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resigned, with all four legs sticking from its body, it exposed its vulnerable soft belly. Helpless, it is almost ceremonially placed on the funerary bed, on which its offspring continue to persistently and greedily suck on it, fully aware that a line of new candidates is standing right behind them, waiting for their turn to suck a share of the remaining life substance. In a figurative sense this necrophilic motif could easily become an allegory for the current depletion of the environment and society in which the extremely short-term goals of a fistful of privileged individuals prevail. The state has become a means of achieving these goals. By appropriating the position of the representative monument the author subverted its usual meaning. Instead of the deserving hero, the unifier or liberator, he toys with the idea and metaphor of the state, which is no longer a sublime personification or an abstract composition, but an image of a pig with all its implications. It questions the roles and tasks of the state, the basic geopolitical unit, which should supposedly level out the various interests of the different social groups, their needs and demands and generally take care of the overall welfare of its inhabitants, while they, in turn, should respect it and defend it when necessary. They are bound together by the shared cultural values and the collective historic memory. However, once again the harmony was disrupted. Today the inhabitants of Slovenia (and most European countries) are still (or increasingly) subjected to a patriotic discourse that through high and popular culture intentionally keeps reinforcing identity awareness and builds its own, closed and non-reflected scene. However, all of this sounds merely like a roar of a mortally wounded animal. The state as an umbrella organisation of its citizens is continually

losing contact with the needs and desires of its people. On the other hand, even though numerous individuals and powerful economic subjects should ensure the general benefit with their surplus, they rely on the drained state that is passively awaiting better times. According to the Catholic analogy this institution is also comprised of and lead by people who have apparently given in to the faith of the so-called ‘unavoidable human nature’. With their actions the patriotically oriented ideologists persistently prove that they do not believe in the sovereignty and independence of the state that they have created to fit their interests. At this point one could agree with the American journalist and writer Chris Hedges, who stated that the state is endangered as it no longer holds any power. The new elite, represented by the global oligarchy, is no longer subjected or loyal to a state, which is why it has managed to push the existence of the middle classes to the very edge. The general global crisis and the current unstable moment are permanently present in the subtones of the works by Srdić Janežič, who, rather than criticising the state structure is more likely to consider its actual meaning and its possible redefinition. With its carefully measured satirical expression and simple art language the large lying pig gives a strong message as regards the current global and consequentially also local despair, which an increasing number of inhabitants of this planet are starting to feel. The synonym for the state in the form of an animal originates from Ancient Rome, and the legend of the shewolf who saved and suckled the two consecrated members of the people who were called upon to rule the others. The mythology is usually built on the assumption of worship and praise of the chosen, superior ones and the consecrated

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Corpus indeterminata  

Opus Corpus indeterminata by artist Zoran Srdić Janežič