of the School of Paris (\u00c9cole de Paris).<\/p>\n<p>Majda Kurnik found her objective and living space in Belgrade, among her friends painters, designers, poets, composers and publicists. Together with the painters and sculptors she took part in many exhibitions of the Association of Serbian Artists (ULUS) in Belgrade and other places.<\/p>\n<p>Encounters with her works stirred many memories and recollections of both connoisseurs and amateurs. Undoubtedly, she was appreciated by everybody; the Slovenes respected her like a relative, the Serbs as an excellent paintress who had been formed in their milieu.<\/p>\n<p>Every drawing, sketch and painting were painted with full energy and imbued with the spirit of the object. Even today this shows the unerring character of her intuitive creative imagination. The spiritual intensity of the people in her portraits or as individual members of groups were drawn with the conviction of the most visible characteristics of their physiognomies and the overall language of their faces and bodies. It is possible to recognise in some of them the portraits of her colleagues with whom she spent a lot of her working time and leisure. The figures appearing in still-lifes are subjected to the painterly atmosphere and much closer to literary than painterly elements. In her creative work she obviously followed the rules of painting and feelings and not rational thoughts. However, somewhere behind all this one can sense a part of her self that lived and sympathised with Slovenia, particularly in her landscapes which she never clearly defined.<\/p>\n<p>Majda Kurnik was much inspired by the dramatic intimism of El Greco, the master of mannerism, who had arrived from the Renaissance idealism just as Majda had come from socialist realism. With her refined feeling she drew the most deeply kept secrets of life and of the painterly spell. A special attention should be afforded to miniature gouaches which she made whenever she had a chance. Every piece of cardboard, even if it were cigarette boxes, always by her side since she was a passionate smoker, she would use for minimalist gouaches equal in their painterly quality to big paintings.<\/p>\n<p>Sleepwalkers, flying figures and animals, devils, frightening beasts as symbols of cosmogony appear in the last four years of her life, after her illness had been diagnosed.<\/p>\n<p>Since the appearance of those figures grew sadder, her painterly ascent became more visible. Her specific testament is the last phase of her paintings with cosmic abstractions.<\/p>\n<p>The Gallery Velenje will fastidiously and proudly keep and show her works.<\/p>\n<p>Milena Koren Bo\u017ei\u010dek, MA, curator in the Gallery Velenje<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/majda2.png\" alt=\"\" width=\"554\" height=\"237\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/majda3.png\" alt=\"\" width=\"606\" height=\"252\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/majda4.png\" alt=\"\" width=\"590\" height=\"184\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/majda5.png\" alt=\"\" width=\"550\" height=\"214\" \/><\/p>\n<p>Crte\u017ei malog formata sa tematikom: iz rata, izgradnje, \u017eivota, pejza\u017ea \/ <em>Small-format drawings with scenes from the war, rebuilsing of the country, real life, or countryside<\/em><\/p>\n<p>Majda Kurnik (1920-1967) was a Slovene by birth, but a Serbian paintress by formation, sensitive, strong, temperamental, modest and courageous and today \u2013 five decades after her death \u2013 she is almost forgotten. However, her work evidently has a safe place in the Serbian history of art, although the general public cannot see her paintings (except two paintings in the collection of the ZEPTER MUSEUM) . Her name is well-known to the older generation (and they easily remember her) but it has remained completely unknown to the young ones, except if they find a reproduction somewhere or remember to \u201eopen\u201c Wikipedia.<\/p>\n<p>The artworks by this specific artist have not yet been sufficiently researched and therefore not evaluated correctly. The works that have remained behind show an effort to collate her visions of a full, liberated life with the dull echoes of the moments spent in illness, as Stojan \u0106eli\u0107 (catalogue of the posthumous exhibition \u201eMajda Kurnik\u201c 1968 in the Art Pavilion <em>Cvijeta Zuzori\u0107<\/em>) put forward in his most touching but also most impartial text about her creative activity of less than twenty years.<\/p>\n<p>Majda Kurnik came to Belgrade in 1941 exiled by the occupiers and attended Josi\u0107\u2019s School of Painting. In 1945 she joined the National Liberation movement on the Sirmian front and graduated from the Academy of Fine Arts (presently Faculty of Fine Arts) in 1949 in the class of professors Tabakovi\u0107, Petrov and \u010celebonovi\u0107.<\/p>\n<p>Hundreds of drawings have remained after her death and to a dedicated researcher they could reveal all the details hidden in her paintings. The drawings made at the Sirmian front disclose that Majda Kurnik had already mastered all the skills future students at the Academy had yet to deal with. Her drawings done in diluted ink and made at the voluntary youth work assignments confirm a mature artist who was able to structure the composition of the scene in a masterly way. The firm architecture of those \u201ecrowd scenes\u201c in natural ambience unambiguously suggest the monumentality she was not able to attain in her paintings. The dynamics here, eloquent almost to auditory effect was silenced in the paintings to the level of a specific melancholy. A rather big, partially coloured drawing from a boulevard in Paris suggest the direction Majda Kurnik could have taken had she not decided otherwise.<\/p>\n<p>She adopted the interpretation of the meaning of a picture that followed the real values of tradition and gradually modernised her expression thus changing the sense of the surrounding real world that was the true subject matter of her paintings. She never made radical steps out or forward. When she was working in <em>plein air <\/em>her motifs were the architecture of monasteries and the countryside, when working in her studio she painted the everyday objects scattered around. At the beginning of the sixties she turned to the figure. Approaching the end of her life she was more interested in female and male nudes, and would gradually replace the figures of bathers and masons with floating figures in a blue-grey gamut. Nevertheless, throughout her opus the changes in her approach to the painting can be followed most accurately through her still-lifes and self-portraits. As years went by the dynamic and expression became stronger: the aspect had surpassed visibility. It finally became clear that the painter had travelled the road from objects to relationships and that still-lifes and self.-portraits were in fact representations of states and dispositions.<\/p>\n<p>The loneliness of Majda Kurnik, despite sociable inclinations emphasised by her friends, was proven in the best possible way by the dull light in her always <em>closed<\/em> pieces of fruit in still-lifes, walnuts, chestnuts, dried pomegranates&#8230; As if she was saying: That is me, I saw myself in that way one day in the dim light of my studio, or the room in Zadarska Street.<\/p>\n<p>Therefore, we have no right to define her as a painter of objects. She was a true figurative painter because the figure is an object remembered \u2013 the symbol of an object and its meaning. It is about the effort to prevent the feelings and experiences to remain within the limited space of isolated things. For that very reason Majda Kurnik needed only a table cloth with scattered chestnuts to convey what she wanted to communicate. It is sufficient because it is not about the objects, but about the meaning. And meaning does not pose.<\/p>\n<p>Savo Popovi\u0107<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/majda6.png\" alt=\"\" width=\"612\" height=\"326\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/majda7.png\" alt=\"\" width=\"550\" height=\"322\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter\" src=\"http:\/\/www.zeptermuseum.rs\/sites\/default\/files\/majda8.png\" alt=\"\" width=\"613\" height=\"254\" \/><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-n6a58-3c2074c02d4e106450cc1d5d0aae4054\">\n.flex_column.av-n6a58-3c2074c02d4e106450cc1d5d0aae4054{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-n6a58-3c2074c02d4e106450cc1d5d0aae4054 av_one_full  avia-builder-el-5  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itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-6322 avia-img-lazy-loading-not-6322 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/majda4.png\" alt='' title='majda4'  height=\"184\" width=\"590\"  itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpx354ey-d8edfbc6976fd02af6dd4aecc633efc6\">\n.avia-image-container.av-kpx354ey-d8edfbc6976fd02af6dd4aecc633efc6 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpx354ey-d8edfbc6976fd02af6dd4aecc633efc6 .av-image-caption-overlay-center{\ncolor:#ffffff;\nfont-size:10px;\n}\n<\/style>\n<div  class='avia-image-container av-kpx354ey-d8edfbc6976fd02af6dd4aecc633efc6 av-styling- avia-align-center  avia-builder-el-9  el_after_av_image  el_before_av_hr '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-6320 avia-img-lazy-loading-not-6320 avia_image ' src=\"https:\/\/zeptermuzej.rs\/wp-content\/uploads\/2021\/10\/majda5.png\" alt='' title='majda5'  height=\"214\" width=\"550\"  itemprop=\"thumbnailUrl\"  \/><\/div><\/div><\/div><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpx39hlc-1fd4da067ef83fda005358ab885c3dee\">\n#top .hr.hr-invisible.av-kpx39hlc-1fd4da067ef83fda005358ab885c3dee{\nheight:26px;\n}\n<\/style>\n<div  class='hr av-kpx39hlc-1fd4da067ef83fda005358ab885c3dee hr-invisible  avia-builder-el-10  el_after_av_image  avia-builder-el-last '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><\/p><\/div><section  class='av_textblock_section av-kpqsg7qh-b526648b1103b495bff29ebcd07dcdfb '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Crte\u017ei malog formata sa tematikom: iz rata, izgradnje, \u017eivota, pejza\u017ea \/ <em>Small-format drawings with scenes from the war, rebuilsing of the country, real life, or countryside<\/em><\/p>\n<p>Majda Kurnik (1920 \u2013 1967) Slovenka po rodjenju, srpska slikarka po formaciji, ose\u0107ajna, sna\u017ena, temperamentna, skromna i hrabra i danas je \u2013 pet decenija od smrti bezmalo posve zaboravljena. Me\u0111utim, njeno delo sasvim izvesno ima svoje osigurano mesto u srpskoj istoriji umetnosti. Ipak, njene slike publika nema gde da vidi (osim dve slike u stalnoj postavci MUZEJ-a ZEPTER). Starijoj generaciji ono je poznato (lako ga prizovu u se\u0107anju), mladima ostaje u potpunosti nepoznato, sem ako, tu i tamo ne nai\u0111u na neku reprodukciju ili se sete da \u201eotvore\u201c vikipediju.<\/p>\n<p>Stvarala\u0161tvo ove osobne umetnice jo\u0161 uvek nije osvetljeno u dovoljnoj meri, a samim tim ni na pravi na\u010din valorizovano. U onome \u0161to je ostalo od dela vidljiv je napor da se kona\u010dno spoje njene vizije punog, oslobo\u0111enog \u017eivota s muklim odjecima odbolovanih trenutaka, isti\u010de Stojan \u0106eli\u0107 (katalog posthumne izlo\u017ebe \u201eMajda Kurnik\u201c 1968. Umetni\u010dki paviljon \u201eCvijeta Zuzori\u0107\u201c) u najdirljivijem ali i najobjektivnijem tekstu kad je re\u010d o njenom stvarala\u0161tvu koje je trajalo nepune dve decenije.<\/p>\n<p>U Srbiju, Beograd dolazi 1941. kao prognanik okupatora i u prestonici poha\u0111a Josi\u0107evu slikarsku \u0161kolu, potom od 1945. u\u010destvuje u NOB-u na Sremskom frontu. Akademiju likovnih umetnosti (dans Fakultet likovnih umetnosti) zavr\u0161ava 1949. u klasi Tabakovi\u0107a, Petrova i \u010celebonovi\u0107a.<\/p>\n<p>Iza slikarke su ostale stotine crte\u017ea koji bi posve\u0107enom tragaocu otkrili sve ono \u0161to je zatomljeno u slikama. Naime crte\u017ei sa Sremskog fronta otkrivaju da je Kurnikova savladala sve ve\u0161tine koje predstoje budu\u0107im studentima Akademije. Potom lavirani crte\u017ei sa radnih akcija svedo\u010de da je re\u010d o zrelom stvaraocu koji maestralno gradi kompoziciju prizora. \u010cvrsta arhitektura tih \u201emasovki\u201c u prirodnom ambijentu nedvosmisleno sugeri\u0161e monumentalnost koja nije dosegnuta na slikama. Dinamika ovde sugestivna bezmalo do zvuka potom \u0107e na slikama biti uti\u0161ana do svojevrsne melanholije. Posebno \u0107e jedan ove\u0107i delimi\u010dno obojeni crte\u017e sa nekog pariskog bulevara nagovestiti smer kojim je Majda Kurnik mogla da krene da nije druga\u010dije odlu\u010dila.<\/p>\n<p>Me\u0111utim, ona se priklonila onom shvatanju slike koje se oslanja na prave vrednosti tradicije ali je postepeno osavremenjavala izraz i na tom putu menjala smisao realnog sveta koji ju je okru\u017eivao i bio tema njenih slika. Nije pravila radikalne iskorake. Motiv je bio arhitektura manastira ili pejza\u017e kad je bila na terenu i svakida\u0161ni predmeti iz njenog okru\u017eenja koji su se zatekli u ateljeu. Potom se, po\u010detkom sedme decenije, vi\u0161e okre\u0107e figuri. U tom sledu putuju\u0107i sopstvenom kraju aktove \u017eena i mu\u0161karaca, kupa\u010de i zidare zameni\u0107e postepeno lebde\u0107e figure u plavo-sivoj gami. Dramatiku pikturalnog izraza smenjuje dramati\u010dnost motiva. Pa ipak, kroz \u010ditav njen opus mene u pristupu slici mogu se pratiti najpre kroz mrtve prirode i autoportrete. Ekspresija i dramatika dobijaju na te\u017eini kako godine odmi\u010du: vid je nadma\u0161io vidljivost. Postalo je kona\u010dno jasno da je slikarka pre\u0161la put od stvari ka odnosima i da se u tim mrtvim prirodama kao i u autoportretima radilo o prikazu stanja i raspolo\u017eenja.<\/p>\n<p>Osamljenost Majde Kurnik, uprkos dru\u0161tvenosti koju u se\u0107anjima isti\u010du njeni prijatelji, pe\u010dati ponajbolje mukla svetlost na njenim uvek <em>zatvorenim<\/em> plodovima na mrtvim prirodama, na orasima, na kestenju, sasu\u0161enim narovima&#8230; Kao da ka\u017ee: To sam ja, jednog dana\u00a0 sam se tako videla u polusvetlu ateljea, ili te sobe u Zadarskoj ulici.<\/p>\n<p>Dakle nemamo pravo da je odredimo predmetnim slikarom. Ona je pravi figurativac, jer figura je predmet u se\u0107anju \u2013 simbol predmeta i njegovog zna\u010denja. Radi se o naporu da se ose\u0107aji i iskustva ne zaustave na ograni\u010denosti pojedina\u010dnog, pa upravo zato je Majdi Kurnik za sve \u0161to ho\u0107e re\u0107i dovoljan jedan stolnjak i na njemu prosuto kestenje. A dovoljno joj je zato \u0161to se ne radi o predmetima nego o zna\u010denju. A zna\u010denje ne pozira.<\/p>\n<p>Savo Popovi\u0107<\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-n6a58-3c2074c02d4e106450cc1d5d0aae4054\">\n.flex_column.av-n6a58-3c2074c02d4e106450cc1d5d0aae4054{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-n6a58-3c2074c02d4e106450cc1d5d0aae4054 av_one_full  avia-builder-el-12  el_after_av_textblock  el_before_av_one_full  first flex_column_div av-zero-column-padding  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-kpx354ey-f98e5951a862384a13aa5db5886d8f1c\">\n.avia-image-container.av-kpx354ey-f98e5951a862384a13aa5db5886d8f1c img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-kpx354ey-f98e5951a862384a13aa5db5886d8f1c .av-image-caption-overlay-center{\ncolor:#ffffff;\nfont-size:10px;\n}\n<\/style>\n<div  class='avia-image-container 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class='flex_cell_inner'><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":6312,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[95],"tags":[],"class_list":["post-8441","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-introducing-the-artist"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>MAJDA KURNIK - Zepter Museum<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/zeptermuzej.rs\/en\/majda-kurnik\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MAJDA KURNIK - Zepter Museum\" 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