Katalog NAPETA SEDANJOST / Catalogue TENSE PRESENT

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NAPETA SEDANJOST TENSE PRESENT

tvegajspremembo riskchange 2019 knjiga / book 4




Migracije so zakon narave: vse se premika, vsi migriramo. SpoĹĄtujmo mobilnost Ĺživljenja. Migration is a natural law: everything moves, everybody migrates. Respect the mobility of life.


tvegajspremembo riskchange 2019 NAPETA SEDANJOST / TENSE PRESENT knjiga / book 4


NAPETA SEDANJOST / TENSE PRESENT tvegaj spremembo / Risk Change 2016—2020 knjiga / book 4

Fotografije razstave Napeta sedanjost, KID KIBLA arhiv / Photos of the Tense Present exhibition, ACE KIBLA archive Fotografije postavitve / Installation photos: Damjan Švarc

Izdajatelj / Publisher: Kulturno izobraževalno društvo KIBLA Association for Culture and Education KIBLA Maribor, Slovenija / Slovenia Zanj / Represented by: Aleksandra Kostič Predsednica KID KIBLA / President of ACE KIBLA

Zbirka / Edition TOX, vozni red po tri tisočih TOX, Timetable through three thousand Letnik / Volume 25 (2020), št. / No. 66 ISBN 978-961-6304-45-0 Besedila / Texts: Aleksandra Kostič, Živa Kleindienst, Peter Tomaž Dobrila, Uroš Čvoro, Deja Bečaj ter umetnice in umetniki / and artists Urednici / Editors: Snežana Štabi, Živa Kleindienst Oblikovanje kataloga / Catalogue design: Sabina Vukalić Naslovnica / Front cover: Salvatore Vitale, How to Secure a Country?, 2014—2019 Prevodi / Translations: Helena Fošnjar, Maiken Ana Kores Lektoriranje / Proofreading: Mirjana Predojevič, Cameron Bobro Tisk / Print: Florjančič tisk d. o. o. Naklada / Print run: 300 izvodov / 300 copies Tiskano v Sloveniji 2020 / Printed in Slovenia 2020 CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor 7.038.53(083.824) NAPETA sedanjost = Tense present / [besedila Aleksandra Kostič ... [et al.] ; urednici Snežana Štabi, Živa Kleindienst ; prevodi Helena Fošnjar, Maiken Ana Kores]. - Maribor : KUD Kibla = ACE Kibla, 2020. (Zbirka Tox : vozni red po tri tisočih = Edition Tox : timetable through three thousand ; letn. 25, št. 66) (Tvegaj spremembo = Risk change ; knj. 4) ISBN 978-961-6304-45-0 1. Vzp. stv. nasl. 2. Kostič, Aleksandra, 1966- 3. Štabi, Snežana COBISS.SI-ID 98161153

Fotografije odprtja / Photographs of the opening event : Janez Klenovšek Fotografije © KID KIBLA in avtorji, umetniki Photographs © ACE KIBLA and authors, artists Vse pravice pridržane. Noben del te publikacije se ne sme reproducirati ali uporabiti na kakršenkoli drug način (grafični, elektronski ali mehanični, vključno s fotokopiranjem, snemanjem ali prenosom v baze podatkov) brez pisnega soglasja nosilca avtorskih pravic. / All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission from the publisher. Katalog © 2020 KID KIBLA in avtorji Publication © 2020 ACE KIBLA and authors “Podpora Evropske komisije pri izdelavi te komunikacije ne pomeni nujno tudi podpore njene vsebine, saj leta odraža samo mnenja avtorjev in Komisije ne more biti odgovorna za to, kako se podatki iz publikacije (komunikacije) nadalje upodabljajo.” / “The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.”


NAPETA SEDANJOST TENSE PRESENT

KID KIBLA / ACE KIBLA Maribor 2020

tvegajspremembo riskchange 2019 knjiga / book 4


VSEBINA 4

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UKAZI IN PRIKAZI

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COMANDS AND DISPLAYS

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NAPETA SEDANJOST

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TENSE PRESENT

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NAPETA SEDANJOST: NOVO OSMIŠLJANJE VOJNE INFRASTRUKTURE

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TENSE PRESENT: REPURPUSING WAR INFRASTRUCTURE

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POZIV K TRANSFORMACIJI

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CALL FOR TRANSFORMATION

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CONNY BLOM (SE/SI)

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SUZANA BRBOROVIĆ (SI/DE)

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BridA/TOM KERŠEVAN, SENDI MANGO, JURIJ PAVLICA (SI)

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LANA ČMAJČANIN (BA/AT)

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BOŠTJAN DRINOVEC (SI)

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MILAN ERIČ (SI)

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FORENSIC ARCHITECTURE

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FORENSIC OCEANOGRAPHY

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BARBORA KLEINHAMPLOVÁ (CZ)


CONTENT MICHAEL TAKEO MAGRUDER (US/UK)

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MLADEN MILJANOVIĆ (BA)

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ARMINA PILAV (BA/UK), ANA DANA BEROŠ (HR), RAFAELA DRAŽIĆ (HR), MIODRAG GLADOVIĆ (HR), MATIJA KRALJ (HR) & MAURO SIROTNJAK (HR)

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CLAUDIA ROBLES-ANGEL (CO/DE)

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ZORAN TODOROVIĆ (RS)

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IVA TRATNIK (SI)

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TADEJ VINDIŠ (SI/UK)

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SALVATORE VITALE (IT/CH)

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YoHa - GRAHAM HARWOOD & MATSUKO YOKOKOJI (UK)

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NAGRADA BELI APHROID 2019

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THE WHITE APHROID AWARD 2019

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BIOGRAFIJE

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BIOGRAPHIES

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Forensic Oceanography Liquid Traces – The Left-to-Die Boat Case, 2014 Foto / Photo by Damjan Švarc


UKAZI IN PRIKAZI

Aleksandra Kostič

Zadnja razstava v ciklusu štirih obsežnih interdisciplinarnih mednarodnih razstav v okviru projekta Tvegaj spremembo z naslovom Napeta sedanjost se odvija v skritih nivojih sistemskih infrastruktur in je med vsemi do sedaj najtežje berljiva in posledično zahteva največ investiranega časa za razumevanje sodobnega umetniškega dela. Vprašanje infrastrukture postaja bolj in bolj kompleksno. Včasih smo se ukvarjali z voznimi redi vlakov, avtobusov, ladij in letal ter ročnim knjiženjem. Zdaj se ukvarjamo z distribucijo podatkov, produktov, procesiranjem in se zazdi, da smo se zazankali v nek učinkovit in hkrati neučinkovit perpetuum mobile v osvajanju novih tehnologij, ki bi nam naj olajšali delo in komunikacijo. Veliko časa namenjamo nakupovanju in pronicanju v delovanje le-teh, saj nam omogočajo sistemsko vključevanje, mednarodno in globalno vključevanje. Po drugi strani pa nas zapirajo v sisteme trde digitalizacije tako na lokalni, državni, evropski in globalni ravni. Zagotavljajo dosledno in natančno izvajanje pravnih, ekonomskih in družbenih pravil z nezadostnim upoštevanjem in vedno bolj skrčenim potencialom človekovih individualnih vidikov. Do leta 2023 bomo vsi Evropejci imeli elektronske vozniške izkaznice in do 2027 bi naj vsi sedeli v senzorsko in avtomatsko upravljanih avtomobilih. Tako načrtuje avtomobilska industrija, skupaj z evropsko gospodarsko in tehnološko politiko, svoj obstoj in rast. Kar pomeni, da se bomo s starejšimi in slabše opremljenimi avtomobili vedno težje legalno vključevali v cestno infrastrukturo. Ko sta si Fritz Lang in Thea von Harbou zamislila Metropolis kot eklektični futuristični prostor, sta kot infrastrukturo za prevozna sredstva namestila mostove, ki povezujejo med seboj visoke nebotičnike; vlaki, avtomobili in zrakoplovi so med seboj razvrščeni v estetskem redu, ki razkriva zunanjo, prikazno plat infrastrukture, slikovito in vizualno kot svobodna umetniška kompozicija, kjer se mehko prelivajo vozila, plovila in pešci, brez kakršnihkoli trkov, ki so de facto zaustavili razvoj letečih avtomobilov. Z današnjega aspekta deluje njuna zamisel po svoji infrastrukturni zamisli naivno in poenostavljeno, verjetno si res ne bi mogla predstavljati, da bi leteči avtomobili zahtevali natančno določeno infrastrukturo za eksponencialno rast udeležencev prometa v 4D prostoru.

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Njuna in druge distopije, prikazi, kako bo delovala družba prihodnosti, so pogosta tema znanstveno-fantastičnih knjižnih in filmskih stvaritev, kot so

1984 Georgea Orwella, Krasni novi svet Aldousa Huxleya in Fahrenheit 451 Raya Bradburyja; opozarjajo na družbo, okolje, politiko, ekonomijo, religijo, psihologijo, etiko, znanost in tehnologijo. Distopiki gledajo pesimistično na vladajočo elito, kot brezobzirno, zato se za opozicijo postavlja »upor«, ki želi spremembo v družbi. Sodobna realnost zrcali širši pojem diktature po eni strani privatizacije življenjskih pogojev, od zemlje do vode, po drugi strani globalnih ukazov velikih korporacij. Razlika med ukazom, renderiranjem in prikazom je približno taka: ukaz je suh in digitalno trd, kompleksni ukazi se dolgo preračunavajo, optimizirajo, sintetizirajo in izvršujejo, v meritvah so vedno manjša odstopanja in prikaz je zgolj zunanja, vidna oblika digitalnega ukaza in njene izvršbe, ki marketinško božansko zavaja. Če je 1984 izpostavila na črnem trgu izdelke, ki so nevarni, je ta podzemna dejavnost že davno priplavala na površino in postala najmočnejši tržni trend, od orožja do kemijskih in bioloških strupov, s katerimi je poplavljeno globalno tržišče. Pogled na tehnologijo, ki je edina struktura vseh infrastruktur danes, se je od 70. let prejšnjega stoletja do danes spremenil, tehno-utopija, ki temelji na napredku v znanosti in tehnologiji in ki bi bi naj prinesla utopijo, se razblinja. Idealna družba, kjer so zakoni, vlada in družbeni pogoji zgolj v službi koristi in dobrega počutja vseh prebivalcev, postavljena v bližnjo ali daljno prihodnost, se vedno bolj oži. Sodobni umetniški razmisleki analizirajo stanje človeškega bitja in duha, ki se je znašel v nekem danem prostoru bivanja. Tega si ni nujno sam izbral, morda je bil vanj potisnjen ali rojen, z identiteto in kulturo vanj naravno vraščen ali prisilno prilagojen. Umetniki še vedno rišejo skelete in koncepte, pripovedujejo (ne)razumljive zgodbe, igrajo se s čutili telesa, si nadenejo različne identitete, da bi analizirali prikaze in se dokopali do globine ukazov. Da bi razumeli tekoči pojavni svet in človeka v njem. Še vedno traja proces umetniško interdisciplinarnega raziskovalnega dela, kot ga je v povezovalnem in utopističnem renesančnem duhu zastavil Leonardo da Vinci. 


The issue of infrastructure is becoming more and more complex. We used to deal with timetables for trains, buses, ships and airplanes, and manual bookkeeping. Now we deal with distribution of data and products and with processing, and it seems we have looped ourselves into a kind of effective and at the same time ineffective perpetuum mobile of conquering new technologies, which are supposed to make our work and communication easier. We devote a lot of time to purchasing technology and discovering how it functions, because technology enables systematic, international and global inclusion. On the other hand, we are being closed inside hard digitalization systems at the local, national, European and global level. These ensure a consistent and accurate implementation of legal, economic and social rules, but fail to take sufficient account of the increasingly shrunken potential of people’s individual aspects. By the year 2023, all Europeans will have electronic drivers’ licenses, and it is predicted that by 2027, we are all going to be sitting in automatic, sensor-operated cars. In this way the automotive industry, hand in hand with the European economic and technological policies, is planning its survival and growth. Which means that with older and not so well equipped cars it will be harder and harder to be legally involved in the road infrastructure. When Fritz Lang and Thea von Harbou envisioned Metropolis as an eclectic futuristic space, they imagined bridges connecting high skyscrapers as a form of transportation infrastructure; their trains, cars and airplanes are classified in an aesthetic order, which reveals the external, displayable side of the infrastructure: picturesque, like a free artistic composition, where vehicles, vessels and pedestrians softly blend together, without any collisions, which have, de facto, blocked the development of flying cars. From today’s point of view, their idea of infrastructure appears naive and simplistic; they probably could not have imagined that flying cars would require a well-defined infrastructure for an exponential growth of road users in 4D space. Theirs and other dystopias, displays of how the society of the future will function, are a common theme

in science-fiction book and film creations, such as 1984 by George Orwell, Aldous Huxley’s Brave New World, and Ray Bradbury’s Fahrenheit 451; they draw attention to society, the environment, politics, economy, religion, psychology, ethics, science and technology. The dystopians view the ruling elite pessimistically as ruthless, so the opposition stands for a “rebellion” that seeks change in society. Contemporary reality reflects dictatorship in a broader sense: on the one hand, the privatization of living conditions, from land to water, and, on the other, the global commands of large corporations. The difference between command, rendering, and display is roughly something like this: the command is dry and digitally rigid, complex commands require a long time for computation, optimization, synthesis, and execution; there are ever smaller variations in the measurements, and the display is merely an external, visible form of the digital command and its execution, which divinely misleads in terms of marketing. If 1984 exposed dangerous products on the black market, then this underground activity has long surfaced by now, and has become the strongest market trend, from weapons to chemical and biological toxins that flood the global market. Our perspective on technology, which is the one and only structure of all infrastructures today, has changed since the 1970s, and the techno-utopia based on advances in science and technology that is supposed to bring about utopia, is shattering. An ideal society, set in the near or far future, where the laws, government and social conditions would work exclusively to the benefit and well-being of all residents, is getting narrower and narrower. Contemporary artistic considerations analyze the state of the human being and spirit in a given place of existence. They did not necessarily choose this place, they may have been forced there or born into it, or have naturally grown into it through identity and culture, or have become adapted to it by force. Artists still draw skeletons and concepts, narrate (un)comprehensible stories, play with the senses of the body, put on different identities, in order to analyze the displays and get to the essence of the commands. So they can understand the current manifested world and the person in it. The process of artistic-interdisciplinary research work is still ongoing, in the same way as it was once laid out, in the renaissance spirit of connection and utopia, by Leonardo da Vinci. 

COMANDS AND DISPLAYS

The final in a cycle of four large-scale interdisciplinary international exhibitions as part of the project Risk Change, entitled Tense Present, unfolds across hidden levels of systemic infrastructures. Among all four exhibitions, it is the most difficult to read and consequently requires the most time to be invested in the understanding of contemporary works of art.


NAPETA SEDANJOST

Aleksandra Kostič, Živa Kleindienst, Peter Tomaž Dobrila

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Sodobnost je splet kaotičnih stanj in nerazrešenih svetovnih političnih vprašanj od etike preživetja, nenadzorovanosti, estetike življenja, invazivnih odnosov, vključevanja in izključevanja, upočasnjevanja globalnih sprememb, transformacije obstoječih sistemov do razpada skupne kulturne in filozofske identitete. Stalnica evropske zgodovine je nezmožnost celostnega uvida in silovitih sprememb v času in prostoru, kot med obema vojnama tako tudi v tretjem tisočletju. Kot bi si starka ne upala ogledovati svoje spremenljive črte na obraznem zemljevidu, ko se obraz in telo počasi, toda vztrajno deformirata, razkrajata in razblinjata. Umetnost, filozofija in kultura so bile v službi politike, države in mestoma obratno, tako vsaj večinski, uveljavljen, v zgodovino zapisan delež. Zadnja, četrta od mednarodnih skupinskih razstav, ki jih v prostoru za umetnost KIBLA Portal pripravljamo v okviru projekta Tvegaj spremembo, se sooča s sedanjostjo. Naslov Napeta sedanjost izpostavlja odločilno pomembnost ‘tukaj in zdaj’ v času, ko je popularno prodajati prihodnost, ki ne pomeni nič drugega kot eskapizem v večno nedosegljiv jutri, ali obujati preteklost kot svojevrstno nostalgijo po minulem, spominu na boljše ali slabše čase. Seveda je to ‘izven-časno’ bivanje lastnost človeka, ki se nenehno ozira in gleda naprej, a je tudi instrumentarij, po katerem vsak dan posega politika, da z neoprijemljivostjo trenutka in aktualnega prostora upravičuje svoje ravnanje in manipulira z množicami. Razstava Napeta sedanjost se osredotoča ravno na slednje; z razkrivanjem strukturnih sistemov družbenega razvrščanja nevidnih, virtualnih in relacijskih procesov ter analizo materialnega prostora in infrastrukture, aktualizira prostor in čas. Dejstvo je, da zadnja desetletja živimo skozi kontinuiran niz političnih, ekonomskih, okoljskih in družbenih kriz, pri čemer je stanje permanentne krize postalo nova stvarnost, navidezno reševanje oziroma vzdrževanje le-te pa glavni modus operandi globalne politike. Javni diskurz je posledično (ponovno) prežel intenziven vzpon vsesplošnega populizma, ki se skozi ohranjajoče se stanje krize legitimizira, hkrati pa s stereotipizacijo, preprostimi in plehkimi političnimi ter zgodovinskimi interpretacijami, prikriva dejansko delovanje (infra)strukturnih sistemov, ki, onstran političnih ideologij, oblikujejo sodobno družbeno in ekonomsko realnost. Konceptualna podstat razstave sta namreč dva ključna pojma:

infrastruktura in mapiranje. V tem kontekstu infrastrukturo razumemo ne le kot fizično strukturo in zgrajen, materialni prostor, utilitarne objekte in podobno, ampak predvsem kot organizacijske vzvode in procese, ki pogojujejo vsakodnevno realnost. Telekomunikacijski, varnostni, zdravstveni, izobraževalni, kulturni in drugi institucionalni sistemi vzdržujejo in pospešujejo kroženje globalnega kapitala. Infrastruktura torej usmerja tokove globalne proizvodnje, eksploatacije naravnih virov, dela, (produkcije) znanja in izmenjave informacij, obenem pa skozi taiste procese identificira, determinira, kategorizira in disciplinira posameznika in množice. Infrastrukturo torej definiramo onkraj nevtralnega in učinkovitega delovanja logističnih sistemov – kot skupek (geopolitičnih) razmerij moči, antagonizmov, načina upravljanja družbenega, ter kot množico ponotranjenih individualnih in kolektivnih rutin ter praks. Kljub vsemu pa ne moremo zaobiti osnovne definicije infrastrukture, ki je pravzaprav sinonim za tehnološki napredek, simbol hlepenja in dobička ter družbenih neenakosti. Naboru avtorjev in del, ki jih zaobjema pričujoča razstava, ni skupen le vsebinski okvir, znotraj katerega pozicionirajo najrazličnejše konceptualne diskurze, ampak tudi izrazito interdisciplinarni metodološki pristop in formalna predstavitev. Znotraj polja sodobne umetnosti so se namreč skozi serijo t.i. obratov (npr. etnografski, pedagoški) oziroma procesov obračanja, izoblikovali novi metodološki in interpretativni modeli, ki so postopoma pričeli redefinirati ustaljene načine proizvodnje znanja, kot načini razumevanja in odzivanja na spreminjajoče se politične, ekonomske in družbene okoliščine. Recipročna uporaba umetniških strategij v znanosti in znanstvenih v polju umetnosti, danes zagotovo ni več nova, o čemer seveda pričajo razstavljena dela in raziskovalni projekti. Mapiranje – vzpostavljanje relacij med posameznimi akterji in elementi, je strategija, ki jo zasledimo pri vseh avtorjih in je torej eden izmed kriterijev nabora razstavljenih del. Od kartografskega mapiranja teritorialnih meja in mejnih režimov, preko vizualnih in arhivskih analiz arhitekturne metamorfoze konfliktnih območij, militarizacije države, farmacevtske industrije, raziskovalnih inštitutov za robotiko, podatkovnih baz, sistemov spletnega nadzora ter razkroja socialne države do likovnih analiz materialnega in abstraktnega. Umetnost je tukaj in zdaj, deluje v sedanjem prostor-času in neposredno naslavlja javnost. Lahko tudi nastavlja ogledalo ali sama postane ogledalo ali se pomakne izza njega, v tisto ‘temno vesolje’, v katerem najde prostor


razmisleka, miru in ustvarjanja. Četudi (lahko) črpa iz preteklosti, citira mite, izpostavlja zgodovinske resnice in pogleduje v prihodnost, predvideva, napoveduje, oboje uporablja kot orodji za razčiščevanje sedanjosti. Kako je biti in bivati, kako je obstati v vse bolj turbuletnem, zdi se globaliziranem, dejansko pa v lokaliziranem svetu, kjer tisti, ki vladajo, mislijo samo, kako podaljšati svoje stanje – sedeti na oblasti še naprej. Umetnost se sooča s pogledi navzkrižnih monokulturnih interesov, jih nevtralizira v svoji dobesednosti, se sooča z grobo segmentacijo širše družbene stvarnosti in posameznika ter vzpostavlja nepričakovane, nevidene, neizrečene in še neformulirane odnose v kompleksnih niansah sivin. Umetnost gradi štiridimenzionalno ogledalo in širši, globlji uvid realnosti. Vendar se poraja vprašanje, v kolikšni meri je tudi sodobna umetnost prikriti instrument različnih politik. Sodobna umetnost se giblje po različnih principih, od kritike, aktivizma, eksperimentiranja, preko efemernega raziskovanja, niansiranja in plastenja etabliranih pojmov in pomenov, do subtilnega zaznavanja antropocentričnih točk družbene nevralgije, od naplastenega in koncentriranega urbanega prostora do razširjenih pojmov narave danes, avtohtone in prirejene, genetsko prestrukturirane. Na vsebinskih premisah umetnosti, tehnologije, znanosti, geopolitike, demografije in družboslovja se v interdisciplinarnih prepletih vzpostavljajo umetniške oblike, konstrukcije, koncepti, vizualizacije in psihofizične strukture antropocentrizma v notranjih in zunanjih prostorih, med obstojem in izginjanjem. Zato je zadnje čase (spet) aktualno povezovanje umetnosti z znanostjo. Čeprav bi za oba sistema lahko rekli, da si nasprotujeta – umetnost kot delo, ki ponuja neskončno rešitev, in znanost z enim pravilnim rezultatom – se ravno v njuni povezavi sklene vesolje človekovega smisla. Umetnost v svoje izrazoslovje vplete znanstvene raziskave in odpre nove dimenzije preživetja, nagovarja druga področja in sodeluje z naravo, izpostavlja socialne teme, preizprašuje smiselnost družbenih hierarhij, se ubada s problemi neenakosti, na slabše spreminjajočimi se razlikami med bogatimi in revnimi, med udobjem določenega števila prebivalstva in revščino premnogih, med še vedno aktualnimi odnosi gospodarjev in sužnjev, med prvim, drugim, tretjim … in še katerim po vrsti svetom. Pridelovanje hrane je le še eden od monopolov največjih v neusmiljeni tekmi z drugimi gospodarskimi panogami, čeprav bi morala biti neodtujljiva pravica vseh, kot tudi zdravje, pri katerem pa je odločilno nastaviti sistem, v katerem medicina in farmacija nista socialna inkvizicija, ampak javno in skupno dobro. Kot zrak in voda. Ne samo za ljudi, ampak vso živo in ‘mrtvo’ naravo.

Umetnost in znanost sta zmerom usodno povezani. Bili in bosta. Znanost že tisočletja, vsaj od odkritja atoma ve, da ločnic med mrtvo in živo naravo ni. Obstoj atomov so prvi predlagali v 6. stoletju pr. n. št. grški filozofi (Demokrit, Levkip in Epikur), vendar je predlog utonil v pozabo, dokler ga ni v 18. stoletju oživil Ruđer Josip Bošković, zares pa je zaživel, ko je John Dalton predlagal njegovo uporabo v kemiji. Enostavno: vse snovi v naravi sestavljajo atomi. Umetnost nas uči sobivanja z naravo in bivanja samih s sabo. Pravi nam, da je vse živo, da je potrebno biti ustvarjalen, čuječ in razumevajoč. Tudi ko česa ne razumemo, saj ni bistvo v rezultatu, ampak v procesu, v poti. Ko se ta konča, se prične potovanje – šele takrat lahko pogledamo izza ogledala. S spoznanjem, da je vse neločljivo in povezano. Da ne moremo jemati iz celote, ne da bi to celoto okrnili. Da moramo gledati celostno. Da za fiziko kot pojmom znanosti sledi metafizika, nekaj kar je nad fiziko in se ne da razložiti s fizikalnimi definicijami. Čeprav znanost poskuša tudi to, ko se spušča vse nižje na subatomske nivoje kvantne mehanike oziroma kvantne fizike in išče zlati gral – delec večne resnice. Ni treba biti presenečen, če bo ta delec prav umetnost. 


TENSE PRESENT

Aleksandra Kostič, Živa Kleindienst, Peter Tomaž Dobrila

Contemporaneity is a meshwork of chaotic states and unresolved global political issues, from the ethics of survival, uncontrollability, the aesthetics of life, invasive relations, inclusion and exclusion, the slowing down of global changes, the transformation of existing systems, to the breakdown of a common cultural and philosophical identity. The inability to fully recognize these issues and bring about the necessary tremendous changes in time and space, has been a permanent feature of European history, both in the period between the two world wars, as well as in the third millennium. It is as if the old lady would not dare to look at the changing lines on her own face map, as the face and the body are slowly but surely deforming, disintegrating, dissipating. Art, philosophy, and culture have been in the service of politics and the state, and vice versa every so often, at least according to the historical (majority) share. The fourth and final out of international group exhibitions, which we are setting up as part of the project Risk Change, is a confrontation with reality. The title Tense Present calls attention to the critical importance of the ‘here and now’, in a time when it is increasingly popular to be selling the future, which is nothing but escapism into the ever unattainable tomorrow, or reminiscing about the past, as a form of nostalgia for the bygone, for the memory of better, or worse, times. Of course, this ‘out-of-time’ existence is a part of human nature, which always looks backward and forward, but which has also been an instrument of everyday use for the politics, so that it can justify its actions and manipulate the masses.

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These ideas are the focal point of the exhibition Tense Present; by unveiling the structure systems behind the social categorization of invisible, virtual and relation processes, and by analyzing the material space and infrastructure, Tense Present seeks to accentuate the topicality of the space and time we live in. It is a fact that for the past few decades, we have been living through a continuous string of political. economic, environmental and social crises, whereby a state of permanent crisis has become the new reality, and the seeming resolution, or sustainment of the latter has become the new modus operandi of global politics. As a result, the public discourse has (yet again) become defined by a steep rise of widespread populism, which is legitimized through the sustained state of crisis, while at the same time – through stereotypes, and through simple and shallow political and historical

interpretations – it conceals the reality of the operation of (infra)structural systems, which shape the contemporary social and economic reality beyond the constraints of political ideology. The conceptual groundwork for the exhibition is determined by two key notions: infrastructure, and mapping. In this context, infrastructure is understood not only in terms of physical structure and the built, material space, utilitarian objects and the like, but above all as the organizational levers and processes, which condition our everyday reality. Systems of telecommunication, security, health care, education, culture and other institutionalized systems, maintain and accelerate the flow of global capital. Infrastructure, therefore, is a means of steering the flow of global production, exploitation of natural resources, work, (the production of) knowledge and exchange of information, while at the same time these processes are used to identify, determine, categorize and discipline the individual and the mass. Infrastructure is therefore defined beyond the scope of a neutral and efficient functioning of logistic systems – as a set of (geopolitical) power relations, antagonisms, ways of managing the collective and as a multitude of internalized individual and collective routines and practices. Nevertheless, there is no way of getting around a basic definition of infrastructure, which is in fact a synonym for technological progress and a symbol of hungriness, profit, and social inequalities. Selected authors and works in the exhibition share more than just a conceptual framework, within which they position various conceptual discourses; they are joined by a distinctly interdisciplinary methodological approach and formal presentation. Within the field of contemporary art, namely, a series of turns (e.g. ethnographic, pedagogic), or processes of turning has resulted in the formation of new methodological and interpretational models, which gradually began to redefine the established ways of knowledge production, as ways of understanding and responding to the changing political, economic, and social circumstances. Today, a reciprocal use of artistic strategies in science and of scientific strategies in art is no longer something new, to which the exhibited works and research projects surely testify. Mapping, i.e., establishing relations between individual actors and elements, is a strategy observed in all the exhibiting authors, and as such, it is one of the criteria for the selection of the artworks in the exhibition. From a cartographic mapping of territorial borders and border regimes,


through visual and archive analyses of the architectural metamorphosis of conflict zones, militarization of the state, the pharmaceutical industry, research institutes for robotics, databases, systems of online surveillance and the disintegration of the welfare state, to fine art analyses of the material and the abstract. Art is here and now, it acts in the present space-time, and directly addresses the public. It can also place a mirror, or become a mirror in itself, or even move behind the mirror, into that ‘dark universe’, where it can find a space for contemplation, serenity, creation. Although art (may) draw on the experience of the past, citing myths and pointing out historical truths, and although it looks to the future, anticipating and foretelling – it uses both as tools for elucidating the present. What is it like to be and to exist, to endure in the increasingly turbulent, seemingly globalized, but actually localized world, where those who rule think only about hanging onto their own positions – about staying in power in the future as well? Art confronts the views of conflicting monoculture interests, it neutralizes them through its literalness, as it faces the crude segmentation of the broader social reality and the individual, and establishes unexpected, unseen, unspoken and yet unformed relations in the complex hues of grayness. Art creates a four-dimensional mirror and a wider, deeper insight into reality. However, the question arises, to what extent even contemporary art is a hidden instrument of various politics? Contemporary art moves along the lines of various principles, from criticism, activism, experimentation, through ephemeral research, nuancing and layering established concepts and meanings, to the subtle perception of anthropocentric points of social neuralgia; from the layered and concentrated urban space, to extended notions of nature as we know it today: autochthonous and modified, genetically restructured. Upon the substantive premises of art, technology, science, geopolitics, demography and social sciences, interdisciplinary interplays generate art forms, constructions, concepts, visualizations and psycho-physical structures of anthropocentrism in internal and external spaces, between existence and disappearance. This is why connecting art and science has become topical (again) in recent times. Although we could say that these two systems are opposite – art as the kind of work, which offers endless solutions, and science, with one single correct answer – it is precisely in their intertwinement that the universe of man’s purpose comes full circle. Art incorporates scientific research into its terminology, opening up new dimensions of survival, addressing other fields and collaborating with nature, pointing out broader social themes, requestioning the meaningfulness of social hierarchies, dealing with issues

of inequality, with worsening differences between the rich and the poor, between the comfort of a certain number of people and the destitution of so many, between the still topical master-slave relations, between the first, second and third worlds, and all those that follow. The production of food is nothing but a monopoly in the ruthless race of the biggest economic sectors with others, although it is supposed to be an inalienable right of everyone, just like health, whereby in health care, the most important thing seems to be to set up a system, in which medicine and pharmacy are not a form of social inquisition, but a matter of public and common well-being. Like air and water. Not only for human beings, but for all living and ‘still’ nature. Art and science have always been bound by fate. Have been and will be. For millennia, or at least since the discovery of the atom, science has known that a dividing line between still and living nature is inexistent. The existence of atoms was first suggested in the 6th century B.C. by Greek philosophers (Democritus, Leucippus and Epicurus), however, the idea sank into oblivion all until it was revived in the 18th century by Ruđer Josip Bošković, before it really took off with John Dalton’s suggestion to apply it in chemistry. Simple: all substances in nature consist of atoms. Art teaches us about co-existence with nature, and with ourselves. It tells us that everything is alive, that we need to be creative, vigilant, and empathetic. Even when we do not understand something, because the point is not in the result, but rather in the process, in the path that takes us there. When the path ends, the journey begins – and only then can we look behind the mirror. With the realization that everything is inseparable and interconnected. That we cannot take from the whole, without infringing upon that whole. That we need to see the big picture. That behind physics, as a scientific notion, follows metaphysics, something above material physics, which cannot be explained by means of physics’ definitions. Although science attempts to do that as well, as it goes deeper and deeper into subatomic levels of quantum mechanics, or quantum physics, searching for the holy grail – the particle of eternal truth. No need to be surprised, if this particle turns out to be art. 


NAPETA SEDANJOST: NOVO OSMIŠLJANJE VOJNE INFRASTUKTURE

Uroš Čvoro

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Z oskarjem nagrajeni film Nikogaršnja zemlja (2001) režiserja Danisa Tanovića med dogajanjem, umeščenim v sredino vojne v Bosni in Hercegovini, v leto 1994, vključuje prizor dveh bosanskih vojakov v strelskem jarku. Med čakanjem na prvi bojni liniji v neposredni bližini bosanskih Srbov vojaka tiho preganjata čas, eden straži, drugi bere časopis. Nenadoma tisti, ki bere časopis, ogorčeno zavpije: ‘Ojoj!’, in drugi ga vpraša: ‘Kaj pa je?’. Ne da bi dvignil pogled od časopisa, mu prvi odgovori: ‘Videti moraš, kakšno sranje se dogaja v Ruandi!’. S črnim humorjem prežet prizor lepo povzame enega izmed mnogih etičnih paradoksov vojne: sposobnost empatije ob trpljenju drugega, medtem ko se ukvarjaš z lastnim trpljenjem. Vojakova iskrena zaskrbljenost za Ruandčane, ujete v genocidno vojno leta 1994 je paradoksalna, saj reagira v neskladju z lastnimi okoliščinami (dobesednega) življenja na prvi bojni liniji genocidne vojne v BiH. Prizor je postal pomenljiv v luči dogodkov oktobra 2019, ko je v ospredje stopil migrantski tabor Vučjak v bližini Bihaća. Zaradi obratovanja preko meja največje zmogljivosti in pod grozljivimi pogoji je taboru grozilo zaprtje. BiH se je ponovno znašla v središču humanitarne krize, le da tokrat ne v vlogi države, podvržene genocidni vojni, temveč v vlogi države, ki ni sposobna sprejeti večjega števila migrantov, ki se premikajo preko njenega ozemlja na poti v EU. Podobe centrov za pridržanje, zavračanje vstopa s strani hrvaške obmejne policije ter prisilno preseljevanje ljudi, vse to je obudilo grozljivo prikazen vojne izpred dveh in pol desetletij. Prebivalci BiH so bili ponovno postavljeni pred izziv sočustvovanja s stiskami ‘drugih’ med ukvarjanjem z lastnimi težkimi okoliščinami, vključno z izpostavljenostjo vojni podobnim razmeram. Le da tokrat ni šlo za vojno etničnega čiščenja ozemlja, temveč za vzdrževanje militariziranih meja Evrope. Dogodki v BiH predstavljajo prepričljiv kontekst, v katerem je treba razmišljati o načinu, kako umetniki na razstavi Napeta sedanjost spreminjajo vojaško znanje o prostorih, telesih in nadzoru meja ter s tem omogočajo razseljenemu civilnemu prebivalstvu kršenje suverenosti militariziranih držav in izogib nepravični in nehumani migrantski politiki. V dobi neskončne ‘planetarne državljanske vojne’, množičnih migracij in prisilnih pridržanj za nedoločen čas so meje postale vojno sredstvo: militarizirana infrastruktura

za potrebe zadrževanja, pridržanja in nadziranja ljudi.1 Napeta sedanjost vključuje dela, ki na podlagi resničnih izkušenj postanejo učni vir, zasnovan za zaščito življenja pred vojnim uničenjem. Kolektivni projekt Un-war Space2 dokumentira vojaško uničenje tako, da ga demilitarizira: arhivira namreč, kako so civilisti, ki so jih v času obleganja Sarajeva v mestu zadrževale sile bosanskih Srbov (1992—1996), kolektivno preoblikovali urbane prostore, uničene od vojne, v funkcionalne prostore preživetja. Un-war Space deluje kot ‘didaktično orodje za antimilitaristični urbanizem’ in predstavlja sredstvo za rekonceptualizacijo pasivnosti civilistov, ujetih v konfliktu.3 Didaktični zid Mladena Miljanovića je ‘subverzivna izobraževalna postavitev’, ki na novo osmišlja drakonske migracijske zakone EU ter predstavlja priročnik za razseljene ljudi z informacijami, kako se gibati, se izogniti odkritju ali poiskati zavetje med potovanjem v EU prek BiH.4 Za tisoče ljudi, ki so obtičali v taborih v BiH, postane priročnik izobraževalno orodje skupnega vojaškega znanja. Napeta sedanjost vključuje tudi dela, ki posegajo v militarizirane meje z ustvarjanjem kratkega stika v infrastrukturi, namenjeni nadzorovanju življenja. Video delo Zorana Todorovića Integracija dokumentira umetnika, ki zbira urin iz begunskega centra v Beogradu in ga destilira za pripravo piva po belgijskem receptu za izvoz v države ‘prvega sveta’. V videu so prikazani posnetki Todorovića, ki skupaj z občinstvom poskuša takšno pivo v okviru predavanja in performansa v Londonu. Delo je neusmiljena kritika načina upravljanja z evropskimi mejami, pri čemer sopostavlja mobilnost ‘predelanega’ migrantskega telesa (telesni izločki, dobesedno predelani v butično pivo) in omejeno mobilnost živega telesa. Z varjenjem slabe vesti Evrope je Todorović predelal in preimenoval telesne izločke beguncev ter tako ustvaril butično pivo, ki lahko prečka meje, zato da ga na drugi strani zaužijejo umetnosti naklonjeni zahodni liberalci. S tem, ko opozarja na način uporabe civilne infrastrukture v vojaške namene, nas Napeta sedanjost opominja na način spreminjanja samega razumevanja pojma ‘civilno’. Zadnja desetletja je zaznamovala razširjena uporaba vojaške tehnologije in ideologije za nadzor in upravljanje čezmejnega gibanja. Ta vključuje premik v javnem diskurzu, ki begunce in migrante


s prisilnim razlikovanjem med ‘legalnimi’ in ‘ilegalnimi’ kriminalizira pod krinko ogrožanja državne varnosti. Bolj ali manj odkriti rasizem in islamofobija, na katerih temeljijo te razlike, se skriva za ideologijo mikro-nadzora – naše kolektivne potrebe po tem, da se ‘zavedamo’ in ‘poučimo’ o morebitnih grožnjah. Militarizirana meja Številna dela na razstavi Napeta sedanjost na novo osmišljajo vojaško infrastrukturo, da omogočijo gibanje: v delu Un-war Space kolateralna škoda uničene mestne infrastrukture in arhitekture postane sredstvo za preživetje civilistov, ujetih v vojni; v Didaktičnem zidu pa vojaški priročniki postanejo sredstvo za varno prečkanje mej in izogibanje policijskemu nadzoru. Pri ustvarjanju virov informacij za razseljene ljudi ti umetniki v resnici učinkovito ustvarjajo neformalno izobraževalno infrastrukturo.5 Militarizacija meje se nanaša na transformacijo meja: iz območij kazenskega pregona in policijskih dejavnosti, namenjenih prestrezanju ljudi, ki kršijo zakon o priseljevanju, v območja militariziranih varnostnih dejavnosti, osredotočenih na preprečevanje nasilnih groženj ob vstopu na ozemlje države.6 Po eni strani to vključuje napotitev vojaških čet (namesto civilnih obmejnih patrulj) vzdolž meja ter uporabo vojaške ideologije in terminologije pri upravljanju in zaščiti mejne suverenosti. Po drugi strani pa to vključuje tudi povečano uporabo vojaške tehnologije pri policijskem nadzoru meja, vključno z zračnimi plovili brez posadke (brezpilotna letala ali droni), nadzornimi sistemi in vojaško opremo. Preiskava The Left-To-Die Boat kolektiva Forensic Architecture spreminja znanje, pridobljeno med NATO nadzorom libijske obale, v dokaz odgovornosti za zločin odrekanja pomoči maja 2011. Delo prikazuje, kako so meje postale ključni deli militarizacije infrastrukture, kjer poznavanje meja vodi v namerno neukrepanje z usodnimi posledicami. 551.35 – Geometrija časa Lane Čmajčanin se ukvarja s časovnostjo militarizirane meje. Delo je osvetljena plošča (lightbox) velikega formata s 35 zemljevidi, ki so opredeljevali meje BiH v zadnjih 551 letih: od vključitve Kraljevine Bosne v Otomansko cesarstvo (1463), preko njene priključitve k Avstro-Ogrski monarhiji ter nato vključitve v Kraljevino Jugoslavijo, do njene dokončne dekonstrukcije, ki je bila posledica Daytonskega sporazuma (1996). Lana Čmajčanin ustvari portret BiH kot vojne-države-v-času, pri čemer končni rezultat beleži odsotnost države: izginjanje BiH zaradi konfliktov in ponovno določanje meja v skladu z večjimi geopolitičnimi interesi. Lana Čmajčanin k vojni pristopa kot k infrastrukturi za razumevanje in pripovedovanje zgodovinske izkušnje BiH, v povezavi z dejstvom, da BiH že dve desetletji deluje kot ready-made post-konfliktna

družba, ki jo pestijo divji nacionalizem, politični nepotizem in korupcija, družbeni propad in množično izseljevanje iz države. Čmajčaninino delo se nanaša na način, na katerega se ta infrastruktura reproducira prek izobraževalnih struktur: kako se zemljevidi uporabljajo kot sredstvo učenja in poučevanja, oz. indoktrinacije delitve skozi učenje. Učenje skozi umetnost Številna dela na razstavi Napeta sedanjost delujejo izobraževalno7; umetnost kot oblika deljenja in poučevanja veščin preživetja. To je še posebej vidno v kolektivnem projektu Un-War Space, pa tudi v delih Miljanovića in Čmajčaninove. Oba ponujata izobraževalni vidik: preko posredovanja informacij ali obravnavanja izobraževanja kot sistema normalizacije meja. Pomembno pa je, da učenje tukaj nastopa v obliki kritičnega performansa, ki dislocira avtoritativni položaj umetnika kot učitelja, kakor tudi znanja, ki se pri tem prenaša. Tradicionalni model poučevanja zrcali kolonialno in avtoritarno miselnost: učenec ostaja v položaju koloniziranega, ki sprejema znanje. Učitelj je del zgodovine in si prizadeva za njen napredek, medtem ko učenec ostaja izključen iz te časovnosti ali pa je v zvezi z njo v večnem zaostanku.8 Toda čeprav umetniška dela v svojih izhodiščih vsebujejo namen izmenjave informacij, jim umetniki na razstavi oklestijo avro učiteljske avtoritete. Ta dela obstajajo, ker so se umetniki učili iz preteklih izkušenj ljudi in to znanje prenašali naprej. S pomočjo takšne odprtosti in samokritičnosti v odnosu do poučevanja skozi umetnost se njihova didaktična premisa spremeni v zunanji objekt za občinstvo, – v obliki velikega zemljevida ali monumentalnih marmornih plošč – to pa omogoča kritični dialog o odnosu med umetnostjo in produkcijo znanja. Drug pomemben dejavnik je metoda prenašanja znanja. V primeru Miljanovićevega Didaktičnega zidu didaktičnost temelji na dejanju subverzivnega nerazumevanja upravnega postopka in vojaške ideologije.9 Miljanović delo ustvari tako, da izhaja iz dobesednega posvetila iz knjige, ki mu jo je ob koncu služenja vojaškega roka podaril nadrejeni. Posvetilo, na razstavi reproducirano v obliki stenskega napisa, je Miljanoviću namenil njegov poveljnik in mu v njem naročil, naj ‘uspešno uporabi’ svoje vojaško znanje v času miru in v primeru ‘morebitne vojne’. Raje kot da bi posvetilo obravnaval kot prazno ceremonialno gesto, ki tipično spremlja institucionalne obrede iniciacij (na primer diplomo ali zaključek služenja vojaškega roka), Miljanovič ukaz vzame zares in mu sledi do izpolnitve. To je dejanje nad-identifikacije, pri katerem oseba uradni jezik dojema bolj resno, kot se dojema sam, kar povzroča kratek stik v ideološkem aparatu.


Napeta sedanjost zajame geopolitične paradokse sedanjosti s plastenjem infrastruktur Evrope glede na različne nacionalne in mednarodne organe, ki jo opredeljujejo: nacionalne države, Svet Evrope, NATO, schengensko območje. Dela na razstavi Napeta sedanjost načrtno odsevajo militaristični jezik, ki prežema javni diskurz o čezmejnih izmenjavah, da bi s tem ponovno opozorila na usvajanje, nadzor in produkcijo znanja o prostoru kot načinu nadzorovanja in upravljanja gibanja. Hkrati pa je le-to sopostavljeno nasproti različnim nehierarhičnim in nelinearnim oblikam skupnega znanja in izkušenj. Ta gesta nasprotuje vse manjši dostopnosti informacij, zlasti ranljivim in razseljenim ljudem. Napeta sedanjost migrantov in beguncev ne obravnava kot pasivne in nemočne subjekte, temveč jih opolnomoči tako, da črpa iz njihovih izkušenj in jih ojača. Prav ta poudarek na pristni izkušnji sopostavlja lokalnost nasproti globaliziranemu strateškemu militariziranemu znanju o prevladi nad tem ozemljem. Živimo v dobi podatkovnega rudarjenja in mikro-nadzora, toda razstavljena dela se na nek način nanašajo na oblike znanja, ki so izven dometa digitalnega sledenja in satelitskega nadzora. Na ta način Napeta sedanjost vzporeja dejanske, doživete izkušnje ter vidne in nevidne strukture in hierarhije, ki nadzorujejo vstop v EU. Umetniška dela prikažejo, da je nasprotje med mirovanjem in gibanjem zgodovinski in geopolitični konstrukt, vendar takšen, da imajo njegove smeri in ritmi gibanja resnične posledice za življenja ljudi. Kljub temu, da so podvrženi močnejšim silam (pogosto onkraj njihovega nadzora), nas razstava pouči, da ljudje te sile uporabljajo zato, da svoja življenja poženejo v nepričakovanih smereh. 

1 Za planetarno civilno vojno, glej: Hito Steyerl: Duty Free Art: Art in the Age of Planetary Civil War, Verso, London, 2017. Za meje kot administrativna orodja zavlačevanja, glej: Sandro Mezzadra in Brett Neilson, Border as Method, or, the Multiplication of Labour, Duke, Durham, 2013. 2 Un-War je kolektivno delo arhitektov in raziskovalcev Armine Pilav, Ane Dane Beroš, Rafaela Dražića, Miodraga Gladovića, Matije Kralja in Maura Sirotnjaka.

Sonja Leboš ‘Un-learn, de-grow, un-war: Armina Pilav: Un-war Space, Galerija Greta, Zagreb’ Život Umjetnosti 104, 2019, str. 182-190, 189

3

Irfan Hošić ‘Didaktični zid’, Galerija mesta Bihać, 2019

4

5 Infrastrukturo je treba razumeti ne le z vidika logističnih sistemov in struktur, temveč tudi kot vidne in nevidne procese, ki upravljajo s tokom svetovne proizvodnje (in uničenja) ter pogojujejo našo vsakodnevno resničnost. Glej: Luc Boltanski in Eve Chiapello: The New Spirit of Capitalism, prevod: Gregory Elliott, Verso, London, 2007 6 Reece Jones in Corey Johnson ‘Border militarization and the re-articulation of sovereignty’ Transactions of the Institute of British Geographers, Vol. 41, No 2, 2016, str. 187-200

Sven Spieker: Unoriginal Pedagogies: ‘Didactic’ Art as Edification (Robert Morris, Walter Benjamin, Ilya Kabakov). V: R. Niccolosi in T. Zimmermann (ur.), Ethos und Pathos. Mediale Wirkungsästhetik im 20. Jahrhundert in Ost und West Munich: Böhlau Verlag, 2017, str. 413-423

7

8

Ibid.

9 Slavoj Žižek izvorno uporablja izraz over-identification (nad-identifikacija) za opis političnih provokacij slovenske zasedbe industrijske glasbe Laibach (v povezavi z NSK), ki je v jugoslovanskem socializmu prevzela slogovni in estetski izraz fašizma. Glej: Slavoj Žižek, ‘Why are Laibach and NSK not Fascists?’, reproducirano v: Primary Documents: A Sourcebook for Eastern and Central European Art Since the 1950s, ur. Laura Hoptman in Tomas Pospiszyl (The Museum of Modern Art, 2002), 285–8, 287.

Lana Čmajčanin 551.35 – Geometrija časa / 551.35 – Geometry of Time, 2014

16

Detajl / Detail



TENSE PRESENT: REPURPUSING WAR INFRASTRUCTURE

Uroš Čvoro

18

In Danis Tanović’s Oscar-winning film No Man’s Land (2001) there is a scene set in 1994 in the middle of Bosnia and Herzegovina (BiH) war, featuring two Bosnian soldiers in a trench. Stuck on the frontline in close proximity to Bosnian Serbs, the two soldiers are quietly passing the time; one keeping a lookout, and the other reading a newspaper. All of a sudden, the soldier reading the paper exasperatedly exclaims: ‘Oh dear’, to which the other asks ‘what is it?’. Not lifting his head from the paper, the first soldier says, ‘You should see the shit that is going down in Rwanda!’ Laced with dark humor, the scene captures one of many ethical paradoxes from the war: the capacity to empathize with the suffering of others while dealing with your own. The soldiers’ sincere concern for Rwandans caught in a genocidal war in 1994 is paradoxical because he is reacting in disconnect with his own circumstances of (literally) living on the frontline of a genocidal war in BiH.

control people.1 Tense Present includes works that create an educational material based on lived experience and designed to protect life against military destruction. Collaborative project Un-war2 documents war destruction by demilitarizing it: archiving how civilians caught in the Sarajevo siege by Bosnian Serb forces (1992—1996) collectively repurposed urban spaces ruined by military destruction into functioning spaces of survival. Un-War Space functions as ‘a didactic tool for anti-militarist urbanism’, creating the means to reconceptualise the passivity of civilians caught in conflict.3 Mladen Miljanović’s Didactic Wall is a ‘subversive educational installation’ that repurposes draconian EU migration laws to produce a manual for displaced people with information on how to navigate, avoid detection and seek shelter while travelling to EU via BiH.4 For thousands of people stuck in BiH camps, the manual becomes an educational tool of shared military knowledge.

This scene resonated with events in October 2019 as the Vučjak migrant camp near Bihać came into the spotlight. Operating at over maximum capacity under appalling conditions, the camp was under threat of getting shot down. BiH once again found itself at the centre of a humanitarian crisis, only this time not as subject to a genocidal war, but as a country unable to accommodate large numbers of migrants moving across its borders on-route to the EU. Images of detention camps, violent pushbacks by the Croatian border police, and forced displacement of people raised the ugly specter of the war from two-and-a-half decades earlier. People of BiH were again challenged to empathize with the plight of ’others’ while dealing with their own dire circumstances, including being subjected to war-like conditions. Only this time, it was not a war for ethnically cleansed territories, but for maintaining the militarised borders of Europe.

Tense Present also includes works that intervene into the militarised border by creating a short-circuit in the infrastructures designed to control life. Zoran Todorović’s video work Integration documents the artist collecting urine from a refugee centre in Belgrade, Serbia and distilling it to make beer based on a Belgian recipe intended for export to ‘first-world’ countries. The video features footage of Todorović consuming the beer with the audience as part of a lecture performance in London. The work is a scathing critique of European border management by juxtaposing the mobility of the ‘processed’ migrant body (body waste literally processed into craft beer) against the limited mobility of the lived body. Brewing the guilty conscience of Europe, Todorović processes and rebrands the bodily waste of refugees to create craft beer that can move across borders to be consumed by western art loving liberals.

The events in BiH present a powerful context within which to consider the way in which artists featured in the exhibition Tense Present repurpose military knowledge about space, bodies and border control, enabling displaced civilians to breach militarized state sovereignty and circumvent unjust and inhumane migration policies. In the age of endless ‘planetary civil war’, mass migration and forced indefinite detention, borders have become instruments of war: militarized infrastructure used to delay, detain and

By drawing attention to the way in which civilian infrastructure is being used for military purposes, Tense Present alerts us to the way in which the very understanding of the notion of ‘civilian’ is changing. Recent decades have been marked by the pervasive use of military technology and ideology to control and manage movement across borders. This includes a shift in public discourse which criminalizes refugees and migrants – forcing distinctions between ‘legal’ and ‘illegal’ – under the auspice of threats to state security.


The more-or-less overt racism and islamophobia underpinning these distinctions is hidden behind the ideology of micro-policing; our collective need to ‘be aware’ and ‘learn’ about the possible threats.

country. Čmajčanin’s work refers to the way in which this infrastructure is reproduced through educational structures: how maps are used as means of learning and instruction, of indoctrinating division through learning.

The Militarised Border

Learning through Art

The works in Tense Present repurpose military infrastructure to enable movement: in Un-war Space the collateral damage of destroyed urban infrastructure and architecture becomes the means to enable survival of civilians caught in war, and in The Didactic Wall military manuals become the means to safely cross borders and avoid detection. In creating sources of information for displaced peoples, these artists are effectively creating informal educational infrastructure.5

A number of works in Tense Present operate through what can be described as an ‘educative form’7; art as form of sharing and teaching of survival skills. This is particularly evident in the collective project Un-war Space, as well as works by Miljanović and Čmajčanin. Each of these has an educative aspect, through relaying information or dealing with education as a system of normalization of borders. But importantly, learning here operates through a critical performance that dislocates the authoritative position of the artist as the educator and the knowledge that is being transferred.

Militarization of the border refers to the transformation of borders from sites of law enforcement and policing activities designed to intercept people who violate immigration laws to sites for militarized security activities focused on preventing violent threats from entering the state’s territory.6 On the one hand, this includes the deployment of military troops (rather than civilian border patrols) along borders, the utilization of military ideology and terminology in management and protection of border sovereignty. On the other hand, this also includes the increased use of military technology in policing of the border, such as unmanned aerial vehicles (UAV’s or drones), surveillance systems, and military hardware. Forensic Oceanography’s Investigation The Left-to-Die Boat Case repurposes the knowledge gathered through NATO surveillance of the coast of Libya into evidence of responsibility for the crime of non-assistance in May 2011. The work demonstrates how borders have become key parts of the militarization of infrastructure, where knowledge about the border leads to intentional non-action with deadly consequences. 551.35 – Geometry of time by Lana Čmajčanin engages with the temporality of the militarised border. The work is a large-scale lightbox featuring 35 maps which defined the borders of BiH during the last 551 years: since the incorporation of the Kingdom of Bosnia into the Ottoman Empire (1463), through its annexation to the AustroHungarian Monarchy, incorporation of its territory into the Kingdom of Yugoslavia, to its final deconstruction as a result of the Dayton Agreement (1996). Čmajčanin creates a portrait of BiH as a war-state-in-time, where the end result registers the absence of state: the fading away of BiH due to conflict and re-carving of borders in line with larger geopolitical interests. Čmajčanin approaches war as the infrastructure for understanding and narrating the historical experience of BiH, in reference to the fact that for over two decades, BiH has been seen as a readymade post-conflict society plagued by rampant nationalism, political nepotism and corruption, social decay, and mass migration out of the

The traditional model of teaching mirrors the colonial and authoritarian mindset, where the student remains in the position of the colonized receiving the knowledge. The teacher is part of history and works for its progress, while the student remains excluded from that temporality or perpetually belated in relation to it.8 However, even though the starting point for these works is the intention to share information, these artists strip away the aura of teacher authority. These works exist because the artists learned from experience of people before them and pass this knowledge on. Through this openness and self-critical relation to the process of teaching through art, the didactic premise of the works is transformed into an external object for the audience – in the form of a large map or monumental marble panels – enabling a critical dialogue about the relationship of art and knowledge production. Another important factor is the method for transferring of knowledge. In the case of Miljanović’s Didactic Wall, the didacticism is based on an act of subversive misunderstanding of the administrative procedure and military ideology.9 Miljanović creates the work by taking literally the dedication in a book gifted to him by his superior officer at the completion of his military service. Reproduced in the exhibition as wall text, the dedication was included in a book gifted to Miljanović by his commanding officer, instructing him to ‘successfully apply’ his military knowledge in peace and in ‘eventual war’. Rather than treating the dedication as an empty ceremonial gesture that accompanies institutional rites of passage – such as graduations or completions of military service – Miljanović takes the command seriously and follows it through to its conclusion. This is an act of over-identification, where the official language is taken more seriously than it takes itself, causing a short-circuit in the ideological apparatus.


Tense Present captures the geo-political paradoxes of the present by overlaying the infrastructures of Europe according to the different national and international bodies that define it: the nation-states, the Council of Europe, NATO, the Schengen Zone, the transportation corridors. The works in Tense Present intentionally echo the militaristic language that permeates the public discourse on cross-border exchanges to recall the conquest, control and production of knowledge about space as a way of controlling and regulating movement. Yet, this is offset against non-hierarchical and non-linear forms of collectively shared knowledge and experiences. This gesture stands in opposition to the increased reduction of availability of information, especially to vulnerable and displaced peoples. Rather than approach migrants and refugees as passive and helpless subjects, Tense Present empowers them by drawing on their experience and amplifying it. This emphasis on the lived experience juxtaposes locality against the globalised strategic militarized knowledge about the domination of that territory. Living in an age of data mining and micro-surveillance, there is a sense in which these works refer to forms of knowledge outside of the digital tracking and satellite surveillance. Thus, Tense Present pits lived experience against visible and invisible structures and the hierarchies that police access to the EU. In these works, the opposition between stasis and movement is shown to be a historical and geopolitical construct, yet one whose direction and rhythms of movement have very real consequences in people’s lives. Despite being subject to larger forces (often beyond their control), we learn that people use those forces to propel their lives in unexpected directions. 

On planetary civil war see, Hito Steyerl Duty Free Art: Art in the Age of Planetary Civil War, Verso, London, 2017. On border as an administrative tool of delay, see Sandro Mezzadra and Brett Neilson, Border as Method, or, the Multiplication of Labour, Duke, Durham, 2013. 1

2 Un-war is a collaborative work with contributions from architects and researchers Arminal Pilav, Ana Dana Beroš, Rafaela Dražić, Miodrag Gladović, Matija Kralj and Mauro Sirotnjak.

Sonja Leboš ‘Un-learn, de-grow, un-war: Armina Pilav: Un-war Space, Greta Gallery, Zagreb’ Život Umjetnosti 104, 2019, pp. 182-190, 189. 3

Irfan Hošić ‘The Didactic Wall’, Gradska Galerija Bihać 2019. 4

Infrastructure should be understood not only in terms of logistical systems and structures but also as visible and invisible processes which manage the flow of global production (and destruction) and condition our everyday reality. See, Luc Boltanski and Eve Chiapello The New Spirit of Capitalism, Translated by Gregory Elliott, Verso, London, 2007. 5

Reece Jones and Corey Johnson ‘Border militarisation and the re-articulation of sovereignty’ Transactions of the Institute of British Geographers, Vol 41, No 2, 2016, pp. 187-200. 6

Sven Spieker “Unoriginal Pedagogies: ‘Didactic’ Art as Edification (Robert Morris, Walter Benjamin, Ilya Kabakov). In: R. Niccolosi and T. Zimmermann (eds.), Ethos und Pathos. Mediale Wirkungsästhetik im 20. Jahrhundert in Ost und West Munich: Böhlau Verlag, 2017, pp. 413-423. 7

8

Ibid.

Slavoj Žižek originally deploys the term overidentification to describe the political provocations of Slovenian industrial band Laibach (affiliated with NSK), which adopted the stylistic and aesthetic expression of fascism within Yugoslav socialism. See Slavoj Žižek, ‘Why are Laibach and NSK not Fascists?’, reproduced in Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s, ed. Laura Hoptman and Tomas Pospiszyl (The Museum of Modern Art, 2002), 285–8, 287. 9

20


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Forensic Oceanography Liquid Traces – The Left-to-Die Boat Case, 2014 Rekonstrukcija začrtane poti ladje, ki so jo “pustili umreti” (Left-to-Die) na območju NATO pomorskega nadzora; rekonstrukcija je nastala za potrebe poročila kolektiva Forensic Oceanography. / Trajectory of the boat that was ‘Left-to-Die’ under the NATO Maritime Surveillance areas, as reconstructed for the Forensic Oceanography report. Slika / Image: Forensic Oceanography, 2013


POZIV K TRANSFORMACIJI

Deja Bečaj

22

Mednarodna razstava prinaša pesimizem z vseh koncev sveta, ki za gledalca postane pretežko breme, če se poglobi v vsako razstavljeno delo. Izpostavljenost predstavljenih tematik vsekakor ni negativna opazka, a nasičenost šokantnih podatkov obiskovalca ne pusti zgolj čustvenega, temveč pretresenega. Razstavljeni projekti opozarjajo. Publiko soočajo s problematiko, s katero se mogoče še ni srečala, o njej ni razmišljala ali pa je bila do nje ignorantska. Izobražujejo tudi tiste, ki so aktivni, družbeno ozaveščeni, a zagotovo niso vedeli za vsaj eno od izpostavljenih svetovnih problematik, saj jih je preprosto preveč. Žalostno je, da ob vsakodnevnem bombardiranju z informacijami, posameznik postane indiferenten. Žal mora izbrati do česa mu bo mar, saj vsega enostavno ne zmore. Vse grozote in krivice pa tudi ne pridejo do povprečnega spremljevalca novic. Do takšnih ljudi, do katerih je Zoran Todorović poskušal dostaviti pivo, varjeno po belgijski recepturi. Njegova glavna sestavina je bila namreč ‘rumena tekočina’, zbrana v beograjskem begunskem centru. Migrantska problematika je ena od dveh najbolj prevalentnih tematik razstave. Nanjo se navezujeta tudi v zgodovino zazrta koncepta. Lana Čmajčanin s prekrivanjem 35 zemljevidov Bosne in Hercegovine v razponu 551 let opozarja na banalnost mej, ki so nekonsistentno merilo pripadnosti, predvsem pa neupravičen razlog za kakršnokoli obliko nehumanosti. S pozabljenimi, v splošni zgodovini zapostavljenimi, ignoriranimi ali izbrisanimi, se ukvarja tudi interaktivno raziskovalna postaja Un-war Space v kateri so zbrane pobude in dejanja manj vidnih sodelujočih v vojnem času v Sarajevu. Migracije kot posledica vojn na Bližnjem Vzhodu in Severni Afriki so drastično spremenile delovanje mnogih držav. Reakcije slednjih so izvirale primarno iz strahu. Strahu pred neznanim, izgubo privilegijev, predvsem pa izgubo občutka varnosti. Pred nekaj leti, ko je tudi v naše okolje kot plaz vdrla migrantska problematika, je prisotnost vojn po dolgem času zopet prišla v našo zavest. V ospredje so stopila vprašanja o varnosti. Ravno zaščita in – kot njen neizbežen sopotnik – nadzor sta točki, katerih križanje je najbolj izpostavljeno v delu Salvatoreja Vitala, ki je spremljal hitre spremembe varnostnih ukrepov v Švici. Tematiki prepleta tudi Michael Takeo Magruder v dveh instalacijah, ki preko afere Snowden in razmer migracijskih centrov v Ameriki prikaže dva popolnoma nasprotna pola varnosti. Medtem ko so v enem napadeni zasebni podatki, se drugi sooča z fizičnim stanjem migrantov,

ki pogosto prebrodijo še veliko hujše razmere v upanju na pobeg iz mizerne situacije. Na ta prehod se subtilno osredotoča Milan Erić v barvitih celostenskih platnih in Mladen Miljanović s step-by-step napotki, ki brez olepševanja, predvsem pa kot nekaj vsakdanjega, preko ilustracij podaja nasvete, kako najučinkoviteje obiti prepreke in prečkati močno zavarovano mejo. Medtem ko je Miljanovićev Didaktični zid ilustracija potencialnih situacij, pa je preiskava štirinajstdnevne plovbe dvainsedemdestih prebežnikov, preiskava Forensic Oceanography (Charles Heller, Lorenzo Pezzani), ena izmed mnogih tragičnih zgodb migrantskega vala. Pred nami se na zemljevidu izrisuje njihova pot in vse interakcije s plovili in letali. Nihče ni pomagal. Preživelo jih je devet. Napredna tehnologija, uporabljena za škodovanje ‘soprebivalcem’ planeta in hkrati namenjena varovanju posameznikov (četudi mu z naraščanjem strahu in posledičnim zaostrovanjem odvzame občutek svobode – Vitale, Magruder), je druga ključna izpostavljena točka razstave. Z njo si lahko pomagamo in zgradimo idealno arhitekturo, prostor za vse, brez katastrofalnih posledic za okolje, na kar namiguje Suzana Brborović. Pozitivna miselnost se nadaljuje v ekološki smeri v rastlinsko-tehnoloških hibridih Boštjana Drinovca, a nas čez nekaj korakov spet opomni na njeno možno militarizacijo s prikazom postopkov uporabe letal v izraelski vojski, ki na okupirano območje Gaze v Palestini spušča herbicide. Dejanje ima izredne posledice v kvaliteti življenja prebivalcev in navsezadnje vpliva tudi na vse hitrejšo degradacijo celotnega planeta (Forensic Architecture). Dualnost tehnologije je prisotna v vsakem njenem aspektu. Če jo stopnjujemo in jo zavedno delamo vse bolj avtonomno, postane nerazumljiva in vse manj vodljiva (Tadej Vindiš). Nepričakovan vpliv, ki ga lahko ima na nas oz. mi na njo, je raziskala Claudia RoblesAngel z interaktivnim vmesnikom SKIN, kjer naše emocije kontrolirajo tehnologijo, vendar so ravno emocije eno najmanj predvidljivih človeških lastnosti. V tem primeru program izmeri vlago kože, ki odraža mentalno in fizično stanje. Torej smo spet na točki, kjer je tehnologija en korak pred nami in reagira na elemente, ki jih nismo sposobni obvladati. Hkrati pa je tudi tako močna, da nas posrka vase. V njej iščemo izhode in si izoblikujemo varne svetove (kolektiv BridA). Spremenimo mentaliteto in postanemo suženj ekranov, katerih vsebina je sposobna transformirati naše mentalno stanje. Psihološki efekt tehnologije na nas je enormen.


Tandem YoHa poskuša razumeti in pomagati odvisnikom od drog, ki jih zlahka do neke mere enačimo s povprečnim uporabnikom socialnih omrežij. Barbora Kleinhamplová v instalaciji z metaforo privilegiranih mladih, ujetih na jahti sredi morja, predstavi vse večjo potrebo po antidepresivih tistih, ki jim ‘nič ne manjka’. Mlade pesti morska bolezen, ki se zdravi s tabletami s skoraj enakimi sestavinami, kot jih imajo antidepresivi. Razstava izriše sliko naše sedanjosti, ki se še je vedno držijo kremplji preteklosti in skupaj z njo mečejo dolgo senco na prihodnost. Z navigiranjem po prostoru Napete sedanjosti si obdan s projekcijami, platni in panoji; soočen z mapami, ekrani, konstrukcijami, navodili, predvsem pa z opozorili. Vse to in nepredstavljivo več se je dogajalo in se dogaja. V svetu, kjer velja pravilo močnejšega (bogatejšega, privilegiranega in brezobzirnega), ki je jasno vidno v instalaciji Ubijmo revne (Conny Blom), je malo upanja, da bi lahko bilo bolje. Najlažje se je oviti v odejo, ki zastira dogajanja, da ne pridejo preblizu in

nas tako drži na prijetni razdalji nevednosti, seveda če nas problem ne gleda naravnost v oči. Razstava odejo odkrije in ne dopušča veliko prostora za pozitivno fantaziranje. Vseeno pa nas v njej čaka vešča Ive Tratnik, čigar megalomanska podoba poziva k transformaciji stanja … mentalnega, ekološkega, družbenega, političnega. 

Armina Pilav, Ana Dana Beroš, Rafaela Dražić, Miodrag Gladović, Matija Kralj in / and Mauro Sirotnjak Un-war Space, 2018 Foto / Photo by Damjan Švarc


CALL FOR TRANSFORMATION

Deja Bečaj

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The international exhibition Tense Present reports pessimism from all parts of the world. For a viewer who delves deep into each of the exhibited works, this pessimism becomes a burden too heavy to carry. Drawing attention to the themes explored by the exhibition is certainly not a negative comment; however, the intensity of shocking information does not leave the visitor just emotionally affected, but pretty shaken up. The exhibited projects are a warning. They confront the audience with issues they might not have been confronted with before, or might not have considered them, or have been ignorant about them. The art works educate even those who are active, socially conscious, but not familiar with at least one of the highlighted global issues, as there are simply too many of them. It is sad to see how the daily bombardment with information can make an individual become indifferent. Sadly, they have to choose the object of their concern, because it is impossible for one mind and body to care for it all. Additionally, all horrors and injustice do not even reach the average news follower – people like those to whom Zoran Todorović has tried to deliver beer brewed, namely, from a ‘yellow liquid’ collected at the Belgrade refugee center. The migration issue is one of the two central themes in the exhibition. It is also central to two different projects drawing their topic from a historical background. The first is Lana Čmajčanin’s overlaying of 35 maps of Bosnia and Herzegovina that re-bordered the land in a time span of 551 years. With the mapping she employs to warn about the banality of borders as an inconsistent criterion for a sense of belonging, and mostly as an unjustified reason for any form of inhumanity. The forgotten past, facts sidelined by general history and those who were ignored or “erased”, are also the subject matter of the interactive-research station Un-war Space, which showcases initiatives and actions of less prominent participants in anti-war activities during the siege of Sarajevo. Migrations as a consequence of the wars in the Middle East and North Africa have drastically changed the way many countries function. Their reactions originate primarily in fear. Fear of the unknown, fear of losing privileges, and most of all, fear of losing the sense of security. A few years ago, when migrant issues hit our environment like a landslide, the presence of wars has re-entered our consciousness after a long time. All focus was directed to security issues. Protection, and control as its inevitable companion, are precisely the points

whose intersection is most prominent in the work of Salvatore Vitale, who followed the swift changes in security measures in Switzerland. These two themes are also intertwined by Michael Takeo Magruder. His two installations employ the Snowden affair and the situation with immigration centers in America, in order to demonstrate two completely opposite viewpoints on security. While one of them focuses on personal data attacks, the other explores the physical state of migrants, who often endure much worse conditions in the hope of escaping a miserable situation. This transition is the subtle focus of Milan Erič’s colorful large mural canvases, and Mladen Miljanović’s step-by-step instructions, which, without sugarcoating, as if it were an entirely commonplace activity, provides tips (in the form of illustrations) on the most effective way of bypassing obstacles or crossing a heavily secured border. While Miljanović’s Didactic Wall is an illustration of potential situations, the investigation The Left-toDie Boat Case by Forensic Oceanography (Charles Heller, Lorenzo Pezzani), is one of many true and tragic migration wave stories. The migrants’ route and all their interactions with vessels and aircraft unfolds in front of our eyes. Nobody helped. Nine persons survived. Advanced technology, used to harm the ‘co-habitants’ of the planet and at the same time designed to protect individuals (even though it takes away their sense of freedom by intensifying fear and through consequent escalation – Vitale, Magruder), is another key highlight of the exhibition. Advanced technology can be helpful and used to build an ideal architecture, a place for everyone, without catastrophic consequences for the environment, as suggested by Suzana Brborović. The positive mindset continues in the direction of ecology, in the plant-technological hybrids of Boštjan Drinovec; yet only a few steps further the visitor gets reminded again of technology’s possible militarization, by demonstrating the procedures for aircraft use in the Israeli army, which releases herbicides onto the occupied Gaza Strip in Palestine. This has tremendous consequences on the quality of life of the population and, ultimately, affects the increasingly rapid degradation of the entire planet (Forensic Architecture’s Center for Contemporary Nature). The duality of technology is present in every one of its aspects. If we intensify technology, and consciously render technology more and more autonomous, it becomes incomprehensible and less and less manageable (Tadej Vindiš). The unexpected impact that technology can have on us, or vice versa, was the


focus of work by Claudia Robles-Angel. In her interactive interface SKIN, our emotions control the technology, but it is precisely emotions that are one of the least predictable human characteristics. In this case, the program measures the moisture of our skin, which reflects our mental and physical condition. So, once again, we are at a point where technology is one step ahead of us, and where it reacts to certain elements, which we ourselves are unable to master. At the same time, it is powerful enough to absorb us. We look for exits in technology and create our own safe worlds (the BridA collective). We change our way of thinking and become slaves to screens, whose content is capable of transforming our mental state. The psychological effect of technology on human beings is enormous. The YoHa tandem tries to understand and help drug addicts, who can easily be compared to the average social network user, at least to some extent. Barbora Kleinhamplová’s installation presents the problem of a growing need for anti-depressants for people who ‘want for nothing’ with a metaphor of privileged youth, trapped on a yacht in the middle of the ocean. They are suffering from ‘seasickness’, but this ‘illness’ is treated with pills that have almost the same ingredients as antidepressants. The exhibition paints a picture of our present, which is still in the claws of the past. Together they are alarmingly casting a dark shadow over our future. By navigating the space of Tense Present, one is surrounded by projections, canvases and billboards; confronted with maps, screens, constructions, instructions, and especially with

warnings. All of this, and inconceivably more, was going on, and is still going on. In a world governed by the rule of the strongest (richest, most privileged, most ruthless), which is clearly shown in the installation Kill the Poor (Conny Blom); there is little hope of things improving. The easiest thing to do is to cover oneself with a blanket that shrouds the negative happenings, to shield oneself from them so they do not come too close. This blanket keeps a comfortable distance of ignorance, unless, of course, the problem is looking us straight in the eye. The exhibition Tense Present uncovers the blanket and leaves little room for positive fantasies. However, there still awaits Iva Tratnik’s moth, whose megalomaniac image calls for a transformation of conditions... mental, environmental, social and political. 

Barbora Kleinhamplová Sickness Report, 2018 Fotografija iz filma / Still image


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YoHa - Graham Harwood in / and Matsuko Yokokoji Database Addiction, 2015-2018 Table of Tables, 2015 Foto / Photo by Janez KlenovĹĄek


CONNY BLOM (SE/SI)

Čeprav je Švedska med najbogatejšimi državami na svetu, so leta neoliberalne politike varčevanja švedski narod naučila, da je za zagotovitev uspešne prihodnosti potrebno zmanjšanje javnih izdatkov. Nenehno zmanjševanje stroškov, ki ga spremlja daljnosežna privatizacija osnovnih državnih funkcij, je nekdaj vzorno socialno državo spremenilo v neoliberalne mokre sanje, kjer država aktivno pomaga pri prerazporeditvi denarja od najrevnejših k najbogatejšim. Leta 1980 je bila Švedska najbolj egalitarna država na svetu in gospodarske vrzeli med najbogatejšimi in najrevnejšimi so bile manjše kot kdaj koli prej, v letu 2019 pa so te razlike postale največje v sodobnem času. Nekoč pionirska socialna država je postala nefunkcionalna, primanjkuje ji kadra v šolah in bolnišnicah, njena infrastruktura je odvisna od tveganih kapitalistov. Vse deluje po obrnjeni logiki Robina Hooda. Najbogatejših 10 odstotkov je deležnih 20-krat več davčnih olajšav kot revni. Na primer, letne davčne olajšave za hipotekarna posojila bi lahko financirale razširjen sistem brezplačnega javnega prevoza za celo državo, kar bi bilo v dobi bližajoče se podnebne katastrofe veliko bolj v koraku s časom kot pa obstoječa lastninskopravna ureditev. Delo Ubijmo revne je sestavljeno iz video predstavitve načrtovanih razkošnih vil, ki jih bo subvencionirala švedska država, satiričnega besedila na temo ter naslova dela (istoimenski naslov pesmi skupine Dead Kennedys) v obliki velikega stenskega napisa. 

Even though Sweden is among the richest countries in the world, years of neoliberal austerity politics have taught the Swedish people that to reduce public expenditure is needed in order to secure a prosperous future. Constant cuts accompanied by the far-reaching privatization of basic state functions have transformed the former model welfare state into a neoliberal wet dream where the state actively assists in redistributing money from the poorest to the richest. 1980 Sweden was the most egalitarian country in the world and the economic gaps between the richest and the poorest were smaller than ever, but in 2019 the gaps have grown to be the biggest in modern times. The once pioneering welfare state has become dysfunctional with understaffed schools, hospitals and an infrastructure dependant on venture capitalists. Everything operates with an inverted Robin Hood logic. The richest 10 percent are getting 20 times more tax subsidies than the poor. For example, the yearly tax subsidies on mortgage loans could finance free and expanded public transports for all in the whole of Sweden, something that would seem much more up with times than property ownership in days of pending climate catastrophe. Kill the Poor consists of a video slideshow of planned luxury villas that will be subventioned by the Swedish state, a satirical text on the topic and the title of the work (a quote from the Dead Kennedys song with the same name) as a large scale wall text. 

Ubijmo revne / Kill the Poor, 2019 besedilo / text

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Foto / Photo by Damjan Švarc



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Ubijmo revne / Kill the Poor, 2019 videi s podobami načrtovanih razkošnih vil, besedilo video loops with images of planned luxury villas, text Foto / Photo by Damjan Švarc


SUZANA BRBOROVIĆ (SI/DE)

“Moja umetniška praksa se navezuje na tradicijo in zapuščino arhitekture kot medija, ki aktivno oblikuje naše zaznavne prostore. Arhitektura kot glavna tema v mojih delih, je orodje s katerim želim uprizoriti in premisliti prostore, ki smo jih naredili za svoje. Pogosto zelo koncentrirana, moja platna raziskujejo mnogoterost in zasičenost določenega arhitekturnega fenomena, ki sam po sebi velikokrat ostane spregledan in na obrobju probleme znotraj družbene ureditve, ki so ostali v stanju pozabljenosti in skozi polpreteklo zgodovino kažejo tendence politične usmeritve, ki jih lahko apliciramo na percepcijo prostora tudi danes ali v bližnji prihodnosti. Zanima me kako lahko slika odraža nered in distopični pogled skozi perspektive, ki jih plastim eno na drugo, ter z njimi skušam upodobiti večpomenskost prostora v katerem bivamo. Geometrijska pojavnost in zavezanost ravni črti, je opazna v vseh mojih delih. Črta kot primarno likovno izrazno sredstvo, se navezuje na arhitekturne načrte in zmožnost človeka razmišljanja v okvirih kartezijanske mreže. Tudi sama se želim locirati znotraj te mreže in skozi vizualno podobo izraziti zgodbo, ki me v danem trenutku zanima. Ključna elementa znotraj mojega likovnega prostora sta tudi transparentnost in prepletenost. Izražena skozi lebdenje in lahkotnost nekaterih objektov, s tem pridobivajo na breztežnosti in ne-relevantnosti znotraj našega realnega prostora, ter kažejo odnos do arhitekture brez dodane vrednosti. Geometrijske in črtne ekspresije v kombinaciji z organskimi podslikavami na podlagi, raziskujejo svet pravil, utopij in ideologij, ki se danes kažejo kot prakse potrebne ponovnega premisleka in kritičnega vrednotenja. Skupni imenovalec vsake serije del je tudi skrbno izbrana barvna paleta, ki lahko namerno zavaja gledalca. Bodisi v slikarstvu ali v drugih medijih, barvni spekter ostaja pomembno konceptualno izhodišče v mojem delu. Po zgledu avantgarde zgodnjega 20. stoletja, mi dekonstrukcija in fragmentacija objektov omogočata uprizoriti vizualno izobilje oblik in struktur. Kompleksna narava del je posledica mojih notranjih procesov, ki se kopičijo in udejanjijo na veliko formatnih platnih.” (Suzana Brborović) 

“My artistic practice takes architecture as the main subject to recreate and rethink spaces built around us. Often very concentrated, my paintings explore the term saturation to its highest. Layering the realities of our surrounding, I want to create an outlook on the themes dealing with architecture and ideas about it, showing the past and present problems in evolving urbanism and how architecture defines our personal space. My artistic process takes me through researching of neglected, decayed and controversial buildings and what impact do they have on me and my setting. I am interested in how a painting can reflect a disorder or a dystopic view with emphasises on bending perspectives and settling in in pre-designed grids of our everyday life. The key elements in my work are dealing with transparency and intertwinement of objects with a feeling of lightness and flotation. Geometrical and linear expressions combined with organic underlayering explore the world of rules, utopias and great ideas that present themselves today as practices needing re-evaluation and critical observance. The portrayed buildings and objects are all part of my research on historically important development of the urbanism and architecture. Whether the topic is dealing with ideal cities, modernism, former industrial facilities or surveillance and defence architecture (such as bunkers from WW2) they all create a discomfort in thinking about them. My intention is to bring this discomfort directly to the viewer by creating paintings, which are expanding and overrunning the classical meaning of perspective and are rather employing the world as I see it: confused and concrete. The carefully chosen colour palette for each series demonstrates the overall feeling of the works and can be intentionally disorientating to the viewer. The deconstruction and fragmentation of objects (influenced by avant-garde of 20th century) are approaches I undertake to provide a visual abundance of shapes and structures.” (Suzana Brborović) 

Centralizacija / Centralisation, 2015 akril in tuš na platno / acrylic and ink on canvas

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Detajl / Detail



Narejeno v Nemčiji / Made in Germany, 2017 akril in tuš na platno / acrylic and ink on canvas, Tri generacije / Three generations, 2017 akril in tuš na platno / acrylic and ink on canvas Stolp=Moč / Tower=Power, 2016-2018 akril in tuš na platno / acrylic and ink on canvas

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Foto / Photo by Damjan Švarc


Centralizacija / Centralisation, 2015 akril in tuš na platno / acrylic and ink on canvas Prezidava spomenika / Rebuilding the Monument, 2015 akril in tuš na platno / acrylic and ink on canvas Ideal ideala / The Ideal of the Ideal, 2015 akril in tuš na platno / acrylic and ink on canvas Foto / Photo by Damjan Švarc


BridA/TOM KERŠEVAN, SENDI MANGO, JURIJ PAVLICA (SI) 36

Man Ray je leta 1936 o znameniti Magrittovi sliki Le Faux Miroir (Lažno ogledalo) dejal, da slika vidi prav toliko, kot je sama gledana. Takrat je družba to lahko dojemala le kot produkt umetniške interpretacije v kontekstu nadrealističnega manifesta, ki je nadrealizem po Bretonovih besedah opredelil kot prikazovanje nadnaravnega, nedoumljivega in izražanje višje stvarnosti v obliki asociacij pod vplivom nezavednih duševnih mehanizmov. Skoraj stoletje potem je tehnologija in hitrost prenosa informacije tisti mehanizem, ki je dojemanje podobe pripeljala do nepojmljivosti. Lahko bi celo trdili, da je bila presežena točka varne vrnitve, doseženo je bilo obzorje, kjer ločnice med vidnim in gledalcem ni več mogoče jasno določiti. Podoba je poleg očesa dobila tudi priložnost, da nam odgovarja ter z nami v živo interagira. Naša podoba ni več izraz osebnega stika, je nadgrajen, nadrealistični profil sestavljen iz množice pulzirajočih podob naših vsakodnevnih dejanj. Podoba nas samih je migrirala v stanje odseva, katerega neposredno opazujemo kot podobo za stekleno površino po kateri drsimo s prsti ali miško. Počasi postaja ta podoba pomembnejša kakor smo mi sami, s tem pa se neizbežno poraja tudi vprašanje njene ranljivosti in posledic. Projekt Lažno ogledalo je dekonstrukcija uveljavljenih modelov naše podobe. Modelov, ki nam skušajo prikazati, kdo v resnici smo oziroma kaj potrebujemo. Projekt razkriva medprostore, ki so bili v neizmernem razvoju tehnoloških aplikacij namerno izpuščeni, bodisi zaradi tržnih interesov tehnoloških ponudnikov ali pa zaradi neusahljive potrebe po lepši in trajnejši sliki nas samih. Razvoj in ponudba vmesnikov za vizualno komunikacijo nam ne omogočata aktivnega sodelovanja in tako drsimo v pasivno opazovanje svojega spreminjajočega se odseva. Projekt preko premišljenih računalniških aplikacij in vmesnikov ter namenskih orodij omogoča alternativno izkušnjo sodobne vizualne samopodobe, ki je vpeta v tkivo spletnih komunikacij in socialnih omrežij. Naša pričakovanja nadgradi z nepričakovanimi shemami abstrakcije in ponujenih sprememb. Že ustaljene vzorce oziroma produkte vizualnih komunikacijskih sistemov nam prikaže tako, da nam znotraj medija odpira alternativne možnosti uporabe teh tehnologij. V konkretnem primeru uporabnika sooči z drugačnimi možnostmi in smermi razvoja aplikacij oziroma medija, kot so selfie aplikacije, interaktivne navigacije google street in socialnih omrežij, onkraj tržno smiselnega ali racionalnega, s ciljem iskanja umetniških potencialov. 

In 1936, Man Ray said of Magritte’s famed painting Le Faux Miroir (The False Mirror) that the painting sees as much as it itself is seen. Back then, that statement could only be understood as a product of an artistic interpretation in the context of the surrealist manifesto that, according to Breton, defined surrealism as depicting the supernatural, the inconceivable, and expressing a higher reality through associations powered by unconscious mental mechanisms. Almost a century later, technology and the speed at which information is shared are the mechanisms that have driven the perception of images to inconceivability. We could even say we are past the point of no return, that we have reached the horizon where the barrier between the seer and the seen can no longer be clearly determined. Along with sight, images have gained the possibility to respond and interact with us in real time. Our image is no longer an indicator of personal contact, it is


an upgraded, surrealist profile made up of a multitude of pulsing images of our everyday actions. The image of ourselves has become a reflection that we gaze upon like an image behind a glass, across which we run our fingers or cursor. It is slowly becoming more important than us, opening up the inevitable question of its fragility and consequences. The False Mirror project deconstructs the established models of our image. Models that attempt to show us who we really are or what we really need. It reveals the gaps that have been intentionally left out in the development of mobile applications, be it to serve the commercial interests of technology providers or the insatiable need for a more beautiful and lasting image of ourselves. The development and supply of visual communication interfaces does not enable active participation, transforming us into idle spectators of our everchanging reflection. The project uses thought-out computer applications and interfaces, as well as purpose built tools to provide an alternative experience of a contemporary visual self-image, integrated into the body of

online communication and social media. Unexpected diagrams of abstractions and changes build upon our expectations. Established patterns or products of visual communication systems are presented in a way that offers up alternative ways to use these technologies. In a concrete example, the user is faced with different possibilities and trends of developing apps and media like selfie applications, Google Street interactive navigation and social media, going beyond commercial logic in search of artistic potential. �

LaĹžno ogledalo / The False Mirror, 2019 intermedijska instalacija intermedia installation Foto / Photo by Damjan Ĺ varc


LANA ČMAJČANIN (BA/AT)

Instalacija 551.35 – Geometrija časa nas seznanja s konceptom tega, kar bi lahko imenovali geometrija geopolitike. Namestitev vključuje 35 izbranih zemljevidov, ki so opredeljevali meje Bosne in Hercegovine v zadnjih 551 letih. Prekrivajoč se na osvetljenem ozadju namesto prikazovanja jasnih in nedvoumnih meja ti zemljevidi dokazujejo njihove premike, odstopanja in nestabilnosti, ki so jih povzročale kolonialne, cesarske, osvajalske, migracijske, vojaške, pa tudi ‘mirovniške’ prenove. Monumentalno zasnovana z namenom, da predstavi ‘objektivne’ meje, ta instalacija vdre v geometrijo toka zgodovine, saj v njej pričakovane in jasne meje nadomesti palimpsest v preteklosti podrejenih in s tem pozabljenih resnic. Palimpsest kot metafora, prestavljena iz besedilne v vizualno domeno, postavlja pod vprašaj sámo linearnost zgodovinskega časa, pa tudi politične in predvsem vojaške strategije organizacije prostora, s čimer izpostavlja ponavljajoče se vzorce ustvarjanja (dis)kontinuirane zgodovine in cikličnosti zgodovinskega nasilja. (Jelena Petrović) 

Installation entitled 551.35 – Geometry of Time acquaints us with the concept of what might be called geometry of geopolitics. The installation consists of 35 selected maps which defined the borders of Bosnia and Herzegovina during the last 551 years. Overlapping on a lit background, instead of showing distinct and clear borders, these maps evidence their shifts, deviations and instability caused by colonial, imperial, conquering, migrational, martial, as well as ‘peace-keeping’ redesigns. Monumentally conceived with a view to presenting ‘objective’ borders, this installation makes incursion into the geometry of the course of history, since the expected and distinct borders are replaced with a palimpsest of previously subjugated and thus forgotten truths. Palimpsest as a metaphor, transposed from the textual into the domain of visual, calls into question the very linearity of historical time, as well as political and, above all, military strategies of space organisation, thereby highlighting the repetitive patterns of creating (dis)continuous history and cyclicality of historical violence. (Jelena Petrović) 

551.35 – Geometrija časa 551.35 – Geometry of Time, 2014 instalacija, lightbox, print na Samba platno installation, lightbox, print on Samba canvas

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Foto / Photo by Damjan Švarc



BOŠTJAN DRINOVEC (SI)

“Zanimajo me stroji, ki so narejeni ali spremenjeni, tako da njihovo uporabnost nadomesti nova vsebina, ki je daleč od (hiper)produkcije sodobne ekonomije. Kakofonični generator ustvarja kakofonične ritme, na meji med redom in kaosom; Perpetum impossibile prenese gibanje preko vrtenja velikega kolesa na male vetrne čaše, a gibanje čaš je tako počasno, da je nemogoče, da bi naredilo veter; industrijski robot v Moebiusovem traku opravlja s prekladanjem soli delo, a nič ne proizvaja, razen treh kupov soli. Razmišljanje, ki je podstat seriji Drevesni delec, izhaja iz človekove potrebe, da si razloži obdajajoči ga svet in mu poišče smisel ter nadalje, da ga spreminja in si ga poskuša podrediti. Umetni raj pa obravnava naš razcepljeni odnos do narave, po eni strani se od nje ograjujemo z zidovi, večslojnimi okni in čistočo, po drugi pa jo pogrešamo in ta izgubljeni stik zapolnjujemo z opremljanjem doma z naravnimi materiali, sobnimi rastlinami (…). Tako nastali ‘rastlinski’ objekti so križani z oblikami in estetikami, ki izhajajo iz človekovega razvoja in kulture, kot so daljnovodni stebri, laboratorijske in pohištvene konstrukcije, ‘Duchampovo’ stojalo za steklenice, Starckov ožemalec limon …” (Boštjan Drinovec) 

“I’m interested in machines that have been built or altered to have their usefulness replaced by something far from the (hyper)production of contemporary economy. The Cacophonous Generator creates cacophonous rhythms that are on the edge between order and chaos; Perpetum Impossibile uses the spinning of a large wheel to transfer movement to a series of small wind cups; however, their movement is not fast enough to create wind; the Moebius’ Strip’s industrial robot moves salt, however creating nothing more than three salt piles. The reasoning behind the Tree Particle series is that there is a human need to explain the world around us, endow it with meaning, as well as to change and rule it. The artificial paradise deals with our fragmented relationship with nature; on the one hand we close ourselves off from it with barriers, multiple windows and cleanliness, on the other hand we miss it and attempt to fill that void by adorning our home with natural materials, houseplants (...). These ‘plant’ objects are a cross of forms and aesthetics derived from human development and culture such as transmission towers, laboratories and furniture, Duchamp’s bottle rack, Starck’s lemon squeezer ...” (Boštjan Drinovec) 

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Umetni raj / The Artificial Paradise, 2019 jeklo, plastika, sadje / steel, plastic, fruit Foto / Photo by Damjan Ĺ varc


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Mislec / The Thinker, 2019 jeklo, les, pleksi steklo / steel, wood, plexiglass Drevesni delec za digitalno fotosintezo F-786 / Wooden Fragment for Digital Photosynthesis F-786, 2013 jeklo, polimetilmetakrilat, vezje, print / steel, poly(methyl methacrylate), circuit, print Model za digitalno fotosintezo Vento-2350 / Vento-2350 Digital Photosynthesis Model, 2013 jeklo, polimetilmetakrilat, motor, print / steel, poly(methyl methacrylate), engine, print Model za digitalno fotosintezo Z-2315 / Z-2315 Digital Photosynthesis Model, 2014 jeklo, polimetilmetakrilat, print / steel, poly(methyl methacrylate), print Perpetum impossibile, 2009 jeklo / steel Foto / Photo by Damjan Ĺ varc


MILAN ERIČ (SI) 44

V letu 2019 je Milan Erič, ilustrator, slikar, risar in animator gotovo najbolj nagrajevan likovni umetnik v Sloveniji. Ob odprtju 13. Slovenskega bienala ilustracije je prejel osrednjo nagrado Hinka Smrekarja, samo dva tedna kasneje pa Jakopičevo nagrado, najvišjo stanovsko nagrado za slikarstvo. V obrazložitvi so zapisali, da je “njegova likovna govorica prepoznavna, vizualno izrazita ter napolnjena z značilno kritičnostjo, ironijo, satiričnostjo, a prepletena z optimizmom, hudomušnostjo in veseljem”. In dodali, “Erič je izjemno duhovit, in vendar obenem resen kritik sedanje družbe in današnje dobe, ki z vrhunskim obvladovanjem likovnega jezika in izjemno pozitivno energijo pomembno vpliva in pušča za seboj globoke sledi na področju ilustracije, risbe in animiranega filma.” Risba nastaja v tehnikah svinčnika, oglja, tuša in pastela, “grajena pa je na močno izraženi črti, kjer sosledje podob vedno znova ohranja občutenje navidezne preprostosti in logičnosti likovnega jezika”. Vsestranski umetnik, ki si ga težko predstavljaš drugače kot s svinčnikom v rokah je znan tako po sodelovanju z Zvonkom Čohom pri animacijah (Poskušaj migati 2x iz leta 1982, prva slovenska celovečerna animacija Socializacija bika iz leta 1998, za katero sta leta 1999 prejela tudi nagrado Prešernovega sklada) kot po ilustracijah, risbah in profesuri na oddelku za oblikovanje na ALUO. Pri ustvarjanju pomensko zgoščenih podob z neštetimi ‘veselo-resnimi’ dogodivščinami, ki so lahko rezultat svinčnika ali ‘packanja’ z barvami, polivanja in naključnega mešanja barv, uporablja različne tehnike in načine, od klasično risarskih in slikarskih prijemov, v katerih pa vedno leži tudi nek kleč, neka sub-konotacija, njegova hudomušnost, ki delo nadgrajuje z naslovom. “Polijem barvo, pustim, da se posuši, med polivanjem jo tudi preoblikujem z nagibanjem papirja, cedenjem barve v razne smeri, delam tudi s čopičem in roko. Ko se posušijo, jih gledam, ‘kot šlogarica gleda v kavo’, in iščem asociativne oblike kot pri Rorschachovem testu. Zatem dorišem figure, ki preobrazijo celoto v neko zgodbo. Navdihujeta me tudi poetika tradicionalnega kitajskega tuša in nepredvidljivost, naključje. Vse ni delo človeških rok, pač pa tudi slučaja, ki je produkt narave.” 

In 2019, Milan Erič, illustrator, painter, cartoonist and animator is certainly the most award-winning visual artist in Slovenia. At the opening of the 13th Slovenian Biennial of Illustration, he received the main prize of Hinko Smrekar, and only two weeks later the Jakopič Prize, the highest guild award for painting in Slovenia. In their explanation, they stated that “his visual language is recognisable, visually expressive and filled with characteristic criticality, irony, satirism, but intertwined with optimism, bravery and joy.” And they added, “Erič is extremely humorous, but at the same time a serious critic of the current society and the present age, who, with superb mastery of fine arts language and extremely positive energy, significantly influences and leaves behind deep traces in the field of illustration, drawing and animated film.” Drawing is emerging in the techniques of pencil, charcoal, ink and pastel, “it is built on a strongly expressed line, where the sequence of images keeps maintaining a sense of the apparent simplicity and logic of fine arts language.” A versatile artist who can hardly be imagined other than with a pencil in his hands, is known for his collaboration with Zvonko Čoh in animation (Try to Shake 2x from 1982, the first Slovene feature animation Socialization of the Bull from 1998, for which they also received the Prešeren Fund Award in 1999), as for illustrations, drawing and professorship at the Design Department at ALUO. When creating semantically concise images with countless ‘cheerful-serious’ adventures, which can be the result of a pencil or ‘smearing’ with colors, watering and random mixing of colors, he uses a variety of techniques and methods in his work, from classical drawing and painting techniques, in which there always lies a twist, some sub-connotation, his wickedness, which furthers the work with the title. “I pour the paint, let it dry, while pouring I also transform it by tilting the paper, straining the paint in different directions, I also work with a brush and hand. When they dry, I look at them, ‘like a fortune teller looks into coffee’, and search for associative forms as in the Rorschach test. Then I come up with figures that transform the whole into a some story. I am also inspired by the poetics of traditional Chinese ink and the unpredictability, coincidence. It is not all the work of human hands, but also of chance, which is a product of nature.” 


Popotnik / Traveler, 2008 svinÄ?nik na papirju / pencil on paper Liberte, egalite, fraternite, 2010 akril na papirju / acryl on paper Izgon v raj / Expulsion to Paradise, 2008 akril na papirju / acryl on paper Foto / Photo by Damjan Ĺ varc


The Afternoon (DrĹžava / The State), 2012 tuĹĄ na papirju ink on paper Detajl / Detail

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FORENSIC ARCHITECTURE 48

Center za sodobno naravo (CCN)

Centre for Contemporary Nature (CCN)

Forensic Architecture kot raziskovalna agencija izvaja napredne prostorske in medijske raziskave primerov kršitev človekovih pravic, v imenu oz. v sodelovanju s skupnostmi, prizadetimi zaradi političnega nasilja, organizacijami za človekove pravice, mednarodnimi tožilci, posebnimi skupinami za okoljsko pravičnost in medijskimi organizacijami. Eden izmed oddelkov za raziskave Forensic Architecture je namenjen raziskovanju nasilja nad okoljem; enota se imenuje Center za sodobno naravo (CCN). Premisa, na kateri temelji delovanje CCN, je, da čeprav je bila narava skozi zgodovino razumljena le kot statično ozadje človeških aktivnosti, moramo danes naravo razumeti kot situiran zgodovinski projekt. V dobi obsežne okoljske škode in hitrih, antropogenih podnebnih sprememb se ‘sodobna narava’ s človeško zgodovino posodablja, prepleta in z njo stopa v interakcijo. Velik del antropogenih sprememb našega okolja je konflikt. Nasilje nad okoljem lahko poteka počasi, posredno in razpršeno, a je zagotovo vpeto v kolonialne in vojaške oblike nadvlade. V sklopu pričujoče razstave Forensic Architecture prikazuje raziskovanje izraelske uporabe vojaških herbicidov na okupiranem območju Gaze v Palestini, kjer se uničevanje okolja uporablja kot sredstvo ustanavljanja in utrditve meje. Raziskava opisuje oblike uničenja, počasne in hitre, s čimer želi razširiti način razmišljanja o nasilju v kontekstu kolonialne nadvlade. 

As a research agency Forensic Architecture undertakes advanced spatial and media investigations into cases of human rights violations, with and on behalf of communities affected by political violence, human rights organisations, international prosecutors, environmental justice groups, and media organisations. One of our research divisions in Forensic Architecture is dedicated to examining environmental violence. We call this unit the Center for Contemporary Nature (CCN). The premise of CCN is that while historically, nature has been understood as a static, eternal backdrop against which human activity unfolds, today we must understand it as a situated historical project. In the era of massive environmental damage and rapid, anthropogenic climate change, ‘contemporary nature’ is being updated alongside human history, interacting and becoming entangled with it. A large part of anthropogenic changes to our environment is conflict. Violence against the environment may be slow, indirect, and diffused but it is enmeshed in colonial and military forms of domination. In this exhibition, Forensic Architecture presents its investigation of the Israeli use of military herbicides in the occupied Gaza Strip in Palestine, where environmental destruction is mobilised as part of the production and fortification of the border. This investigation describes forms of destruction that are both slow and fast, expanding the way of thinking about violence in the context of colonial domination. 

Forensic Architecture: Eyal Weizman (direktor / Director of Forensic Architecture), Samaneh Moafi (raziskovalka, CCN / Researcher, CCN), Shourideh C. Molavi (koordinatorica raziskav in projektov Research and Project Coordination), Robert Preusse, Robert Trafford, Imani Jacqueline Brown, Stefan Laxness, Grace Quah, Sarah Nankivell


Foto / Photo by Damjan Å varc


Herbicidna vojna v Gazi, 2014—v teku

Herbicidal Warfare in Gaza, 2014—ongoing

Od ustanovitve države Izrael maja 1948, kar Palestinci imenujejo al-Nakba (katastrofa), je bilo območje Gaze podvrženo praktično neprekinjenemu toku izraelskih vojaških vpadov različne intenzivnosti. Z vsakim vpadom se je vzdolž celotnega severnega in vzhodnega predela Gaze ob meji z Izraelom ustvarilo zaprto vojaško območje ali ‘varovalni pas’, ki sega preko palestinske meje. Širjenje varovalnega pasu je Gazo vse bolj izoliralo od ostalega dela zgodovinske Palestine. Od leta 2014 izraelsko krčenje in uničevanje kmetijskih in stanovanjskih zemljišč ob vzhodni meji Gaze dopolnjuje nenapovedano škropljenje s herbicidi za uničevanje pridelkov iz zraka. Izraelska vojska je razglasila herbicidno škropljenje kot ‘vojno dejanje’ za zagotavljanje optimalne vidljivosti med vojaškimi operacijami, pri čemer smer vetra izkorišča za uničevanje palestinskih polj na stotine metrov daleč v notranjost Gaze, onkraj meje varovalnega pasu. Do danes trajajoča praksa škropljenja s herbicidi iz zraka ima za posledico uničenje celih območij obdelovalnih zemljišč, zaradi česar so palestinski kmetje soočeni z ogromnimi izgubami pridelkov in je njihovo preživetje ogroženo. Dezertifikacija nekoč bujnega in kmetijsko aktivnega obmejnega območja izraelski vojski omogoča tudi večjo vidljivost pri smrtonosnem streljanju na civiliste, ki se približujejo območju. 

Since the establishment of the State of Israel in May 1948, known by Palestinians as al-Nakba (‘catastrophe’), the Gaza Strip has been subject to an almost seamless flow of Israeli military incursions with varying intensities. With each incursion, a military no-go area – or a ‘buffer zone’ – has been produced along the entire northern and eastern perimeter of Gaza adjacent to Israel, extending into the Palestinian side of the border. The expanding buffer zone has increasingly isolated Gaza from the rest of historic Palestine. Since 2014, the Israeli clearing and bulldozing of agricultural and residential lands along the eastern border of Gaza has been complemented by the unannounced spraying of crop-killing herbicides by air. Declaring herbicidal spraying as an ‘act of warfare’ to ensure optimal visibility for military operations, the Israeli army mobilizes wind direction to raze Palestinian fields hundreds of meters inside Gaza beyond its imposed buffer zone. Until today, the ongoing practice of aerial spraying of herbicides has resulted in the destruction of entire swaths of arable land with massive losses in crops and livelihoods for Palestinian farmers. The ‘desertification’ of a once lush and agriculturally active border zone has also provided the Israeli army with the visibility to target civilians approaching the area with lethal force from a distance. 

Herbicidna vojna v Gazi preiskovalna ekipa / Herbicide Warfare in Gaza Investigation Team: Eyal Weizman (vodilni raziskovalec / Principal Investigator), Shourideh C. Molavi (koordinatorica raziskav in projektov / Research and Project Coordination), Samaneh Moafi (raziskovalka, CCN / Researcher, CCN), Stefan Laxness, Grace Quah, Corey Scher, Salvador Navarro Martinez, Robert Preusse, Imani Jacqueline Brown.

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Z veliko hvaležnostjo do ljudi, ki so pomagali pri raziskavah na terenu, pogosto v izredno težkih okoliščinah: Shurouq Al-Aila; Roshdi Al-Sarraj in snemalna ekipa Ain Media Gaza; Samir Zaqout in Center za človekove pravice Al-Mezan; Ministrstvo za kmetijstvo v Gazi; Gisha, Pravni center za svobodo gibanja; ter Pravni center za pravice arabske manjšine v Izraelu Adalah. With deep gratitude to the people who assisted with research in the field, sometimes under extremely difficult circumstances: Shurouq Al-Aila; Roshdi Al-Sarraj and the film crew at Ain Media Gaza; Samir Zaqout and the Al-Mezan Center for Human Rights; the Gaza Ministry of Agriculture; Gisha: Legal Center for Freedom of Movement; and Adalah: The Legal Center for Arab Minority Rights in Israel.


Bučka

Zucchini

Popršeno 3. decembra 2018 Nabrano tri dni po pršenju v vasi Juhor ad Dik, 31.26.55�N; 34.26.3�E

Sprayed 3 December 2018 Collected 3 days after spraying in Juhor ad Dik, 31.26.55�N; 34.26.3�E

Glivične, insekticidne in najverjetneje herbicidne poškodbe

Fungal, insect and possibly herbicide damage


FORENSIC OCEANOGRAPHY 52

Forensic Oceanography je projekt, ki sta ga po arabskih vstajah leta 2011 iniciirala Charles Heller in Lorenzo Pezzani v okviru agencije Forensic Architecture. Projekt skuša kritično raziskati militarizirani mejni režim, ki so ga uvedle evropske države na območju morske meje EU, pri čemer analizira politične, prostorske in estetske pogoje, ki so vode Sredozemskega morja spremenile v smrtonosno tekočino za nezakonite migrante, ki jih želijo prečkati. Več kot 30.000 migrantov, ki so v zadnjih tridesetih letih umrli med prečkanjem morja, so žrtve tega, kar forenzična oceanografija imenuje ‘tekoče nasilje’. Z združevanjem človeških pričevanj s sledmi, ki so ostale na območju celotnega morskega digitalnega senzorija, sestavljenega iz radarjev, satelitskih posnetkov in sistemov za sledenje plovilom, je ekipa Forensic Oceanography uporabila sredstva za nadzor ‘proti toku’, z namenom oporekati tako nasilju na mejah, kakor tudi režimu (ne)vidnosti, na katerem temelji. Medtem ko so morja razkosali v zapleten prostor jurisdikcij, ki državam omogoča, da širijo svoje zahteve po suverenosti zunaj meja svojega ozemlja s policijskimi operacijami, hkrati pa se izmaknejo obveznostim, kot je reševanje plovil v stiski, se Forensic Oceanography posveča odkrivanju specifičnih incidentov v okviru pravne strukture morske meje EU zato, da bi ugotovila, kdo je zanje odgovoren. Ta video je sinteza preiskave primera ‘The Left-to-Die Boat’. Marca 2011, v času vojaške intervencije NATA v Libiji, je 72 potnikov, na majhnem gumijastem čolnu, zapustilo libijsko obalo v smeri proti Italiji. Kljub številnim poslanim signalom, ki so sporočali njihovo lokacijo, kot tudi večkratnim stikom z vsaj enim vojaškim helikopterjem in ladjo, so bili 14 dni prepuščeni morskim tokovom. Kot rezultat nedejavnosti vseh vpletenih državnih akterjev, je preživelo le devet potnikov. Z združevanjem njihovih pričevanj s podatki o vetru in morskih tokovih kot tudi satelitskimi slikami je ekipa Forensic Oceanography rekonstruirala sledi dogodka. Nastalo je poročilo, ki je služilo kot osnova za več pravnih primerov. 

Forensic Oceanography is a project initiated within the Forensic Architecture agency by Charles Heller and Lorenzo Pezzani, in the wake of the Arab uprisings of 2011. It seeks to critically investigate the militarised border regime imposed by European states across the EU’s maritime frontier, analysing the political, spatial and aesthetic conditions that have turned the waters of the Mediterranean Sea into a deadly liquid for the illegalised migrants seeking to cross it. The more than 30.000 migrants who have died at and through the sea over the last 30 years are the victims of what Forensic Oceanography call ‘liquid violence’. By combining human testimonies with traces left across the digital sensorium of the sea constituted by radars, satellite imagery and vessel tracking systems, Forensic Oceanography has mobilised surveillance means ‘against the grain’ to contest both the violence of borders and the regime of (in)visibility on which it is founded. While the seas have been carved up into a complex jurisdictional space that allows states to extend their sovereign claims through police operations beyond the limits of their territory, but also to retract themselves from obligations, such as rescuing vessels in distress, Forensic Oceanography has sought to locate particular incidents within the legal architecture of the EU’s maritime frontier, so as to determine responsibility for them. This video offers a synthesis of ‘The Left-to-Die Boat’ case. In March 2011, 72 passengers left the Libyan coast heading in the direction of Italy on board a small rubber boat at the time of NATO’s military intervention in Libya. Despite several distress signals relaying their location, as well as repeated interactions with at least one military helicopter and a military ship, they were left to drift for 14 days. As a result of the inaction of all state actors involved, only nine of the passengers survived. By combining their testimonies with wind and sea-current data as well as satellite imagery, Forensic Oceanography reconstructed the liquid traces of this event, producing a report that served as the basis of several legal cases. 


Raziskovalci Forensic Oceanography izvajajo intervju s preĹživelim Danom Haile Gebrejem v Milanu, 21. 12. 2011. Na fotografiji iz videa vidimo zgodnjo skico sheme poteka dogodkov, ki Gebru pomaga pri spominjanju posameznih dogodkov. Forensic Oceanography researchers conduct an interview with survivor Dan Haile Gebre in Milan, 21 December 2011. In this still, we see an early sketch of the chain of events map being used to help Gebre recall the events. Slika / Image: Forensic Oceanography, 2013

Projektna ekipa / Project Team: Charles Heller, Lorenzo Pezzani, Richard Limeburner, Samaneh Moafi, Rossana Padeletti Produkcija v okviru Forensic Architecture; podpora: House of World Cultures (HKW) / Produced within the frame of Forensic Architecture with the support of the House of World Cultures (HKW).


BARBORA KLEINHAMPLOVÁ (CZ) 54

Barbora Kleinhamplová v svojem filmu in instalaciji obravnava bolezen neoliberalizma skozi metaforično potovanje, tako daleč navzven, kot tudi v notranjost mehanizmov gradnje luksuznih jaht in izdelave zdravil. Antropološko poročilo o sanjskih, toda v-nočno-moro-spremenjenih poskusih srednjega razreda, da zajame ugotovitve vrtoglave raziskave, pri čemer povabi gledalce, da svojo potencialno slabost pojmujejo kot del nečesa večjega: nismo bolni samo mi ali oni. Vsa ladja se trese v slabosti in nelagodju. Mirnost je komaj mogoče razločiti od vrtoglavice, pospeševanje pa samo še poslabšuje morsko bolezen celotne posadke in tudi same palube, na kateri plujejo izmučena telesa in misli. Za tiste v bolečinah se to, da bi samo čakali, dokler ladja ne razpade in nato začeli graditi novo, boljšo, ne sliši kot rešitev. Lahko, da bo to trajalo preveč časa. Lahko, da se to sploh ne bo zgodilo. Čas lahko prinese nepopravljivo škodo. Lahko, da ocean ne bo prav gostoljubno okolje. A vendar, oni so tisti, ki so na krovu, drugi pa se utapljajo. Vedno več receptov za različna zdravila očitno ne more prinesti strukturnih sprememb. Simptomi se ponavljajo, kopirajo in širijo na večino ladij, ki plujejo po nemirnih morjih. Zaspanost, omotica, nelagodje, nemir, ponavljajoče se zehanje, slabo počutje, slabost, bledica, znojenje, glavoboli, utrujenost, bolečine v prsih ali tesnoba, palpitacije, nespečnost, apatija. Blažiti simptome je očitno lažje, kot pa iskati vzroke zanje. Vsi sodelujejo. Celo zdravniki so bolni. Delavci v tovarnah zdravil so bolni. Razlike so večinoma ekonomske. Le redki si lahko privoščijo mehanizme, ki bi zaščitili njihovo plovilo pred vsesplošno bedo. Nekateri si lahko privoščijo, da niso zdravi. Nekateri si lahko privoščijo zdravnike in tablete. In vendar se njihovo stanje v resnici ne izboljša. Večina si prizadeva in plačuje za to, da ladja ne bi razpadla. Zvečer se usedejo in gledajo, kako pospešuje, počiva, stagnira. Naučili so jih verjeti, da je bolezen njihov osebni problem, zato jo je treba zdraviti individualno. Ne vedo, koga ali kaj drugega naj krivijo za to. 

In her film and installation Barbora Kleinhamplová addresses the sickness of neoliberalism through a metaphorical voyage both far ashore and into the mechanisms of building luxurious yachts and the fabrication of medications. An anthropological report of a middle-class dream-turned-into-nightmare attempts to capture the findings of a dizzy exploration, inviting viewers to consider their potential nausea as a part of something bigger: It’s not just them or us who are sick. The whole ship trembles in nausea and discomfort. Stillness can hardly be distinguished from vertigo and acceleration boosts motion sickness of both the crew and the very deck carrying the tortured bodies and minds. For those in pain, it doesn’t sound like a solution to just wait for the boat to fall apart and then start building a better one from scratch. It might take too much time. It might never even happen. Time might bring irreversible damages. The ocean might not be very accommodating. Still, they are the ones on board, while others are drowning. More and more prescriptions of diverse medications clearly aren’t capable of bringing structural change. The symptoms are reoccurring, copy-pasted, spread out on most of the ships sailing turbulent seas. Drowsiness, dizziness, discomfort, restiveness, repetitive yawning, malaise, nausea, pallor, sweating, headaches, fatigue, chest pains or tightness, palpitations, insomnia, apathy. Reducing symptoms has proven easier than searching for causes. Everybody participates. Even the doctors are sick. The workers in the drug factories are sick. The differences are mostly economical. Few can afford mechanisms that will excerpt their watercraft from the widespread misery. Some can afford not to be well. Some can afford the doctors and pills. And yet, they don’t really get better. The majority is working for and paying for the ship not to fall apart. In the evening, they sit down and watch it speed up, recess, stagnate. They are taught to think that sickness is their personal problem and therefore has to be treated individually. They don’t know who or what else to blame it on. 

Produkcija projekta / Project production: Jindřich Chalupecký Society, Praga / Prague Projekt je kurirala / Project was curated by Karina Kottová


Sickness Report, 2018 instalacija, kratki film / installation, short film (Full HD, 17’ 05’’) Foto / Photo by Damjan Švarc


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Sickness Report, 2018 instalacija, kratki film / installation, short film (Full HD, 17’ 05’’) Foto / Photo by Damjan Švarc


MICHAEL TAKEO MAGRUDER (US/UK)

6. aprila 2018 so v uradu generalnega državnega tožilca ZDA izdali memorandum, namenjen vsem zveznim tožilcem na območju ameriške jugozahodne meje. Navedeni namen sporočila je bil “takoj sprejeti politiko nične tolerance za vse prekrške, predložene v kazenski pregon” v okviru 8. odstavka 1325.a člena Zakonika ZDA, ob nezakonitem vstopu ‘tujih’ oseb v državo zaradi “neprimernega časa ali kraja; izogibanja pregledu ali preverjanju; [in] napačnega prikazovanja oziroma prikrivanja dejstev”. V tednih, ki so sledili, so ob naraščajoči domači in mednarodni zaskrbljenosti glede škodljivih posledic na migrantske družine, ki bi poskušale prečkati mejo, stališče vlade branili vodje različnih ameriških agencij in oddelkov, odgovornih za implementacijo tega programa. V prvih dveh mesecih veljavnosti takšne politike je bilo več kot 2.500 otrok prisilno ločenih od njihovih družin in preseljenih v več kot sto objektov za pridržanje, ki so razširjeni po vsej državi. Med nasprotujočimi si pripovedmi in poročili številnih vladnih in medijskih virov, ki so komentirali nastalo krizo, ostaja usoda mnogih teh otrok še vedno odprto vprašanje. Nična toleranca je novomedijska instalacija, ki raziskuje kontekst in retoriko v zvezi z ločevanjem in pridrževanjem migrantskih družin, ki prečkajo južno mejo ZDA. Algoritemski video, nameščen izza žičnate ograje, skupaj z vsakdanjimi artefakti, ki jih povezujemo s centri za pridržanje, nenehno povezuje uradne posnetke vlade s tajnimi posnetki iz dejanskih prostorov za pridržanje ter posnetkom javnega govora bivšega generalnega državnega tožilca Jeffa Sessionsa, v katerem poziva k ‘svetopisemski pravičnosti’. 

On the 6th of April 2018, the Office of the Attorney General of the United States of America issued a memorandum for all federal prosecutors working along the nation’s southwest border. The stated purpose of the communiqué was “to adopt immediately a zero-tolerance policy for all offenses referred for prosecution” under Title 8 of US Code section 1325(a) concerning illegal entry into the country by ‘alien’ persons for reasons of “improper time or place; avoidance of examination or inspection; [and] misrepresentation and concealment of facts”. In the following weeks, alongside growing domestic and international concern about the detrimental effects on migrant families attempting to cross the border, the government’s stance was widely defended by the heads of various US agencies and departments responsible for implementation of the program. During the first two months of the policy being in effect, more than 2,500 children were forcibly separated from their families and relocated to over one hundred detainment facilities spread throughout the country. Amidst the conflicting accounts and reports put forward by numerous government and media sources commenting on the crisis, the fate of many of these children remains an open question. Zero Tolerance is a new media installation that explores the context and rhetoric surrounding the separation and incarceration of migrant families crossing the US southern border. Set behind chain-link fence and alongside mundane artefacts associated with the detention centers, an algorithmic video continually splices official government footage and undercover recordings from actual detainment facilities with former Attorney General Jeff Sessions’ public speech calling for ‘biblical’ justice. 

Viri: – posnetek predvajanja javnega govora nekdanjega generalnega državnega tožilca Jeffa Sessionsa v Fort Wayneu v zvezni državi Indiana z dne 14. 6. 2018, v katerem naslavlja kritike ameriške administracije v zvezi s politiko nične tolerance – uradna vladna video dokumentacija ameriške mejne patrulje, ki prikazuje center za pridržanje v McAllenu v Teksasu; posnetek je bil objavljen 17. 6. 2018 – zvočni posnetek otrok, pridržanih v objektu Urada ZDA za carinsko in mejno zaščito. Posnetek je pridobila neprofitna medijska organizacija ProPublica in ga objavila 18. 6. 2018

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Source Material: – recorded broadcast of former US Attorney General Jeff Sessions’ public speech in Fort Wayne, Indiana on 14/06/2018 addressing criticisms of the US Administration’s zero-tolerance policy – official government video documentation by US Border Patrol showing the detention centre in McAllen, Texas that was released on 17/06/2018 – audio recording of children detained within a US Customs and Border Protection facility that was obtained by the non-profit media organisation ProPublica and published on 18/06/2018


NiÄ?elna toleranca / Zero Tolerance, 2018 instalacija / installation Foto / Photo by Damjan Ĺ varc


6. junija 2013 so novinarji časopisov The Guardian in Washington Post poročali o tem, da ameriška nacionalna varnostna agencija (NSA) pripravlja portfelj tajnih programov množičnega nadzora v obsegu, ki spominja na Orwellovo distopično družbo, 1984. Pobude NSA naj bi obsegale vse od množičnega zbiranja podatkov z elektronske pošte in zapisov telefonskih pogovorov, do vdiranja v podatkovne infrastrukture vodilnih spletnih podjetij in ponudnikov storitev. V odzivu na te obtožbe je ameriška vlada zatrdila, da so NSA in drugi oddelki njene obveščevalne skupnosti delovali zakonito ter v okviru zakonov, kot sta zakon o nadzoru tujih obveščevalnih služb (FISA) iz leta 1978 in ameriški zakon o domovinski varnosti iz leta 2001, ki sta bila v politični sliki po 11. septembru spremenjena z namenom podpiranja narodove nenehne ‘vojne proti terorizmu’. Toda te dejavnosti nadzora niso bile usmerjene k specifičnim posameznikom ali interesnim skupinam, temveč je šlo za samovoljno kopičenje osebnih podatkov milijonov nič hudega slutečih državljanov, brez jasnih pristojnosti ali preglednega nadzora. Prvi program NSA, ki naj bi ga razkrila omenjena poročila, je bil PRISM – ‘posebna operacija’, odgovorna za zbiranje shranjenih podatkov in spletnih prenosov v živo, pridobljenih od konzorcija tehnoloških gigantov Apple, AOL, Facebook, Google, Microsoft in Yahoo. V sodelovanju z mrežo Five Eyes in velikimi evropskimi zavezniki je NSA uporabila program PRISM in druge, sorodne programe za rudarjenje podatkov iz svetovnih elektronskih komunikacijskih sistemov z namenom kreiranja obsežnih repozitorijev, ki analitikom omogočajo možnost ‘izbire’ in ‘ciljanja’ kateregakoli posameznika na svetu. Glede na čedalje bolj povezano digitalno naravo družbe je treba vsako oklicano korist, ki naj bi izhajala iz takšnih vsesplošnih metod nadzora, pretehtati v primerjavi s posledicami, ki jih bo imela za osebno svobodo in zasebnost ljudi. V tem smislu bi se bilo nemara dobro spomniti zgodbe tistega, ki je s temi razkritji prvi pritegnil pozornost javnosti, torej Edwarda Snowdena – slehernika, ki je bržkone postal Winston Smith informacijske dobe. 

On 6th June 2013, journalists from The Guardian and Washington Post reported that the US National Security Agency (NSA) was undertaking a portfolio of clandestine mass surveillance programs on a scale reminiscent of George Orwell’s dystopian society of 1984. The NSA’s initiatives supposedly ranged from the bulk collection of email and telephone records to infil-trating the data infrastructures of every leading Internet company and service provider. In response to these allegations, the US government claimed that the NSA and other sections of its intelligence community were legally operating under the authority of laws such as the Foreign Intelligence Surveillance Act of 1978 (FISA) and the USA Patriot Act of 2001 that had been amended in the post-9/11 political landscape to support the nation’s continuous ‘War on Terror’. However, the surveillance activities in question were not targeted at specific indi-viduals or groups of interest, but rather focused on amassing personal data from millions of unsuspecting citizens indiscriminately and without clear jurisdiction or transparent oversight. The first NSA program to be disclosed in these reports was PRISM – a ‘special source operation’ responsible for collecting stored data and live Internet transmissions obtained from a consortium of technology giants including Apple, AOL, Facebook, Google, Microsoft and Yahoo. Collaborating with the Five Eyes network and major European allies, the NSA used PRISM and other related programs to data mine the world’s electronic communications sys-tems in order to create vast information repositories that would give analysts the ability to ‘select’ and ‘target’ any individual in the world. Given the increasingly connected digital nature of society, any proclaimed gains from such all-pervasive methods of surveillance must be weighed against the costs to personal freedom and privacy. With this in mind, perhaps it is useful to consider the story of the person who brought these revelations to the public’s attention, Edward Snowden – an everyman who might now be the Winston Smith of this information age. 

Viri: – celotna zbirka razkritih zaupnih dokumentov, ki jih je objavil Edward Snowden (od 1. marca 2014) – pridobljena iz raznih spletnih medijskih shramb in programov za izmenjavo datotek – sekvenčni video posnetek intervjuja Edwarda Snowdena z Glennom Greenwaldom in Lauro Poitras, dne 6. 6. 2013 – pridobljen z www.youtube.com – sekvenčni video posnetek intervjuja Edwarda Snowdena na nemški TV postaji NDR, dne 26. 1. 2014 – pridobljen z www.youtube.com

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Source Material: – complete collection of leaked classified documents released by Edward Snowden (as of 01/03/2014) – obtained via various online news media repositories and torrent file-sharing websites – sequenced video footage of Edward Snowden interview with Glenn Greenwald and Laura Poitras on 06/06/2013 – obtained via www.youtube.com – sequenced video footage of Edward Snowden interview with German TV channel NDR on 26/01/2014 – obtained via www.youtube.com


PRISM, 2014 instalacija / installation Foto / Photo by Damjan Ĺ varc


MLADEN MILJANOVIĆ (BA) 62

Projekt Didaktični zid umetnika Mladena Miljanovića je subverzivna izobraževalna instalacija, ki se osredotoča na problematiko migrantov, beguncev, razseljenih oseb in apatridov ter na težave, s katerimi se srečujejo pri premikanju do želenega geografskega cilja. Angažiran sklop ilustracij neposredno naslavlja tiste, ki poskušajo na ‘nezakonit’ način prestopiti državne meje, da bi prišli do svoje ‘dežele sanj’. Didaktični zid je nekakšno navodilo, kako premagati naravne in umetne ovire, na katere nemara naleti ‘človek na poti’. Didaktični zid je bil najprej predstavljen v Bihaću kot site-specific projekt, kot kraj množične blokade, ki jo je povzročilo dejstvo, da so zeleno mejo dobesedno zaprli obmejni organi sosednje EU/Hrvaške. Za migrante in begunce je Bihać dobesedno postal mesto ‘na robu’. Kraj ujetništva med dvema resničnostima – ene, iz katere brezglavo bežijo, in druge, h kateri silno tečejo. Bihać se je v bistvu spremenil v nevaren kraj, ki odraža težaven in neprijeten položaj “ljudi na poti”. Postal je simbol zasužnjene človekove svobode, čeprav je prehodna lokacija, kjer migranti ne želijo ostati dlje časa. V takšnem umetniškem kontekstu je zasnovan Didaktični zid in Miljanović z njim potrjuje svoje lastno pravilo, da je umetnost lahko in tudi mora biti, kritika uničujočih politik, neetičnih pravil in nemoralnih vrednot. Didaktični zid je angažirana akcija, ki jasno in glasno zavzema položaj občutljivega in ranljivega prebivalstva, ki se je po naključju zataknilo ne le v Bihaću in Bosni in Hercegovini, temveč tudi v številnih drugih krajih na tem planetu. Kot pravi umetnik v besedilu razstavnega kataloga, “v mestu Bihać ta projekt/razstava deluje kot site-specific intervencija ali kot umetnost v kontekstu, katere namen je delovati kot prostor za učenje in pomoč pri premagovanju praktičnih ovir in situacij, s katerimi se soočajo ali se bodo morali soočiti migranti.” Miljanovićev namen je ustvariti funkcionalno in učinkovito navodilo za premagovanje naravnih in umetnih ovir, kot so vodna telesa, poškodbe v divjini, ograje, infrardeči žarki, radarji itd. Delo je utilitarna vizualna misija z angažiranim predznakom, izvedena v mediju didaktičnih ilustracij. (Irfan Hošić) 

The project Didactic Wall by Mladen Miljanović is a subversive educational installation that focuses on the issue of migrants, refugees, displaced persons and apatrids, and the difficulties they face when moving towards their desired geographic destination. This is an engaged set of illustrations that address directly those who are trying, in an ‘illegal’ way, to cross national borders to get to their ‘land of dreams’. The Didactic Wall is a kind of instruction on how to overcome natural and artificial barriers a ‘person on the move’ may possibly come across. The project was shown first in Bihać as site specific, as the place of massive blockage caused by the fact that the green border was closed by the border authorities of the neighboring EU/Croatia. For the migrants and refugees, Bihać has become a place ‘on the edge’ in the literal meaning of the expression. The place of imprisonment between two realities – one that they are headlessly running away from, and the other – they are madly running to. Essentially, Bihać has turned into a dangerous place that reflects a difficult and unpleasant position of the ‘people on the move’. It has become a symbol of enslaved human freedom, although it is a transit location, where migrants don’t want to stay for a long time. It is this artistic context where the Didactic Wall has its place, and Miljanović confirms his own rule that art can, but also should be, a criticism of disastrous policies, unethical rules and immoral values. The Didactic Wall is an engaged action that clearly and vocally takes position of sensitive and vulnerable population that has, by chance, been stuck not only in Bihać and Bosnia and Herzegovina, but also in numerous other places on this planet. As the artist says in the text of the exhibition catalogue, “in the City of Bihać, this project/exhibition acts like a site-specific intervention or as art in context, aimed to act as a space for education and assistance in overcoming the practical obstacles and situations faced, or threatening to face by migrants.” Miljanović’s intention is determined by the motive to create a functional and effective instruction for overcoming natural and artificial barriers, such as water bodies, injuries suffered in the wild, fences, infrared rays, radars, etc. This is a utilitarian pictorial mission with an engaged prefix that is carried out in the medium of didactic illustrations. (Irfan Hošić) 


Didaktični zid / The Didactic Wall, 2019 instalacija, priročniki, vgravirane risbe na marmor, knjige installation, handbooks, engraved drawings on marble, books Foto / Photo by Damjan Švarc


ARMINA PILAV (BA/UK), ANA DANA BEROŠ (HR) RAFAELA DRAŽIĆ (HR), MIODRAG GLADOVIĆ (HR) MATIJA KRALJ (HR) & MAURO SIROTNJAK (HR)

S svojim večletnim raziskovalnim delom z naslovom Un-war Space, o prepletenosti vojnih in ne-vojnih (un-war) prostorov, Armina Pilav ne želi ponuditi enoznačnega prikaza ‘destruktivne metamorfoze’ (Zoran Doršner, 1994) obleganega Sarajeva. Ravno obratno, predstavlja nam performativni arhiv v obliki kompaktne, posebej zasnovane razstavne naprave, s pomočjo katere lahko danes – dvajset let kasneje, v ‘dobi, ki jo definira planetarna državljanska vojna’ (Hito Steyerl, 2017), v času množičnih migracij in naraščajočih neenakosti – gledamo, poslušamo, beremo in, nenazadnje, govorimo o vojni v Sarajevu. Naprava deluje kot aparat za ‘razmišljanje v teku’, ki ponuja pričevanja o tem, kako so prebivalke in prebivalci oporekali vojni v Sarajevu s pomočjo prostorskih (re)akcij in ponovno uporabo dostopnih arhitektonskih in drugih materialov. Arhiv vsebuje številne video in zvočne dokumente, fotografije, arhitektonske risbe in Un-war leksikon, ki je namerno nedokončan, da bo lahko vedno prejemal nova pričevanja in politično pozicioniral neizogibnost kolektivnega (ponovnega) premisleka o vojni v Sarajevu ali o kateremkoli drugem konfliktu na svetu. 

Armina Pilav in her pluriannual research Un-war Space, on the entanglements of war and un-war spaces, refuses to give a single idea on the ‘destructive metamorphosis’ (Zoran Doršner, 1994) of the city of Sarajevo, that was once under siege. She instead gives us a performing archive in a form of compressed, specially designed, exhibition device through which we can now, more than twenty years later, in the ‘age defined by planetary civil war’ (Hito Steyerl, 2017), mass migrations and growing inequalities, see, read or speak about the war in Sarajevo. The device acts as a thinking-in-progress machine, that bears witness how citizens, through spatial (re)actions and (re)usage of available architectural and non-architectural materials, were undoing the war in Sarajevo. The archive contains numerous video and sound documentation, photos, architectural drawings and the Un-war Lexicon, but it is purposely left unfinished, so it can receive ever new testimonies, and politically position the necessity of collective (re)thinking of the war in Sarajevo, or any other violent conflict in the world. 

Un-war Space, 2018 multimedijska instalacija (dva letalska kovčka z arhivom) in publikacija mixed media installation (two flight cases) and a publication

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Foto / Photo by Damjan Švarc



CLAUDIA ROBLES-ANGEL (CO/DE) 66

SKIN je interaktivna instalacija, v kateri imajo obiskovalci možnost uporabe vmesnika GSR (Galvanic Skin Response), ki meri vlažnost njihove kože. Nihanje vrednosti je pokazatelj psihološkega ali fiziološkega vzburjenja, kot je stres ali sprostitev. Vrednosti se iz vmesnika GSR prenesejo v računalnik, kjer služijo preoblikovanju zvoka in podobe interaktivnega prostora. Obiskovalci so vabljeni k ustvarjanju avdiovizualnega okolja s pomočjo lastnih čustvenih in fizioloških parametrov. 


SKIN is an interactive installation, in which visitors have the opportunity to use a GSR (Galvanic Skin Response) interface, which measures their skin’s moisture. The variations of these values are an indication of psychological or physiological arousal, such as for example appearance of stress or relaxation. The values received from the GSR are further transmitted to a computer in order to transform the sound and the images of the interactive space. Visitors are invited to create an audiovisual environment from their own emotional and physiological parameters. 

SKIN, 2012/2014 interaktivna audiovizualna instalacija / interactive audiovisual installation Foto / Photo by Damjan Švarc


ZORAN TODOROVIĆ (RS)

V begunskem centru v Beogradu, kjer begunci z Bližnjega in Srednjega vzhoda in Afrike prehajajo na pot v zahodnoevropske države, je umetnik zbiral urin beguncev in iz njega napravil obrtno/craft pivo po priljubljenem belgijskem receptu. Pivo je bilo namenjeno izvozu v države prvega sveta in konzumaciji s strani publike in avtorja v okviru performativnega predavanja, ki ga je bilo s predstavitvijo video dokumentacije celotnega proizvodnega procesa, od begunskega stranišča do končnega pakiranje dokončanega izdelka, izvajal na LADA – Live Art Development Agency v Londonu. Konzumacija tako proizvedenega piva je odprla problem statusa beguncev in človeškega telesa, ki pod določenimi pogoji predelave postane mobilno in sprejemljivo tudi v tistih državah kapitalističnega centra, kjer so meje za begunce trdno zaprte. Umetniški projekt ‘Integracija: Nezakoniti ljudje’ je bil premierno predstavljen v LADA novembra 2017. Todorović je v formatu tega dela pokazal odprta politična vprašanja, ki se soočajo s skritimi socialnimi simptomi, ki se nam tu razkrivajo – o abjektnem, o statusu enega fiziološkega postopka in moči fiktivnega v umetnosti, aktivno odražajoč položaj držav drugega sveta v globalnih političnih okoliščinah. “Ob koncu mojega projekta so nekateri, ki so ostali dlje, vedeli, da izdelujem pivo, zato so bili pripravljeni pomagati, to je, da lulajo v pisoar za moj projekt. Na koncu je bilo potrebno samo štiri dni za zbiranje urina. Po eni strani sem to moral imenovati konec, ker se je dogajala zelo odprta vojna z Zdravniki brez meja. (…) Zbral sem le 10 litrov urina, čeprav to ni mala količina, sem v prvem trenutku pričakoval veliko več, če bi lahko v centru ostal dlje časa. (…) Te težave so simptomi nečesa, kar težko artikuliram, nekaj, kar se nanaša na skrivnost naše države. Kaj je problem, če se begunci odločijo, da se polulajo tu ali tam? (…) Kdo lahko pove, kje je pravo mesto za lulanje? Kaj pomeni ‘lulanje’ v tem kontekstu?“ 

In a refugee center in Belgrade, where refugees from the Near and Middle East and Africa pass through on their way to Western European countries, the artist collected urine from refugees and made craft beer from a popular Belgian recipe. The beer was intended for export to the first-world countries and for consumption by the audience and the author as part of a performance lecture, which was with the presentation of video documentation of the entire production process, from the refugee toilet to the final packing of the finished product, presented at LADA – Live Art Development Agency in London. The consumption of beer produced in this way has opened up the problem of the status of refugees and the human body, which, under certain processing conditions, becomes mobile and acceptable also in those countries of the capitalist center where the borders for refugees are firmly closed. The art project ‘Integration: Illegal People’ premiered at LADA in November 2017. Todorović, in the format of this work, presented open political issues that confront the hidden social symptoms that are revealed to us here – about abjective, about the status of a physiological procedure and power of fictional in art, actively reflecting the position of the second world countries in global political circumstances. “At the end of my project, some people who stayed longer knew that I was making beer, so they were willing to help, which is to pee in the urinal for my project. In the end, it only took four days to collect urine. On the one hand, I had to call it the end because there was a very open war with Doctor Without Borders. (...) I collected only 10 liters of urine, though it is not a little amount, at the first moment I expected much more, if I could stay in the centre a bit longer. (...) Those problems are the symptoms of something I can hardly articulate, something that relates to the secret of our state. What is the problem if refugees choose to pee here or there? (...) Who can tell where the right place is for peeing? What does ‘peeing’ mean in that context?” 

Integracija / Integration, 2017 Projekt nezakonitih ljudi / Illegal people project

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Fotografiji iz videa / Video Stills



IVA TRATNIK (SI)

Umetnost Ive Tratnik vključuje številne medije, sliko, skulpturo, risbo, kolaž, fotografijo, video, tekstilijo, instalacijo in zajema različne umetniške prakse, performans, sodobni ples, gledališče. Ko ustvarjalno večplastnost poveže v celoto, posamezna dela zaobjamejo ves prostor v enovit, oseben, samosvoj izraz, ki mu ne najdemo primerjave. Erupcija geste presega specifike posameznih elementov razstave in se seli z ene forme na drugo, s stene na sliko, z risbe na ekran, se pojavi kot kolaž ali performans, skače iz statične na dinamično pripoved, vendar ostaja vsebinsko začrtana in začarana v kompleksni zasnovi. V formi in v prostoru se odvija notranja dinamika, ki hkrati ‘lepi’ likovne elemente v sliko in jih ločuje, ki slike plasti v enovito umetniško krajino in jim podaja individualne naslove, ki z povsem originalnim, samosvojim, značilnim avtorskim pečatom postavlja Ivo Tratnik na scela avtonomno, razpoznavno in specifično mesto in jo stežka primerjamo s čemerkoli, kar se dogaja v slovenski pa tudi svetovni umetnosti. Zdi se, da prisostvujemo kontinuirani borbi mnogih idej, predstav, porivov, ki se naenkrat znajdejo skupaj, sobivajo, živijo v navidezni resničnosti, ko tako hoče umetnica. In v to vlije ne samo sebe, ampak ponotranji svet in iz njega ustvari svetove, polno svetov, v katerih skuša zaobjeti celotno človeško zgodovino in jo ponuditi v avtohtoni futuristični ‘preobleki’, na kateri pa kmalu opazimo, da je drugačna, da nekaj ne ustreza, da je popačena in seveda metafizična, zgodi se nekakšen palimpsestni kolaž v (pre)brisani resničnosti. Iva Tratnik je vnesla nekakšno ‘nelagodno svežino’ na (slovensko) umetniško sceno, ko nas primarna lepota umetniških del očara, a to je samo trompe-l’oeil, ki preslepi naše oko, medtem ko se vzpostavlja kompleksna, obsežna in vpijoča struktura, v kateri se velika oljna in akrilna platna, risbe, tekstilije, kolaži, fotografski in video portreti, skulpture in instalacije, najraje iz recikliranih materialov, znajdejo skupaj in nam uprizorijo svojstveno predstavo v različnih medijih. 

Art works by Iva Tratnik employ a variety of media including painting, sculpture, drawing, collage, photography, video, textiles, installations, etc., and stretch across different fields of artistic practice, including performance, contemporary dance, and theater. Once these layers of creativity melt into a single piece of art, highly individual works are created, which embrace and transform the entire exhibition space into a consistent, personal, and highly original artistic expression beyond comparison. The eruption of gesture transcends the specifics of the individual exhibited elements, shifting from one form to another, from walls to paintings, from drawings to digital screen; appearing as a collage or performance; jumping from static to dynamic narrative, and yet remaining faithful to the subject matter, and captivating in terms of the complexity of its concept. In terms of both form and space, there is an inner dynamics that unfolds in front of us, ‘pasting’ and separating visual elements into the painting at the same time, layering them to form a uniform artistic landscape, and labeling them with individual titles, which through a highly original, unique, and typical artist’s mark, place Iva Tratnik into a fully autonomous, recognizable and specific position, which is difficult to compare to anything found on the Slovene or even global art scene. It feels as though we are witnessing a continuous battle of ideas, representations and urges, which suddenly find themselves together in one place, co-existing and living inside a seeming reality, when the artist wants them to. Iva Tratnik not only pours herself into her works; she internalizes the world around her and creates other worlds from it, a multitude of worlds, actually, through which she attempts to embrace the entire human history, and offer it to us in an autochthonous futuristic ‘disguise’ – about which we soon notice that it is different, that something does not fit, that it is distorted and, of course, metaphysical: what happens is a kind of a palimpsest collage inside a (skillfully) erased reality. Iva Tratnik has introduced a kind of an ‘uneasy freshness’ to the (Slovene) art scene: the primary beauty of her works enchants us, and yet, it is but a trompe-l’œil that tricks the eye, while at the same time a complex, extensive, intense structure is established, merging together large oil and acrylic canvases, drawings, textiles, collages, photographic and video portraits, and sculptures and installations mostly made from recycled materials – to put on a unique, one-of-a-kind show for the audience in various media. 

Modra V. V. / Blue V. V., 2017 tekstilni kolaž na lestonit / textile collage on hardboard

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Foto / Photo by Damjan Švarc



TADEJ VINDIŠ (SI/UK) 72

Kako stroji osmišljajo človeški svet, čigar organizacija s progresivno intenziteto deluje med njimi in skozi njih? Stroji so rekonfigurirali naš odnos do reprezentacije, komunikacije in spomina. Njihova vizija, zdaj prepletena z našo, je zgrajena okoli logik mehanske infrastrukture binarnih protokolov, ciklov operacij strojne/programske opreme, in togega proceduralnega procesiranja interpretacij podatkovnih tokov. Strojev ne zanima, kdo smo, kaj smo in kaj sestavlja naš kulturni prostor; interesirajo jih številke ter vzorci – v ritmičnem procesiranju. Strojem so slike, besedila, ikone ali simboli grafičnih uporabniških vmesnikov tako odveč za njihovo delovanje kot naša telesa in umi. Vse se razgradi v številke, procesirane skozi materialnost strojne opreme in neskončno preobraženo, spremenjeno, preslikano ter prevedeno skozi verigo procesov z vnosi in iznosi, s čimer se stanje sodobnosti transformira v komputacijsko nepredvidljivost. V odnosu z nami so stroji precej ikonoklastični. So brezbrižni in zadovoljni s svojo brezbrižnostjo oziroma, bolj natančno, ne komunicirajo, le procesirajo, dokler ne zamrznejo ali se okvarijo. Instalacija temelji na treh omreženih strojih, ki dostopajo drug do drugega, pri drug drugem iščejo binarne/sistemske datoteke in jih izvajajo na zaslone. Kar se zdi kot napaka, projicirana na ekran, je dejansko nezmožnost stroja za prevajanje teh datotek v človeku razumljiv ASCII. S prevajanjem strojnega procesiranja v človeku razumljiv izraz lahko skozi napake in kompleksnost ujamemo bežen vpogled v obseg in strukturo informacij, ki so izven našega dosega znotraj komputacijskih sistemov sodobne digitalne kulture. Zvok je neposredna amplifikacija strojnega procesiranja skozi magnetne mikrofone znotraj vsakega stroja. 

How do machines make sense of the human world, whose organisation operates between and through them with progressive intensity? Machines have reconfigured our relationship towards representation, communication and memory. Their vision, now entangled with ours, is built around the logics of the mechanical infrastructure of binary protocols, cycles of hard-ware/software operations, and the rigid procedural processing of the interpretation of data flows. Machines are not interested in who we are, what we are, and what constitutes our cul-tural space; rather, their interest lies in numbers and patterns – in rhythmical processing. For them, the pictures, texts, icons or symbols which make up Graphic User Interfaces are as superfluous to their operation as our bodies and minds. Everything breaks down into numbers, processed through the materiality of the hardware and indefinitely transformed, changed, remapped and translated in a chain of processes with input and output, thus transforming contemporary condition into computational contingency. In relation to us, machines are rather iconoclastic. They are indifferent and satisfied with their indifference – or more accurately, they do not communicate, they only process, as long as they do not freeze or break down. The installation is based on three networked machines which are accessing each other, searching for each other’s binary/system files and executing them to the screens. What seems to be a glitch projected on the screen is in fact the impossibility of the machine in translating those files into human-readable ASCII. With machine processing rendered human-readable, we can glimpse, through error and through complexity, something of the scale and structure of information unavailable to us within computational systems of contemporary digital culture. The sound is the direct amplification of the processing of the hardware through the magnetic microphones inside each of the machines. 

Projekt je nastal v okviru magistrskega študija Interaktivni mediji: Kritična teorija in praksa na univerzi Goldsmiths, University of London, podprt pa je s štipendijo Javnega sklada RS za razvoj kadrov in štipendije. / The project was made as part of the MA Interactive Media: Critical Theory and Practice studies at Goldsmiths, University of London, and supported by a scholarship from Slovene Human Resources Development and Scholarship Fund.


Reconfigured, 2016 intermedijska instalacija / intermedia installation Foto / Photo by Damjan Ĺ varc


SALVATORE VITALE (IT/CH) 74

Švica velja za eno najbolj varnih držav na svetu in zgled učinkovitosti. To, kako se država poskuša zaščititi pred raznovrstnimi tveganji, nevarnostmi in grožnjami, je Salvatoru Vitalu dalo navdih za vizualno raziskavo. Med letoma 2014 in 2018 je raziskoval, kako so sistemi zaščite in prevencije integrirani v naš vsakdan, naše vedenje in razmišljanje. Projekt odraža in raziskuje, kako se preko fotografij, besedil in podatkovno vizualizacijo vzpostavlja varnost. Glavni namen ni razkrivati skozi raziskovanje ali aktivizem, temveč konkretizirati težko predstavljive družbene občutljivosti in strukturno nasilje sistema. Nekatera od glavnih vprašanj, ki jih zastavlja, so: Kako so posamezniki ujeti s strani državnih in privatnih akterjev v varnostnem sistemu? Kakšne vloge in vrednote so nam dodeljene in kako se sistem obrača na nas kot državljane? Kakšne so neizmerljive posledice, ki jih za nas prinaša celostna slika spremljanja naših podatkov? Kdo lahko določi, ali so tveganja dobra ali slaba in kdo bo imel od njih korist? Kako se odzivajo javni in zasebni akterji? Kolikšni svobodi smo se kot državljani pripravljeni odreči za našo zaščito? Vitalejev dolgoletni projekt poskuša osvetliti na videz obsesivno zaskrbljenost z varnostjo: varnostne ukrepe, vedenja, infrastrukturo, kode in protokole, ki so razvidni tako v vedenju posameznikov in političnih debatah o temah, kot so migracije. Te so pogosto abstraktni, resni in neosebni standardizirani postopki. Kljub temu – kot pravi fotografsko delo – se bistvo tega varnostnega aparata kaže kot estetska dispozicija, ki se jo lahko preuči in izraža preko fotografije. Raziskava je osnovana na institucionalnem omrežju – policije, vojske, carine, migracijskih organov, vremenskih storitev, IT služb in raziskovalnih centrov za robotiko in umetno inteligenco. Vitale je, zahvaljujoč sodelovanju z raznimi strokovnjaki in raziskovalci, ustvaril zemljevid ozračja z notranjosti švicarskega javno-pravnega varnostnega kompleksa. Projekt je zasnovan kot večperspektivni prostor razmišljanja in združevanja, ki deluje kot gozd znakov, urbana pokrajina fotografskih podob – selektivni ‘grand tour’ švicarskega varnostnega sistema. Na ta način raziskuje nekatere izmed najbolj relevantnih družbenopolitičnih težav našega časa. 

Switzerland is considered one of the safest countries in the world and a prime example of efficiency. The question of how it tries to protect itself against all kinds of risks, dangers and threats prompted Salvatore Vitale to launch a visual research project. Between 2014 and 2018, he investigated how protection and prevention systems permeate our everyday lives, our behaviour and our thinking. The project reflects and explores the creation of security through photos, texts and data visualizations. The primary focus is not on an investigative or activist approach with the aim of exposing, but rather on the effort to make tangible social sensitivities that are difficult to grasp as well as the structural violence of the system. Some key questions were: How are individuals captured by state and private actors within the security complex? What values and roles are assigned and how are we addressed as citizens? What are the incalculable consequences for us of the overall picture of our data traces? Who has the power to define good and bad risks and who profits from it? How do state and private actors react? And how much freedom are we as citizens prepared to give up for our protection? Vitale’s long-term project attempts to make visible the seemingly obsessive preoccupation with security: the precautions, attitudes, infrastructures, codes and protocols that can be observed both in individual behaviour and in political discussion, for example on issues such as migration. These are often standardized processes that are abstract, sober and faceless. Nevertheless – as the photographic work suggests – the essence of this security apparatus manifests itself as an aesthetically perceptible disposition that can also be explored and communicated by means of photography. The investigation is based on the institutional network – police, military, customs and migration authorities, weather services, IT companies as well as research centers for robotics and artificial intelligence. Thanks to active collaboration with various specialists and researchers, Vitale has succeeded in creating a kind of mapping of atmospheres from the interior of Switzerland’s public-private security complex. The project is conceived as a multi-perspective space for thought and aggregator and appears as a forest of signs, an urban landscape of photographic images – a selective ‘Grand Tour’ of the Swiss security system. It thus explores some of the most relevant socio-political and technological issues of our time. 


Kako zavarovati državo / How to Secure a Country, 2014—2019 Švicarski nacionalni superračunalniški center Swiss National Supercomputing Center (CSCS), Lugano. digitalna fotografija / digital photograph

Sodelujoči / Credits Oblikovanje razstave / Exhibition design: Salvatore Vitale, Lars Willumeit Oblikovanje struktur / Structures design: Federico Rella Vizualizacija podatkov / Data visualizations: Offshore Studio


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Kako zavarovati državo / How To Secure a Country, 2014—2019 Foto / Photo by Damjan Švarc


YoHa – GRAHAM HARWOOD & MATSUKO YOKOKOJI (UK) 78

Database Addiction, 2015—2018

Database Addiction, 2015—2018

Leta 2015 sta YoHa v sodelovanju z britanskimi klinikami za zdravljenje odvisnosti uporabila ekološki in estetski pristop, da bi raziskala, kako podatkovne baze abstrahirajo klinično sliko. Database Addiction raziskuje metode, prek katerih se delo centrov za oskrbo lahko računalniško upravlja in vodi na več ravneh in kako ti procesi spreminjajo kulturo dela in življenja odvisnikov. Projekt je od blizu proučil strukturo britanskega Nacionalnega centra za zdravljenje odvisnosti in razkril, kako se z ideološkega, tehničnega, političnega, birokratskega in vladnega stališča gleda na odvisnost, kar med drugim služi proizvajanju dobička na račun storitev za preprečevanje odvisnosti.

In 2015 YoHa took an ecological and aesthetic approach, working with the UK’s National Health Service addiction clinics, to investigate how databases produce an abstraction of the clinical modalities. Database Addiction explored the methods by which the materiality of the care-centers work can be managed and governed at multiple scales from within computation and how such processes transform work based cultures and the lives of addicts. The project close read the structure of the UK’s National Drug Treatment Monitoring Service which unlocked what is articulated about addiction from an ideological, technical, political, bureaucratic or governmental viewpoint that is used amongst other things for monetising addiction services.

Table of Tables, 2015 Database Addiction se je leta 2015 odvila v centru Lorraine Hewitt House. Klinika se nahaja v osrčju Brixtona, v njej pa je zaposlena zavzeta in predana ekipa delavcev z odvisniki, kliničnih psihologov, socialnih delavcev, psihiatrov, administratorjev in receptorjev. Tabele strukturno združujejo podatkovne baze in namere klinike in njenih zaposlenih. Na podatkovne baze se pogosto gleda kot na tehnično rešitev, a se zanemari njihov kulturni in družbeni vpliv ali vpliv, ki ga lahko imajo na spreminjanje znanja in moči. Lahko se jih dojema kot abstrakcijo realne klinične slike. Ponujajo metode za računalniško vodenje in upravljanje dela klinike na več ravneh. Tovrstno abstrahiranje omogoča distanco in pregled, odmaknjen od naporne resničnosti dela z odvisnostjo. Sistem podatkovnih baz je zatorej vedno pomanjkljiv in strukturno nepopoln prikaz izkušnje klinike. Klinika je stičišče med številnimi podatkovnimi bazami: the National Drug Treatment Monitoring System (NDTMS), Electronic Patient Journey System (ePJS), NHS Spine in druge. Vso delo v kliniki se beleži v zbirke podatkov, ki so osnova za odločitve in dejanja, katerih rezultat so merljivi metrični podatki, ki vodijo v nova dejanja osebja. 

Table of Tables, 2015 Database Addiction took place at Lorraine Hewitt House in 2015. The clinic is in the heart of Brixton and is staffed by a very busy and engaged team of dedicated drug workers, clinical psychologists, social workers, psychiatrists, administrators and reception staff. These tables are an attempt to think with the structural coupling of databases and the intention of the clinic and its staff. Databases are more often than not regarded as a technical solution with scant regard to their culturalisation and sociality, or the way in which knowledge and power are altered by them. The databases can be thought of as an abstraction of the clinics modalities. They afford methods by which the materiality of the clinics work can be managed and governed at multiple scales through computation. This process of abstraction allows distance and overview from the gritty work of dealing with addiction. The database system is thus always incomplete and structurally flawed as a representation of the experience of the clinic. The clinic is at the nexus of several databases: the National Drug Treatment Monitoring System (NDTMS), Electronic Patient Journey System (ePJS), NHS Spine and others. All the work at the clinic informs collections of information that in turn evidence decisions and activities and result in quantifiable metrics that reciprocally create other individual actions by the staff. 


Database Addiction, 2015—2018 Table of Tables, 2015 Foto / Photo by Damjan Švarc


NAGRADA BELI APHROID 2019

Nagrado Beli Aphroid za leto 2019 prejme Mladen Miljanović (BA).

Didaktični zid Mladena Miljanovića je večplastno umetniško delo, ki ga sestavljata prostorska instalacija in priročnik z nasveti beguncem, ki jim je bil zavrnjen vstop v EU, kako se izogniti strogim nadzornim sistemom na meji, izključitvi in zavrnitvi. Z raziskovanjem in analizo aktivističnih praks ter njihovo apropriacijo v sodobni umetnosti delo Didaktični zid predstavlja nepričakovano jukstapozicijo monumentalnih marmornih plošč in efemernih risb (kot na t. i. slepih zemljevidih, kakršne pogosto uporabljajo tihotapci). Delo lahko beremo kot epilog socialni in migrantski politiki EU, ki spodbuja zasebne iniciative namesto sistemskih rešitev na podlagi solidarnosti. Ukvarja se z običajnimi pastmi retorike sodobne migrantske politike in preučuje aktualno ravnanje z migranti. Umetnik zavzema pogumno stališče, ki je v moderni družbeni klimi dokaj redko, ter ponuja praktičen uporabniški priročnik za skupino ljudi, ki jih večina držav članic EU zavrača, poleg tega pa v njihovih institucijah postavlja marmorni spomenik kot simbolni opomnik njihove eksistencialne drame. 

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Avtor fotografije / Photo by Wolfgang Lerhner, 2019


Strokovna žirija / The expert jury Barnabás Bencsik (neodvisni kurator, Budimpešta, Madžarska / independent curator, Budapest, Hungary), Miha Colner (kurator v MGLC in publicist, Ljubljana, Slovenija / curator at the International Center for Graphic Arts and writter, Ljubljana, Slovenia), Sanja Kojić Mladenov (kuratorka v Muzeju za sodobno umetnost Vojvodina / curator at the Museum of Contemporary Art Vojvodina, Novi Sad, Srbija), Sabina Salamon (kuratorka v Muzeju moderne in sodobne umetnosti, Reka, Hrvaška / curator at the Museum of Modern and Contemporary Art, Rijeka, Croatia).

Didaktični zid / The Didactic Wall, 2019 instalacija, priročniki, vgravirane risbe na marmor, knjige (detajl) / installation, handbooks, engraved drawings on marble, books (detail) Foto / Photo by Mladen Miljanović

The Didactic Wall by Mladen Miljanović is a multilayered work of art consisting of a spatial installation and a handbook with advice for refugees who have been refused entry to the EU on how to avoid strict control systems at the border, as well as exclusion and rejection. By means of exploration and analysis of activist practices and their appropriation to contemporary art, it represents an unexpected juxtaposition of monumental marble plates with ephemeral drawings (like in blind maps often used by smugglers). The work can be seen as an epilogue to the social and migration politics of the EU, encouraging private initiatives rather than finding systemic solutions based on solidarity. It deals with the usual traps of the contemporary immigration policy rhetoric and examines the current treatment of migrants. The artist takes a courageous position - something quite rare in the present contemporary climate - and provides a practical user manual to a group of human beings who are rejected by most of the EU member states authorities, and erects marble monument in their institutions which serve as a token to represent their existential drama. 

THE WHITE APHROID AWARD 2019

The winner of the White Aphroid Award for 2019 is Mladen Miljanović (BA).


BIOBIOGRAFIJE 82

Ana Dana Beroš je samostojna arhitektka, kustosinja in urednica. V svoji praksi raziskuje konfliktne (ob)mejne krajine s pomočjo umetnosti kot orožja za dekonstrukcijo hegemonistične podobe sveta in oblikovanje prostorov za vpogled v izključene in v drugo. Njen kuratorsko-raziskovalni projekt Intermundia na temo migracij je prejel posebno omembo na Beneškem arhitekturnem bienalu (2014). Conny Blom (r. 1974, Švedska) trenutno živi in dela med Landskrono na Švedskem in Bukovjem v Sloveniji. V svoji umetniški praksi deluje v različnih medijih ter pogosto preizprašuje uveljavljene družbene in politične hierarhije in s predelavo že obstoječega materiala ponuja njihova alternativna branja. Ustvarja samostojno in v tandemu s svojo ženo Nino Slejko Blom. Njegova dela so bila razstavljena na več kot 200 razstavah v uglednih razstaviščih po vsem svetu. Vzporedno z umetniško prakso je skupaj z Nino Slejko Blom tudi vodja centra za konceptualno umetnost CAC Bukovje Landskrona, neprofitne razstavne platforme za prihajajoče in uveljavljene umetnike, med slednjimi Gillian Wearing, Jeremy Deller in Trevor Paglen. Leta 2017 so ob finančni podpori legende umetnosti Josepha Kosutha izdali CAB – Conceptual Art Book. Blom poučuje na Umeå Art Academy na severu Švedske. Izbor razstav: Bucharest Biennale 8, +MSUM (Ljubljana), 5th Moscow Biennale, freiraum quartier21 (Dunaj), MuseumsQuartier (Dunaj), MMoMA – Moscow Museum of Modern Art, DOX Centre for Contemporary Art (Praga), Mednarodni grafični bienale, MGLC (Ljubljana).

za več mednarodnih zbirk sodobne umetnosti. Leta 2015 je za 20 letno uspešno delovanje na področju umetnosti prejela najvišje priznanje Mestne občine Nova Gorica, nagrado Franceta Bevka, leta 2018 pa mednarodno nagrado tesla. Med drugim so prejemniki štipendije Iaspis, ki jo podeljuje Ministrstvo za kulturo Švedske, in Culture Bridges, ki jo pod okriljem EU podeljuje British Council. Lana Čmajčanin (r. 1983, Bosna in Hercegovina) živi in dela med Sarajevom in Dunajem. Diplomirala je iz kiparstva na Akademiji za likovne umetnosti v Sarajevu, trenutno pripravlja doktorat na Akademiji za likovno umetnost na Dunaju. Ukvarja se z umetniško prakso, ki jo zaznamuje močna navezava na specifičen prostor. Obravnava vprašanja geopolitičnega mapiranja in političnih okvirov ter izrazito vključuje vlogo žensk in ženskega telesa. Poleg tega v svojem delu raziskuje vpliv političnih in družbenih struktur moči ter nadzornih mehanizmov in postavlja pod vprašaj vprašanja odgovornosti in manipulacije. Preučuje geopolitično in strukturno nasilje, politiko spomina, prakse nacionalistične politike in razumevanje travme v kontekstu neoliberalizma. Lana Čmajčanin je sodelovala na več kot 100 mednarodnih razstavah in svoje delo predstavila v številnih galerijah in muzejih po vsem svetu. Rafaela Dražić je večkrat nagrajena oblikovalka vizualnih komunikacij, ki deluje mednarodno v sodelovanju s kulturnimi in nevladnimi organizacijami. Doktorirala je na varšavski Akademiji za likovno umetnost.

Suzana Brborović (r. 1988, Slovenija) je 2013 končala študij na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Leta 2011 je prejela prvo nagrado za Slovenijo Essl Art Award. Za svoje delo in dosežke je leta 2010 prejela akademsko Nagrado za posebne umetniške dosežke in leta 2012 študentsko Prešernovo nagrado ALUO. Od leta 2014 do 2016 je študirala slikarstvo na mojstrskem podiplomskem programu (Meisterschüler) na Akademiji za vizualno umetnost v Leipzigu. Je prejemnica Jakopičevega priznanja za leto 2019. Živi in dela v Leipzigu.

Boštjan Drinovec (r. 1973, Slovenija) je akademski kipar in magister umetnosti, od leta 2008 predava kiparstvo na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Je ustvarjalec AKC Metelkove Mesta in soavtor pri ureditvi njegove javne podobe. Dejaven je na področju male plastike (Mali uporniki, Lego mislec), galerijskih postavitev (Drevesni delec, Ples vetra, Oseminštiridesetkratokolisveta, Neskončni svet, Svetlobna postaja), kinetičnih (Moebiusov trak, Kakofonični generator) in zvočnih instalacij (Kymatikon, Retrofonija, Zvočna postaja – v sodelovanju s Primožem Oberžanom) ter skulptur in spomenikov v javnem prostoru.

Skupina BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica, ki jo sestavljajo diplomanti beneške Akademije lepih umetnosti, se je formirala med študijem leta 1996. Skupina, ki ustvarja lastno produkcijo na širokem polju sodobnih umetniških praks, razstavlja doma in v tujini, poleg tega pa sodeluje tudi v številnih mednarodnih rezidenčnih programih v tujini, na delavnicah in seminarjih. Dela skupine BridA so bila odkupljena

Milan Erič (r. 1956, Slovenija) je leta 1979 diplomiral na Oddelku za slikarstvo na Akademiji za likovno umetnost v Ljubljani v letniku prof. Janeza Bernika, leta 1981 slikarsko specialko, v letih 1981 in 1982 pa je obiskoval študij grafične specialke v letniku prof. Bogdana Borčiča. Po končanem študiju se ukvarja s slikarstvom, risanim filmom in ilustracijo. Svoja likovna dela predstavlja na samostojnih in skupinskih razstavah od leta 1980 v Sloveniji in tujini. Leta


1982 z akad. slikarjem Zvonkom Čohom posnameta risani film Poskušaj migati dvakrat in zanj prejmeta nagrado Zlata ptica tednika Mladina (1983), leta 1988 Župančičevo nagrado in leta 1986 nagrado na mednarodnem festivalu v Stuttgartu. Leta 1986 opravi docenturo na Akademiji za likovno umetnost v Ljubljani in se zaposli na Fakulteti za naravoslovje in tehnologijo. V letih 1988–1990 se intenzivno ukvarja s časopisno ilustracijo v tedniku Mladina in knjižno ilustracijo za založbo Mladinska knjiga. V letih 1985—1998 nastaja animirani risani film Socializacija bika?, ki je končan leta 1998 v soavtorstvu z akademskim slikarjem Zvonetom Čohom. Istega leta film prejme nagrado Grand prix na Festivalu slovenskega filma, leta 2000 nagrado Prešernovega sklada (2000) in nagrado za humor na festivalu animiranega filma v Stuttgartu (2001). Leta 1994 se zaposli na Oddelku za oblikovanje na Akademiji za likovno umetnost v Ljubljani kot profesor za predmet Risanje in slikanje. Leta 2006 prejme plaketo Hinka Smrekarja na 9. Slovenskem bienalu ilustracije, leta 2019 nagrado Hinka Smrekarja na 13. Bienalu slovenske ilustracije in istega leta Nagrado Riharda Jakopiča za življenjsko delo na področju slikarstva. Forensic Architecture (FA) je raziskovalna agencija, ki deluje na Goldsmiths, University of London. Združuje arhitekte, umetnike, režiserje, novinarje, razvijalce programske opreme, znanstvenike, odvetnike in široko mrežo zunanjih sodelavcev iz najrazličnejših področji in disciplin. Agencija, ki jo je leta 2010 ustanovil prof. Eyal Weizman, stremi k razvoju in širjenju novih dokaznih tehnik; v imenu mednarodnih tožilev, borcev za človekove pravice in aktivističnih organizacij ter političnih in okoljskih organizacij, kot so Amnesty International, Human Rights Watch, B’tselem, Bureau of Investigative Journalism in Združeni narodi, izvaja napredne arhitekturne in medijske raziskave. Skozi izčrpne in kritične raziskave Forensic Architecture osvetljuje način produkcije javne resnice – na arhitekturni, tehnološki in estetski ravni – in kako se to resnico lahko uporabi kot orožje proti uveljavljeni avtoriteti in z njeno pomočjo izpostavi nove oblike nasilja s strani države. Forensic Oceanography Charles Heller (r. 1981, Švica) je raziskovalec in filmski ustvarjalec, ki se skozi svoje delo že dolgo ukvarja s politiko migracij. Leta 2015 je zaključil doktorat iz raziskovalne arhitekture na Goldsmiths, University of London. Trenutno je post-doktorski raziskovalec na Graduate Insti-tute v Ženevi, kjer izvaja raziskave, ki jih podpira Švicarski nacionalni sklad (SNF). Lorenzo Pezzani (r. 1982, Italija) je arhitekt in raziskovalec. Leta 2015 je zaključil doktorat iz raziskovalne arhitekture na Goldsmiths, University of London, kjer je trenutno predavatelj in vodja magistrskega programa forenzične arhitekture. Njegovo delo se ukvarja s prostorsko politiko in vizualnimi kulturami migracij, s posebnim

poudarkom na geografiji oceanov. Charles Heller in Lorenzo Pezzani, sodelujeta od leta 2011 in sta soustanovitelja projekta Forensic Oceanography, ki kritično preiskuje režime militarizirane meje in politiko migracij Mediteranskega morja. Rezultat njunega sodelovanja so poročila o človekovih pravicah, akademski članki in tudi mednarodno razstavljeni videoposnetki. Miodrag Gladović je inženir elektroakustike, glasbenik, glasbeni producent in umetnik multimedije. Je del umetniškega tandema LIGHTUNE.G, katerega delo temelji na luminoakustiki, tehniki, pri kateri se svetlobni signali pretvorijo v zvočne podobe. Barbora Kleinhamplová (r. 1984, Češka) je umetnica, ki živi in ustvarja v Pragi. Njeno delo temelji na odnosu med človeškim obstojem in sodobnimi političnimi in gospodarskimi institucijami. Kleinhamplová komentira različne družbene sloje z uporabo asociacij in metafor. Že nekaj časa je njen osrednji cilj postavljati vprašanja, kot so: kaj je družba, kako deluje, kateri so njeni sestavni elementi, za katerimi boleznimi trpi, kako čustvuje, kakšna je njena prihodnost in kakšen je položaj posameznika v njeni sredini? V svojem delu si izposoja koncepte in metode iz različnih ved, kot sta na primer antropologija ali biologija, a ne v strogem znanstvenem smislu, temveč kot običajen element umetniških praks. V zadnjem času se poslužuje strategije, ki bi jo lahko imenovali zgrajena ali uprizorjena situacija. Scenariji pogosto izhajajo iz obstoječih oblik skupinskih interakcij. Performativna dimenzija nekaterih njenih projektov skuša poudariti simbolično vlogo politike telesa v sistemih gospodarstva in oblasti. Dela Barbore Kleinhamplove so bila razstavljena širom Češke ter na številnih mednarodnih prizoriščih, vključno z: Gwangju Biennale, New Museum, Jakarta Biennale ter SAVVY Contemporary. Barbora je soustanoviteljica Inštituta tesnobe (Institute of Anxiety). Matija Kralj je filmski ustvarjalec, katerega delo se osredinja na dokumentiranje nereprezentativnih geografij mejne politike. Diplomiral je na zagrebški Akademiji za likovno umetnost iz kiparstva in iz novih medijev. Michael Takeo Magruder (r. 1974, ZDA) je vizualni umetnik in raziskovalec, ki deluje na področju digitalnih in novih medijev, med drugim z informacijami v realnem času, imersivnimi okolji, mobilnimi napravami in virtualnimi svetovi. V svoji praksi raziskuje koncepte, kot so medijske kritike in estetsko novinarstvo, digitalni formalizem in računska estetika ter uporaba tehnologij in sistemov informacijske dobe za raziskovanje omreženega medijsko bogatega sveta. V zadnjih dvajsetih letih so bila Michaelova dela predstavljena na več kot 290 razstavah v 35 državah, obenem pa so njegove projekte podprle in sofinancirale številne institucije in javne galerije v Združenem kraljestvu, Združenih državah Amerike in ostalih državah Evropske unije. Leta 2010


je bil Michael izbran kot zastopnik Velike Britanije na festivalu Manifesta 8: Evropski bienale sodobne umetnosti, številna izmed njegovih najbolj znanih digitalnih del pa so postala del arhivske zbirke novomedijske umetnosti (Rose Goldsen Archive of New Media Art) Univerze v Cornellu. V zadnjem času je bil rezidenčni umetnik fundacije Leverhulme Trust (2013—14), kjer je sodeloval s profesorjem Benom Quashem (Oddelek za teologijo in religiozne študije, King’s College London) in Alfredom Cramerottijem (Mostyn) v okviru raziskovanja in priprave nove samostojne razstave z naslovom De/coding the Apocalypse – exploring contemporary creative visions, ki jo je navdihnila knjiga Razodetje. V letu 2014 je Michael sprejel naročilo britanske gledališke skupine Headlong za izdelavo dveh novih umetniških del, PRISM (novomedijska instalacija, ki ponuja razmislek o Orwellovem romanu 1984 v produkciji gledališča Headlong) in The Nether Realm (živ virtualni svet, ki ga je navdihnilo dramsko delo Jennifer Haley, The Nether). V naslednjem letu je prejel nagrado Immersive Environments Lumen Prize 2015 za svojo instalacijo virtualne resničnosti, A New Jerusalem. Michael je trenutno rezidenčni umetnik Britanske knjižnice (British Library); v okviru programa se posveča raziskovalno-umetniškemu projektu Imaginary Cities, ki vključuje ustvarjalen pogled na arhiv digitalnih zemljevidov, ki so del knjižnične arhivske zbirke (ta skupno šteje več kot milijon podob, skeniranih iz knjig). Michael je trenutno prvi rezidenčni umetnik Nacionalnega arhiva (UK) v Lonodnu, kjer raziskuje digitalizacijo in status ter lastnosti, ki konstruirajo arhiv v 21. stoletju. Mladen Miljanović (r. 1981, Bosna in Hercegovina) se je rodil v Zenici. Po srednji šoli je zaključil usposabljanje na Šoli za rezervne oficirje in pridobil čin vodnik. Po končanem trimesečnem služenju se je vpisal na Akademijo umetnosti v Banja Luki (oddelek za slikarstvo), kjer je diplomiral. Živi in dela v Banja Luki, kjer poučuje intermedijsko umetnost na Akademiji za umetnost (UNIBL). Razstavljal je na številnih skupinskih razstavah, med samostojnimi izpostavljamo: Utopian Realism, Peacock Center for Contemporary Arts, Aberdeen, Scotland (VB) 2019; Strike, Muzej savremene umetnosti Vojvodine, Novi Sad (Srbija), 2017; In Low Flight, Galerija ACB, Budimpešta, 2017; The Garden of Delights, 55. Beneški bienale, Bosnian Pavilion at Palazzo Malipiero, Benetke (Italija), 2013; Good Night / State of Body, MC, New York (ZDA), 2012; Museum Service, MUMOK, Dunaj (Avstrija), 2010; Occupational Therapy, Muzej savremene umjetnosti Republike Srpske, Banja Luka, (BiH) 2008. Prejel je nagrade Henkel Art Award Vienna, 2009; Zvono 2007 ter nagrado Muzeja savremene umjetnosti RS, 2005.

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Armina Pilav je arhitektka, raziskovalka in predavateljica na Univerzi v Sheffieldu, na oddelku za krajinsko arhitekturo. Za svoje raziskovalno delo Un-war Space je prejela individualno štipendijo sklada Marie Curie. Armina Pilav objavlja v uglednih publikacijah in akademskih revijah na teme prostora, telesa in politike. Njeno delo je bilo razstavljeno na Beneškem arhitekturnem bienalu (2014, 2018). Claudia Robles-Angel je interdisciplinarna umetnica, rojena v Bogoti, Kolumbija. Trenutno živi v Kölnu, Nemčija, kot umetnica pa je dejavna po vsem svetu. V svojem umetniškem in raziskovalnem delu se posveča različnim vidikom vizualne in zvočne umetnosti, ki se raztezajo od avdio-vizualnih kompozicij v tradicionalnih medijih, do performansov in instalacij v interakciji z biomedicinskimi signali, podprtih z delovanjem vmesnikov, kot je na primer EEG, ki meri električno aktivnost človeških možganov. Njena dela niso predstavljena le v okviru festivalov zvočne in intermedijske umetnosti, ampak tudi na skupinskih in samostojnih razstavah po vsem svetu. Med drugim je razstavljala v Bauhaus Archiv Museum v Berlinu (2003), ZKM Karlsruhe (2005), ICMC 2007 v Kopenhagnu, ICMC 2009 v Montréalu in 2016 v Utrechtu, SIGGRAPH Asia 2009 v Yokohami, New York City Electroacoustic Music Festival 2010 in 2013–2017, Re-New Festival 2011 v Kopenhagnu, NIME 2011 v Oslu, Salon Suisse – 55. Beneški bienale 2013, ON Neue Musik Cologne (2013/2014), CMMR Symposium on Computer Music Multidisciplinary Research v Plymouthu 2015 in v Marseillu 2013, Museum for Contemporary Art Bogotá (2008/2015), IK Foundation v Flushinug, SKOP v Frankfurtu (2016), Digitale Düsseldorf (2016), MADATAC 07 Madrid (2016), Harvestworks Digital Media Arts Center New York City (2014/2017), in pred kratkim na ISEA 2017 v Manizalesu. Mauro Sirotnjak je arhitekt, ki ga zanima politika prostora in prostorske prakse skupnostnih zemljišč. Njegovo raziskovanje se osredotoča na transformacije obmejnih mest in na odnos med sodobnimi stanovanjskimi politikami, infrastrukturo in urbanim spominom. Zoran Todorović (r. 1965, Srbija) je diplomiral slikarstvo leta 1992 na Fakulteti za likovno umetnost v Beogradu v razredu prof. Milice Stevanović, pri kateri je leta 1995 tudi magistriral. Od leta 1998 deluje kot asistent, od leta 2006 pa kot docent na Fakulteti za likovno umetnost v Beogradu. Zoran Todorović je vzpostavil kompleksno in kontroverzno umetniško prakso raziskovanja, izpeljevanja in izvajanja kritičnih (liminalnih, transformacijskih, provokativnih) odnosov umetnosti, znanosti in mikropolitike v povezavi s človeškim telesom, torej človeškim telesom v sodobni kulturi arbitrarnosti, odtujenosti in absorpcije.


Iva Tratnik (r. 1980, Slovenija), je leta 2006 diplomirala in leta 2012 magistrirala iz slikarstva na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani. Odlično sprejeto je bilo njeno sodelovanje v Markom Jakšetom z odmevnima razstavama v MMC KIBLA v Mariboru in v Ljubljanskem gradu leta 2011. Leta 2015 kot ena izbranih ustvarjalk zastopa Slovenijo na milanskem Expu, leta 2017 je samostojno razstavljala v Galeriji sodobne umetnosti Celje, leta 2018 v MMC KIBLA in leta 2019 v Ateljeju Galerija v Ljubljani. Ustvarjanje Ive Tratnik se iz likovne preliva tudi v plesno umetnost. Plesala je v predstavah in intervencijah Fičo Baleta, kot butoh plesalka je nastopila v več predstavah Jeana Daniela Frickerja, nastope pa občasno tudi likovno opremi oziroma plesna dejavnost dopolni njene razstave. Samostojno ali v začasnem kolektivu SIVA (s performerko Andrejo Džakušič in umetnikom Simonom Macuhom) je izvedla nekaj performansov v Celju. Rada tudi pritegne občinstvo, da se interaktivno vklopi v dogajanje. Tadej Vindiš (r. 1990, Slovenija) je v Londonu živeč umetnik, kurator, producent in predavatelj na križišču fotografije, kulturnih študij, tehnologije in raziskovanja medijev, osredotočen na področje strojne vizije – njene kulturne implikacije in motnje. Kot prejemnik štipendije slovenskega Ministrstva za kulturo je diplomiral na FAMU v Pragi, kjer je študiral fotografijo. Leta 2016 je z odliko končal magistrski študij Interaktivni mediji: Kritična teorija in praksa na Goldsmiths, University of London, za kar je prejel štipendijo Javnega sklada Republike Slovenije za razvoj kadrov in štipendije. Izobraževanje nadaljuje kot gostujoč raziskovalec na Goldsmiths, kjer razvija Selfish Machines, praktično-raziskovalni projekt na področju umetne inteligence. Vindiš je član ožje ekipe, ki je leta 2014 prevzela vodenje Festivala Fotopub in izvršni direktor Društva za sodobno kulturo Fotopub. Kot producent in član kolektiva body>data>space iz Londona je leta 2018 sokuriral razstavo Bio-Body-Tech na FutureFest (Nesta). Od leta 2017 razvija poseben VR snemalnik za projekt Seeing I, ki je bil leta 2019 predstavljen na Ars Electronici. Vindiš je gostujoči predavatelj na Westminster School of Arts, University of Westminster v Londonu. Salvatore Vitale (r. 1986, Italija) je švicarski vizualni umetnik in urednik z magisterijem iz likovnih umetnosti Akademije za umetnost iz Züricha (ZHdK). V letih 2015–2016 je bil prejemnik štipendije, ki jo podeljuje Swiss Arts Council, v letu 2017 štipendije PHmuseum Award Grant ter prejemnik nagrad Swiss Design Award, FOAM Talent in Punctum Award v letu 2018. Njegovo delo je bilo razstavljeno v muzejih in na fotografskih festivalih, med drugim na/v: Photoforum Pasquart Biel / Bienne, OCAT Shanghai and Shenzhen, MOCAK – Muzej sodobne umetnosti Krakov, Trienale fotografije Hamburg, T3 Photo Festival Tokio in Jaipur International

Photography Festival. Poučuje na Univerzi uporabnih znanosti in umetnosti v Luzernu (HSLU), vodil pa je delavnice po vsem svetu. Vitale je tudi soustanovitelj in glavni urednik revije YET, mednarodne fotografske revije, posvečene razvoju fotografske prakse v okviru sodobne umetnosti. Graham Harwood in Matsuko Yokokoji (YoHa, v prevodu “posledice”) živita in delata skupaj od leta 1994. Njuna vizija na področju grafičnih umetnosti jima je skupaj z njunimi tehničnimi veščinami omogočila sodelovanje v številnih priznanih projektih, s čimer sta si prislužila in utrdila sloves umetniških pionirjev. Nekateri izmed njunih najslavnejših projektov so prvo spletno umetniško delo za Tate Modern v Londonu, stalne zbirke v Centre Pompidou v Parizu, ZKM centru za umetnost in medije v Karlsruheju in na Manifesti 7 v italijanski provinci Bolzano. Soustanovila sta londonski umetniški kolektiv Mongrel (1996—2007) in Mediashed, javnosti odprt prostor umetniškega ustvarjanja in sodelovanja (2005—2008) v mestu Southend-On-Sea. Leta 2008 sta z Richardom Wrightom sodelovala pri produkciji dela Tantalum Memorial, ki je leta 2009 osvojilo prvo mesto na festivalu Transmediale. Tantalum Memorial je bil razstavljen v številnih muzejih in galerijah, kot so ZeroOne Biennial (ZDA), Manifesta 7 (Italija), Ars Electronica (Avstrija), Plug.in (Švica), Laboral (Španija), Artefact (Belgija), UKS (Norveška), Science Museum (VB), Arnolfini (VB), in v mnogih drugih razstavnih prostorih po Veliki Britaniji. Pred kratkim sta kot koproducenta sodelovala pri Coal Fired Computers (2010), Invisible Airs (2011), Evil Media Distribution Centre (2013), Wrecked on the Intertidal Zone (2015—19), Plastic Raft of Lampedusa (2016—17) in Database Addiction (2015—19). Graham Harwood je trenutno profesor na Centre for Cultural Studies na Goldsmiths, University of London. 


BIOGRAPHIES 86

Ana Dana Beroš is an independent architect, curator and editor. In her practice she explores contested borders capes using art as a weapon to deconstruct the hegemonic image of the world, and to construct spaces for insights of the excluded and the other. Her Intermundia curatorial-research project on migration received a special mention at the Venice Biennial of Architecture (2014).

international contemporary art collections. In 2015 they received the highest award of the Municipality of Nova Gorica, the France Bevk Prize, commemorating 20 years of their successful activity; in 2018 they received the international Tesla Award. They are recipients of the Iaspis scholarship awarded by the Swedish Ministry of Culture, and Culture Bridges, awarded by the British Council under the EU.

Conny Blom (b. 1974, Sweden) is currently living and working between Landskrona, Sweden and Bukovje, Slovenia. In his artistic practice, Blom works in many different media and frequently examines social and political hierarchies, revealing alternative readings by remediating pre-existing material. Working both separately and in a team with Nina Slejko Blom, he has made over 200 exhibitions at relevant institutions around the world. Parallel with his artistic practice, he and Slejko Blom run the Bukovje/Landskrona Conceptual Art Centre, a nonprofit exhibition platform whose program includes both up and coming artists as well as established names like Gillian Wearing, Jeremy Deller, and Trevor Paglen. In 2017 they published CAB – Conceptual Art Book with the financial help of conceptual art legend Joseph Kosuth. Blom teaches at the Umeå Art Academy in northern Sweden. Selected exhibitions include Bucharest Biennale 8, +MSUM (Ljubljana), 5th Moscow Biennale, freiraum quartier21 (Vienna), MuseumsQuartier (Vienna), MMoMA – Moscow Museum of Modern Art, DOX Centre for Contemporary Art (Prague), Biennial of Graphic Arts, MGLC (Ljubljana).

Lana Čmajčanin (b. 1983, Bosnia and Herzegovina) lives and works between Sarajevo and Vienna. She has an MA from the Academy of Fine Arts at the University of Sarajevo and is currently a PhD scholar at the Academy of Fine Arts Vienna. Čmajčanin’s artistic practice contains strong references to a specific place, addresses the issues of geopolitical mapping, political frameworks, and particularly the role of women and the female body. Furthermore, in her work, Lana explores the impact of political and social power structures and control mechanisms, questioning issues of responsibility and manipulation. She explores geopolitical and structural violence, the politics of memory, the practices of nationalist politics and the neoliberal management of trauma. Čmajčanin has participated in more than 100 international exhibitions and presented her work in numerous galleries and museums across the world.

Suzana Brborović (b. 1988, Slovenia) graduated from the Academy of Fine Arts and Design (ALUO) in Ljubljana in 2013. In 2011, she received the first Essl Art Award in Slovenia. Among her other achievements, she received the ALUO Special Artistic Achievements Award in 2010 and the Prešeren Award for Students in 2012. Between 2014 and 2016, she attended postgraduate studies in painting (Meisterschüler) at the Academy of Fine Arts in Leipzig. She is a recipient of the 2019 Rihard Jakopič Honorary Mention. She lives and works in Leipzig.

Boštjan Drinovec (b. 1973, Slovenia) is an academic sculptor and Master of Arts. Since 2008 he has been teaching sculpture at the Academy of Fine Arts and Design in Ljubljana. He is an artist of the AKC Metelkova Mesto and one of the co-creators of its public image. He is active in the field of statuary (Mali Uporniki, Lego Mislec), gallery arrangement (Drevesni Delec, Ples Vetra, Oseminštiridesetkratokolisveta, Neskončni Svet, Svetlobna Postaja), kinetic (Moebiusov Trak, Kakofonični Generator) and sound installations (Kymatikon, Retrofonija, Zvočna Postaja – in collaboration with Primož Oberžan), as well as public sculptures and landmarks.

BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica is a collective made up of graduates from the Venice Academy of Fine Arts, formed in 1996 during their university years. The group that produces artwork across a wide spectrum of contemporary artistic practices exhibits both locally and internationally, and has participated in numerous international residency programs, workshops and seminars. BridA’s works have been purchased for a score of

Rafaela Dražić is an award-winning visual communication designer working internationally for cultural and non-governmental organizations. She holds a PhD from the Fine Arts Academy University of Warsaw.

Milan Erič (b. 1956, Slovenia) graduated at the Academy of Fine Arts and Design in Ljubljana in 1981, specializing in painting under the mentorship of professor Janez Bernik. In 1981 and 1982 he attended graphic design courses under the mentorship of professor Bogdan Borčič. After completing his studies, he went on to work in the field of painting,


animation and illustration. Since 1980 he has been showcasing his artwork in solo and group exhibitions both in Slovenia and abroad. In 1982 painter Zvonko Čoh and him filmed Try To Wink Twice, an animated short that is awarded the Mladina Zlata Ptica Award (1983), the Župančič Award (1988) and acclaimed at the Stuttgart Festival of Animated Film. In 1986 he became an associate professor at the Academy of Fine Arts and Design in Ljubljana. That same year, he was employed by the Faculty of Natural Sciences and Engineering as professor of Drawing at the department for Textile and Fashion Design. He worked as an illustrator for the Mladina weekly from 1988—1990 and for the Mladinska Knjiga publishing house. Between 1985 and 1998 he worked on the animated film Socializacija Bika? / Socialization of the Bull? with painter Zvonko Čoh. In 1998, the film is awarded the Grand Prix at the Festival of Slovenian Film, the Prešeren Fund Award in 2000 and celebrated for its humor at the Stuttgart Festival of Animated Film in 2001. In 1994 he begins working at the Design Department of the Academy of Fine Arts in Ljubljana, teaching Drawing and Painting. In 2006 he is awarded the Hinko Smrekar Plaque at the 9th Slovenian Biennial of Illustration, in 2019 the Hinko Smrekar Award at the 13th Biennial of Slovenian Illustration and that same year he receives the Rihard Jakopič Lifetime Achievement Award. Forensic Architecture (FA) is a research agency based at Goldsmiths, University of London, consisting of architects, artists, filmmakers, journalist, software developers, scientists, lawyers, and an extended network of collaborators from a wide variety of fields and disciplines. Founded in 2010 by Prof. Eyal Weizman, FA is committed to the development and dissemination of new evidentiary techniques and undertakes advanced architectural and media investigations on behalf of international prosecutors, human rights and civil society groups, as well as political and environmental justice organisations, including Amnesty International, Human Rights Watch, B’tselem, Bureau of Investigative Journalism, and the UN, among others. Through their detailed and critical investigations, Forensic Architecture presents how public truth is produced – technologically, architecturally, and aesthetically – and how it can be used to confront authority and to expose new forms of state-led violence. Forensic Oceanography Charles Heller (b. 1981, Switzerland) is a researcher and filmmaker whose work has a long-standing focus on the politics of migration. In 2015, he completed a Ph.D. in Research Architecture at Goldsmiths, University of London. He is currently a postdoctoral fellow at the Graduate Institute, in Geneva, where he conducts research supported by the Swiss National Fund (SNF). Lorenzo Pezzani (b. 1982, Italy) is an

architect and researcher. In 2015, he completed a Ph.D. in Research Architecture at Goldsmiths, University of London, where he is currently Lecturer and leads the MA studio in Forensic Architecture. His work deals with the spatial politics and visual cultures of migration, with a particular focus on the geography of the ocean. Working together since 2011, Charles Heller and Lorenzo Pezzani co-founded the Forensic Oceanography project, that critically investigates the militarized border regime and the politics of migration in the Mediterranean Sea. Their collaborative work has generated human rights reports, academic articles as well as videos that have been exhibited internationally. Miodrag Gladović is an engineer in electroacoustics, musician, music producer and multimedia artist. He is part of the LIGHTUNE.G artistic tandem whose work is based on lumino-acoustics, a technique in which light signals are converted into sound images. Barbora Kleinhamplová (b. 1984, Czech Republic) is an artist living and working in Prague. Barbora’s work is rooted in the relationship of human existence and contemporary political and economic institutions. She comments on different layers of society, using associations and metaphors. For some time, it has been her overarching aim to pose questions like what a society is, how it works, what its constitutive elements are, what its illnesses are, its emotions, its future, or the fate of an individual in its midst. In her work she borrows concepts and methods from different sciences such as anthropology or biology, not in a strict sense, but rather, as a common element of artistic practice. Recently she has adopted a strategy we might call constructed or staged situation. The script often derives from an existing format of group interaction. The performative dimension of some of her projects attempts to accentuate the symbolic role of body politics in economic and power systems. Her work has been widely exhibited in the Czech Republic as well as internationally – including at the Gwangju Biennale, New Museum, Jakarta Biennale, SAVVY Contemporary. Barbora is a co-founder of Institute of Anxiety. Matija Kralj is a filmmaker whose work focuses on documenting non-representational geographies of border politics. He graduated from the Zagreb Academy of Fine Arts both in sculpture and new media. Michael Takeo Magruder (b. 1974, US/UK) is a visual artist and researcher who works with new media including real-time data, digital archives, immersive environments, mobile devices and virtual worlds. His practice explores concepts ranging from media criticism and aesthetic journalism to digital formalism and computational aesthetics, deploying Information Age technologies and systems to examine our networked,


media-rich world. In the last 20 years, Michael’s projects have been showcased in over 290 exhibitions in 35 countries, and his art has been supported by numerous institutions within the UK, US and EU. In 2010, he represented the UK at Manifesta 8: the European Biennial of Contemporary Art and several of his most well-known digital artworks were added to the Rose Goldsen Archive of New Media Art. As a Leverhulme Trust artist-in-residence, Michael produced De/coding the Apocalypse (2014); a solo exhibition exploring contemporary creative visions based on the Book of Revelation. The following year, he was awarded the 2015 Immersive Environments Lumen Prize for his VR installation A New Jerusalem. More recently, he has developed projects reflecting on migration issues surrounding the Syrian Civil War (Lamentation for the Forsaken, 2016) and the US southern border crisis (Zero Tolerance, 2018). He was artist/researcher-in-residence at the British Library, undertaking the Imaginary Cities project that creatively examines digital map archives drawn from the Library’s One Million Images from Scanned Books collection on Flickr Commons. Michael is currently the first ever artist-in-residence at the National Archives (UK) and is exploring the institution’s ongoing digital transformation and what constitutes an archive in the 21st century. Armina Pilav is an architect, researcher and lecturer at the University of Sheffield’s Landscape Department. She received the Marie Curie Individual Fellowship for her Un-war Space research. Armina publishes in magazines and academic journals, exploring topics of space, body and politics. Her work has been exhibited at the Venice Biennial of Architecture (2014, 2018).

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Claudia Robles-Angel is an audiovisual and new media artist born in Bogotá-Colombia, currently living in Cologne, Germany and active worldwide. Her work and research cover different aspects of visual and sound art, extending from audiovisual fixed-media compositions to performances that interact with biomedical signals via the usage of interfaces such as, for example, the EEG (electroencephalogram, measuring brain wave activity). Her work is constantly featured in not only mediaand sound-based festivals/conferences but also in group and solo exhibitions around the globe, for example the Bauhaus Archiv Museum in Berlin (2003), the ZKM Karlsruhe (2005), the ICMC 2007 in Copenhagen, ICMC 2009 in Montréal and 2016 in Utrecht, the SIGGRAPH Asia 2009 in Yokohama, the New York City Electroacoustic Music Festival 2010 and 2013—2017, the Re-New Festival 2011 in Copenhagen and the NIME 2011 in Oslo, at

the Salon Suisse – 55th Venice Biennale 2013, ON Neue Musik Cologne (2013/2014), at the CMMR Symposium on Computer Music Multidisciplinary Research in Plymouth 2015 and Marseille 2013, at the Museum for Contemporary Art Bogotá (2008/2015), IK Foundation in Flushing, SKOP in Frankfurt (2016), the Digitale Düsseldorf (2016), MADATAC 07 Madrid (2016), at Harvestworks Digital Media Arts Center New York City (2014/2017), and more recently at ISEA 2017 in Manizales. Mauro Sirotnjak is an architect interested in the politics of space and the spatial practices of commoning. His research focuses on the transformations of border cities, and the relation between contemporary housing policies, infrastructure and urban memory. Zoran Todorović (b. 1965, Serbia) graduated painting in 1992 at the Faculty of Fine Arts in Belgrade in the class of professor Milice Stevanović, under the mentorship of whom he also obtained his Master’s degree in 1995. Since 1998 he has been working as an assistant and since 2006 as an assistant professor at the Faculty of Fine Arts in Belgrade. Zoran Todorović established a complex and controversial art practice of exploring, deriving and carrying out critical (liminal, transformational, provocative) relations of art, science and micropolitics regarding the human body, that is, the human body in the contemporary culture of arbitrariness, alienation and absorption. Iva Tratnik (b. 1980, Slovenia), Slovenia, holds a BA (2006) and MA in painting (2012) from the Academy of Fine Arts and Design, University of Ljubljana. Well received was her collaboration with painter Marko Jakše on the prominent exhibitions in Maribor and Ljubljana in 2011. She was one of the selected artists representing Slovenia at the EXPO Milano 2015. In 2017, she held a solo exhibition at the Gallery of Contemporary Art Celje, in 2018 at the Multimedia Center KIBLA in Maribor and in 2019 at the Atelje Gallery in Ljubljana. Iva Tratnik’s creativity spills over from the fine arts to dancing as well. She has danced in performances and interventions by the Ficho Ballet, appeared as a butoh dancer in several performances by Jean Daniel Fricker, and she occasionally supports her performances with fine art elements or incorporates dance elements to complement her exhibitions. She has had several performances in Celje as a solo artist or as part of the temporary collective SIVA (with performer Andreja Džakušič and artist Simon Macuh). She likes engaging audiences, so that they become interactively involved in the event.


Tadej Vindiš (b. 1990, Slovenia) is a London-based artist, curator, producer and lecturer on the crossroads between contemporary art, cultural studies, technology and media research, focusing on the field of machine vision – its cultural implication and disruption. With a scholarship from the Ministry of Culture of the Republic of Slovenia, he finished his degree in photography at FAMU in Prague. In 2016, he finished his MA studies in Interactive Media: Critical Theory and Practice with distinction at Goldsmiths, University of London, for which he obtained a scholarship from the Slovene Human Resources Development and Scholarship Fund. He continued as a Visiting Researcher at Goldsmiths, where he develops Selfish Machines, a practice-based research project into artificial intelligence. Vindiš is part of the core team that relaunched the Fotopub Festival in 2014 and is the Executive Director of Fotopub Association for Contemporary Culture. As a Producer and Member of the body>data>space collective in London, he co-curated Bio-Body-Tech an exhibition at Nesta’s FutureFest 2018. Since 2017, he has been developing a custom-built head-mounted VR recorder for the Seeing I project, which previewed at Ars Electronica 2019. He lectures as a Visiting Lecturer at Westminster School of Arts of the University of Westminster. Salvatore Vitale (b. 1986, Italy) is a Swiss-based visual artist and editor and Master of Fine Arts at the Zürich University of Arts (ZHdK). He was a recipient of the Swiss Arts Council Grant in 2015—2016, the PHmuseum Award Grant in 2017, the Swiss Design Awards, FOAM Talent and Punctum Award in 2018. His work has been shown in museums and at photo festivals including the Photoforum Pasquart Biel/Bienne, OCAT Shanghai and Shenzhen, MOCAK – Museum of Contemporary Art Krakow, Hamburg Triennale of Photog-raphy, T3 Photo Festival Tokyo, and Jaipur International Photography Festival. He teaches at the Lucerne University of Applied Sciences and Arts (HSLU) and has led workshops world-wide. Vitale is also the co-founder and editor-in-chief of YET magazine, a Swiss-based international photography magazine that focuses on the evolution of photography practice within the contemporary art field. Graham Harwood and Matsuko Yokokoji (YoHa — English translation ‘aftermath’) have lived and worked together since 1994. YoHa’s graphic vision combined with their technical tinkering has powered several celebrated collaborations establishing their international reputation for pioneering arts projects. This includes the first online commission from the Tate Gallery London, the permanent collections of the Pompidou Centre in Paris, the Centre for Media Arts (ZKM) in Karlsruhe and Manifesta7 in the Bolzano province of Italy. They co-founded the London-based

artists group Mongrel (1996—2007) and established Mediashed, a free-media lab in Southend-On-Sea (2005—2008). In 2008 they joined Richard Wright to produce Tantalum Memorial, winning first place at the 2009 Transmediale. Tantalum Memorial was also featured in several places, including at the ZeroOne Biennial (USA), Manifesta7 (Italy), Ars Electronica (Austria), Plug. in (Switzerland), Laboral (Spain), Artefact (Belgium), UKS (Norway), the Science Museum, the Arnolfini and many other UK venues. More recently YoHa has co-produced Coal Fired Computers (2010), Invisible Airs (2011), Evil Media Distribution Centre (2013), Wrecked on the Intertidal Zone (2015—16), Plastic Raft of Lampedusa (2016—17), Database Addiction (2015—19). Graham Harwood currently teaches at the Centre for Cultural Studies, Goldsmiths, University of London. 


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POSTAVITEV RAZSTAVE


EXHIBITION LAYOUT


NAPETA SEDANJOST / TENSE PRESENT mednarodna interdisciplinarna skupinska razstava international interdisciplinary group exhibition

11. oktober—28. december 2019 11 October—28 December, 2019 Maribor, Slovenija / Maribor, Slovenia Kuratorstvo / Curators: Aleksandra Kostič, Živa Kleindienst, Peter Tomaž Dobrila Postavitev razstave / Exhibition set-up: Aleksandra Kostič, Živa Kleindienst, Peter Tomaž Dobrila ter umetnice in umetniki and artists Tehnična ekipa / Technical crew: Simon Sedmak, Peter Lubej, Denis Jančič, Maid Hadžihasanović Oblikovanje / Design: Dorijan Šiško Postavitev spletne strani / Webpage layout: Sara Munda Prevodi / Translations: Helena Fošnjar, Maiken Ana Kores Lektoriranje / Proofreading: Cameron Bobro, Mirjana Predojevič Produkcija KID KIBLA / Production ACE KIBLA Koproducenti / Co-producers: Društvo za sodobno umetnost X-OP in Združenje KODA MODRO / Association for contemporary art X-OP and Association CODE BLUE Partnerji projekta Tvegaj spremembo / Risk Change Project partners: ACAX (HU), FOPSIM (MT), MMSU (HR), MSUV :: MCYB (RS), RIXC (LV), ZINC (FR), UOA (GR), Takomat (DE), X-OP (SI)

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Razstava NAPETA SEDANJOST je del projekta Tvegaj spremembo (2016–2020), ki ga sofinancirata program Ustvarjalna Evropa Evropske Unije in Ministrstvo za javno upravo Republike Slovenije. KID KIBLA sofinancirata Mestna občina Maribor in Ministrstvo za kulturo Republike Slovenije. The exhibition is part of the Risk Change (2016–2020) which is co-financed by Creative Europe program of European Union and Ministry for Public Administration of Republic of Slovenia. ACE KIBLA is co-financed by the Municipality of Maribor and Ministry of Culture of Republic of Slovenia. Dogodek poteka pod častnim pokroviteljstvom predsednika Republike Slovenije Boruta Pahorja. The event is held under the honorary patronage of the president of the Republic of Slovenia Borut Pahor.


http://www.riskchange.eu/

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http://sedanjost.kiblaportal.org/sl

REPUBLIC OF S LOVENIA MINISTRY OF CULTURE

http://sedanjost.kiblaportal.org/en


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tvegajspremembo riskchange 2019 2016-2020