Roman Uranjek was one of the founding members of the artist group 'IRWIN' in Ljubljana in 1983. Works of the group are usually not individually signed but are stamped. In 1984 the group co-founded the 'Neue Slowenische Kunst' collective and represented the painting and art department there.
In addition to the music group 'Laibach', a theatre group and an office for graphic design, the 'NSK' had a major influence on the cultural and political debate in Yugoslavia towards the end of the Tito period. It worked consciously and provocatively with totalitarian structures and negated the individual in favor of the state. In 1992 there was a transformation from a collective to an NSK state without borders and without territory. The provocative play with fascist structures, symbols and totalitarian claims often led to misunderstandings, but also made the real oppression of Yugoslav society transparent and obvious.
Roman Uranjek: "IRWIN is one of the founding member groups of the larger NSK collective, established in 1984, a year after the IRWIN group had come into existence. Our idea took the perspective of the historical avant-gardes—such as the Bauhaus and postwar movements like Fluxus—as a starting point. The fundamental body of NSK consists of twelve individual persons. Through our activity, various poetics have been developed, and the working principle of every individual group has followed the rules of its own creative medium (music, theater, design, contemporary artistic practice, painting). And now, after more than three decades, we have twelve different notions and interpretations concerning the question of what NSK represents and whether it still exists at all." Conversation: Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik of IRWIN with Meghan Forbes, 2019
In 2002 he started the project 'At Least One Cross a Day After 1.1.2002', which has continued since then. For the group of works, he chooses visual material from different art-historical periods and combines them into collages in which the narrative structures and visual narrative styles of the avant-garde are re-themed. In 2015 the collaboration on 'Dates' with Radenko Milak was initiated.
