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) 

Umetni raj / The Artificial Paradise, 2019 jeklo, plastika, sadje / steel, plastic, fruit

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