DLUL Gallery, Breg 22, Ljubljana
29. 11–8. 12
10.00–18.00
Exhibition opening: 29. 11, 19:00
The opening will be accompanied by a vocal performance by Mateja Fi.

Guided tour in English with Zarja Menart
6. 12.  at 14:30

“Through the process of making the film, I explored how the symbols and themes of folk wisdom connect to the human psyche. It was interesting to see how the processes in nature are very similar to our inner nature – how things change within us as the seasons change, how all processes take time, and how some things have to die for others to come to life.” (Zarja Menart)

Three Birds is a delicate animation and the directorial debut of Slovenian animator and illustrator Zarja Menart, which takes the audience on the transformative journey of a young girl through the dark landscapes of her inner world. Produced in the technique of multiplane collage animation, it offers a personal interpretation of a folk song from Bela Krajina, Slovenia, about birds that bring blessings from distant lands across the sea, sowing health and joy among the people.

Lore makes for an important part of cultural heritage because what is passed from generation to generation includes not just history, material culture, customs and traditions, but also values, emotional and mental patterns of ancestors, and the knowledge of their reactions to universal situations or psychological states that people encounter throughout their lives. The mythicised natural processes and phenomena in folk songs and tales are more than mere allegories of the objective experience of these phenomena; they are symbolic expressions of the inner and unconscious dynamics of the human psyche. This mirrored representation of natural phenomena makes it possible to understand them at a level that becomes accessible again to human consciousness.

Three Birds tells the story of a girl who visits a wise old woman with bird features in her humble wooden hut. When the birdwoman inspects the girl and realises what is weighing her down, she summons three birds to take her on a journey to the unknown. The girl sets off across the sea, through eerie whispers, into a dark forest, where she gets stuck knee-deep in water. A magical forest lake envelops her in a fog of delusion, confronting her with a deep pain that permeates every layer of her body. The journey of fear and pain leads her through loss but also reveals how new life emerges from death. Viewers are invited to approach the film as if interpreting a dream – not rationally, but with curiosity and open acceptance of the unfolding narrative that leaves an imprint in the deeper layers of their own experience.

For Menart, making the animation was a non-linear process that pulsed to its own rhythm. Ideas came and went, and the process was full of fluidity and emotional intensity. The production process only progressed when the artist was working from the body, not just the mind; when technology was replaced by real colours and physical materials. During the process, she drew inspiration from symbols, mythology and dream interpretation, while her pivotal roadmap was the feminine principle concept – the force of nature, the energy that can give life or take it away. The animation thus became an exploration of this aspect through the content and the production process itself – a lesson on the dynamics of the feminine principle and its influence on the balance of one’s psyche.

The atmosphere of Three Birds is built on the interplay of various elements, such as a compelling visual aesthetic, symbolic language, archetypal characters, and the subtle use of sound and the female voice. This combination takes us into a world where meaning and emotions are closely linked, each element adding its own layer that deepens and enriches the whole experience.

Reminiscent of old Slavic illustrations in earth tones, the film’s visuals originate from the artist’s illustration project What the Devil Can’t Do He’s Going to Send a Woman to, which depicted various magical practices associated with women in the past. This collage technique, executed on a multiplane stand, was further developed and adapted for the moving images in the animated film. For almost every shot, the artist had to create something new, wanting to achieve a contrast between rough textures and delicate details. She created a sense of depth by layering transparencies and translucent papers, while texture was created with oil paints and details were added with drypoint. A special creative element in the film is the light coming from below. This light, obscured or revealed by the layers of paper and paint, shines through the colours and gives the entire scene a warm sense of illumination. Throughout the film, the viewer constantly follows the protagonist through darkness, which makes light also an essential symbolic element.

The sound design of the film, which uses only the human voice, and the sound effects, which were recorded using only flax and other natural materials, make an important contribution to deepening the emotional experience. The music was composed and sung by Zvezdana Novakovič, a Slovenian singer, composer and harpist known for using folk elements in her work.

The gallery exhibition combines original paintings and drawings on transparencies, and media representations of animation segments. The original drawings are displayed on light objects, which allow for the play of light and shadow on individual static scenes, creating a sense of depth. The exhibit also includes original drawings, which offer a more intimate view of the artistic process and reveal the fine details and nuances that shaped the animation. Taking into account the architectural elements of the space, selected excerpts from the film are displayed on the walls. In relation to the light objects and drawings, these create a dynamic experience that links the static and moving image, inviting the viewer to move closer to the physical objects and further away from the walls as the projection is announced by sound. This interplay of traditional visual and digital techniques allows the visitor to understand Zarja Menart’s distinctive animation technique, while the spatial installation as a whole aims to preserve the original atmosphere of the film.

Zarja Menart works as an animator, illustrator and art director. As a lead animator and illustrator, she has collaborated with Finta Film Studio on several films, including Nighthawk, Orange is the New Black, and Steakhouse. She graduated from the Academy of Fine Arts and Design in Ljubljana.

Since its premiere at the Krakow festival in May 2024, Three Birds has garnered a number of awards, including special mention from the juror Naomi Van Niekerk at Animafest Zagreb, Best Film Award at the Supertoon International Animation Festival, FeKK SLO Award at the FeKK Ljubljana Short Film Festival, Vesna Award for Best Animated Film at the Festival of Slovenian Film Portorož, and three Slovene Animated Film Association awards.

Director, Scriptwriter, Lead Animator: Zarja Menart
Image Post-production, Animation, Storyboard: Matej Lavrenčič
Animation: Anka Kočevar, Milly Yencken, Ditiya Ferdous, Andreja Goetz, Leo Černic
Editing: Iva Kraljević
Post-production: Matej Lavrenčič, Teo Rižnar
Voices: Zvezdana Novaković, Marija Kordež, Tatjana Brajer
Music: Zvezdana Novaković
Sound Design and Mixing: Julij Zornik
Producers: Tina Smrekar, Špela Čadež / Finta Film
Co-producers: RTV Slovenija / Draško Ivezić | Adriatic Animation
With the support of: Slovenian Film Centre, Croatian Audiovisual Centre
Distribution: Bonobostudio

Exhibition
Exhibition Layout: Lucija Smodiš, Zarja Menart, Borut Wezel
Technical Support: Borut Wenzel
Video Mapping: Stella Ivšek
Sound Distribution: Črt Trkman
Production: 2 Reels Association for Reanimation of Storytelling, Slovene Animated Film Association
Support: City of Ljubljana, DLUL Gallery, Forum Ljubljana