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MIHA COLNER

Pig farm

At the end of the story the protagonists of George Orwell’s Animal farm irrevocably succumb to the dominance of the cunning and vain pigs, who were quick to adjust the new and free world to human parameters. They became the elite of the new proletariat, a cast that often accompanies the changes in political and social systems. With great frustration, characteristic of the oppressed, they became identical to their previous executioners – people. Maybe it is due to their similarity to human beings that pigs have, throughout history, represented the human attributes of gluttony and greed; thus, when used in a personified manner their name became an insult. This is where the obscenity of this designation lies. The pig holds up a mirror to mankind, it provides a reflection of human mentality projected upon the Other. Over the past few years the cross between pig and man represented one of the central motifs in the research in which Zoran Srdić Janežič questioned the meaning and symbolism of this cross. If the motif was at first connected to his own body (a cast of his naked body with a grotesque pig’s head on top of its shoulders) and an entirely intimate understanding of the world from the perspective of a marginalised animal, a symbol of impurity and immorality, the new incarnation of the modelled pig is aimed at the broader social fabric. Emerging from the critical analysis of the public sculpture he created a monumental sculpture of a lying animal that obtained new connotations in a public space. Regardless of its large dimensions one should take a closer look at the statue, for the statue invites the viewer to circle around it,

perceive it and digest the numerous details that are of equal importance as the first impression from a distance. The message of this spatial intervention is not direct, for it is wrapped in layers of metaphorical narration that serves the consideration of certain segments of contemporary everyday life. Similar to a statue of a statesman or a memorial obelisk, the animal lying on its back is positioned in the centre of a grass square, in front of a representative Baroque palace, which today houses the state archive, with an open view of a main road leading into town. Following the classicistic understanding of positioning the sculpture within an urban milieu, in which the strategic visual position is of extreme importance, the placement is to a certain extent harmonised with the new town structure. The Kiparna area is a heterogeneous entity of urbanistic interventions belonging to various periods – a transport artery, walking embankments, a Baroque palace and the monochromatic wall of the neighbouring house – as well as an area of potential investments and capital incomes. The exhausted, half dead pig is an excellent fit for this context in which it represents a visual marker of the social and political movements. The lying animal is a synonym for the new world order – the withering state institutions that are losing their original meaning. With its form the over dimensioned figure marked by a simple and extremely minimalist modulation implies a three dimensional caricature, which by exposing specific parts of the body – including its lifeless and empty gaze and its bulky body – emphasises its semantic attributes. The pig is still alive, but barely. In its extreme exhaustion and powerlessness it has lost its last smidgen of its instinctive protection from parasites. Utterly 55

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Corpus indeterminata  

Opus Corpus indeterminata by artist Zoran Srdić Janežič

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