BridA: Prepletenost / Entanglement

BridA: Prepletenost

BridA: Prepletenost Pregledna razstava ob 25. obletnici delovanja umetniškega kolektiva

3.–23. 9. 2021

DVOJNA IGRA Obeleževanje četrt stoletja umetniškega kolektiva BridA pada v okoliščine, ki si jih pred samo nekaj leti nismo niti približno predstavljali, ne glede na to pa pomenijo le dosledno izpeljavo že dlje časa trajajočih družbenopolitičnih problematik.

Problematik, ki jih v svojem delovanju umetniški kolektiv BridA raziskuje od samih začetkov svojega ustvarjanja ter okoli katerih formulira nove naloge in novo področje raziskovanja sodobne umetnosti. V današnji čedalje bolj radikalizirani klimi vprašanja (vrednostne) obravnave informacije, emancipatornega potenciala tehnologije in njene represivne instrumentalizacije, obvladovanja teles in populacije ter statusa znanstvenega in moči njegovega argumenta dobivajo čedalje usodnejše in daljnosežne implikacije. Zdi se, da ves čas žongliramo na napeti vrvici med fatalističnimi napovedmi konca in obeti novih začetkov. Težko bi si predstavljali primernejše scenografije za pregledno razstavo ob 25. obletnici kolektiva, vendar bi popolnoma narobe sklepali, če bi mislili, da je priložnostno naslavljanje trenutka bistveno za njihovo delovanje. Prav nasprotno, ujemanje med radikalizacijo omenjenih problematik in pričujočo razstavo je posledica

Lažno ogledalo / False Mirror, 2019, produkcija / production: Kibla 2

Bridinega poltretje desetletje trajajočega minucioznega širjenja dosega sodobne umetnosti in nikakor ni, kot temu rečejo v uvodni špici ameriških dram, naključno.

Tako kot bi, kljub zgovornosti Bridinih projektov v kontekstu družbenopolitičnega trenutka, njihovo prakso težko označili za »angažirano« v kakšnem artivističnem pomenu, bi podobno, kljub znanstvenemu navdihu in – delno – metodologiji, Brido umestili na področje art-science. Že površen bralec njihovih projektov bo opazil, da tehtni znanstveni utemeljitvi njihovih del praviloma sledi trenutek, ko bo pozitivizem znanstvenega dokaza subtilno in elegantno zamenjal argument povsem drugega registra, neka popolnoma nasprotna logika, ki bo dinamiko projekta povsem obrnilo na glavo. To je tipičen Bridin manever, ki poteka tudi v drugi smeri. Izpiljen slikarski metier, ki nas hitro pritegne k marsikateremu njihovemu projektu, se v podrobnejši analizi izkaže za svoje nasprotje, za delo, ki svoj prepoznavni slikarski idiom dejansko negira s strogo analitičnostjo svojega protokola nastanka. Kaj se skriva za temi drobnimi subverzijami, za temi pastmi, ki nam jih kolektiv BridA

vešče postavlja v svoje projekte? Kako ta »metoda« bistveno opredeljuje poslanstvo kolektiva? Po eni strani artikulira osnovno poslanstvo skupine, ki si prizadeva za nenehno širjenje mej in dosega področja, ki ga poznamo kot sodobna umetnost. Vendar je več kot to. Ker gre njihova »kontaminacija« v obe smeri, zamaje meje tako znanosti kot umetnosti in si pravzaprav prizadeva narediti membrane področij poroznejše.

V resnici je njihova intenca razbiti mentalne vzorce, ki nas prepogosto zapirajo v dogmatizacije in readymade pozicije.

Mislim, da pat pozicija tega zgodovinskega trenutka zgovorno priča o tem, kam pridemo, ko smo preveč zavarovani v svoj prav. BridA, nasprotno, v celoti svojega delovanja razbija vnaprej pripravljena branja, tipizirane rešitve poznavalstva in »foh idiotizma« ter zahteva, da si polje svojega delovanja in udejstvovanja predstavljamo širše. Ja, tudi udejstvovanja.

To je namreč druga plat Bridine »metode«: sprememba se začne z nami. Meje področij širimo z razširjenjem lastnih meja in to je tisto, s čimer nas soočajo argumentacijski obrati v njihovih delih. Silijo nas v spremembo branja, preklop med navidez nekompatibilnimi registri, v to, da sliko preberemo kot

racionalno organiziran sistem, znanstvenemu fenomenu pa damo smisel le prek idiosinkratske logike umetniškega dela.

Bodimo konkretni. Najrecentnejši projekt skupine BridA, Plantportation / Q-modul, je impozantna večmedijska instalacija, ki vstopa na še megleno področje kvantne fizike in se loteva fenomena kvantne teleportacije. Plantportation verjetno najbolj eksplicitno povzema njihovo ambicijo po novih pogledih, saj je sama izbira predmeta raziskovanja simptomatična. Fenomen kvantne teleportacije ter z njim povezanimi fenomeni superpozicije in kvantne prepletenosti predstavljajo prav tisto zaželeno cono onkraj udobja, v kateri sprejeti načini mišljenja in maksime znanosti kažejo svoje jasne meje in rušijo celo tako bazične koordinate našega razumevanja in izkušnje sveta, kot so trije osnovni postulati klasične logike in kavzaliteta. BridA se spopada s problemom, kako se lotiti te paradoksne konstelacije, posebej pa njene vizualizacije, in pride do Rastlinoportacije, eklektičnega medprostora v dvojnem pomenu, saj se v njem srečujejo tako predstave popularne kulture z najnovejšimi znanstvenimi dognanji kot

Lažno ogledalo / False Mirror, 2019, produkcija / production: Kibla 3

tudi znanstvena in umetniška raziskovalna logika. Dinamiko medprostora uporabi tudi Interspace Module, kar nakazuje tudi logika postavitve pričujoče razstave, v kateri se medprostora obeh projektov križata in poglabljata svoje implikacije.

Interspace Module dopolnjuje medprostor Plantportation z elementom človeškega telesa v igri iskanja nestandardnih vzvodov za oblikovanje (in branje) sporočil. Tudi tukaj smo priča paradoksnemu obratu, v katerem smo hkrati predmet in ustvarjalec sporočila, neujemljiv kod predelave naše telesnosti v sporočilo pa nenehno preskakuje med različnimi registri.

Hibridna povezava obeh projektov emfatično poudarja njuno problemsko odprtost, saj nam projekta ne nudita dokončnega ključa svojega branja, svoje »rešitve«, temveč v značilni Bridini gesti igrivo in izzivalno naslavljata obiskovalca kot dejanski missing link formule.

Gledalec je resnično središče Bridinih projektov, ampak ne kot atomizirani posameznik, temveč kot enota, kot potencial družbenosti. Prav tega naslavlja projekt Modux, ki kaže tako Bridine slikarske korenine kot tudi vseprisotno potrebo, da se predmet umetnosti vedno znova odtegne zaprašenosti connoisseurshipa, proces njenega ustvarjanja pa psevdoromantičnim mitizacijam. Slikarstvo kot arhetip zaprtega

Modux 1.1, 2014, Kalmar, Švedska / Sweden 4

sistema diviniziranih genijev in njihovih posvečenih razlagalcev postane družbotvoren proces, po eni strani sloneč na vsem razvidnem racionalnem protokolu, po drugi pa prepuščen naključnim silnicam družbene dinamike. Modux v svojem izhodišču »sliko« gradi na zbrani informacijski bazi določene skupine ali okolja, ki jo praviloma v delo vključeni obiskovalci vizualno interpretirajo. To, da se umetniško delo dejansko odigrava pred nami ne kot eksplozija individualne genialnosti, temveč kot kompleksen splet različnih okoliščin, družbenih silnic, tradicije in naključja trenutka, implicira bistveno preizpraševanje avtorstva in njegovih klasičnih gabaritov.

Spet smo torej priče Bridini »dvojni igri«, saj tisto, kar deluje kot abstraktna slika, je dejansko kolektivni zapis informacije o okolju po eksaktnem znanstvenem protokolu. Projekt lucidno in ironično obrača na glavo celotno klasično problematiko slikarstva, relacije med umetnikom, podobo in svetom, s stavo na tisto, kar je vedno bilo njegov Drugi, občinstvo. Podobnemu problematiziranju slikarske tradicije sledimo tudi v delu Les Mouches, duhovitem naslonu na renesančne mojstre in njihovo razkazovanje virtuoznosti z elementi trompe l’oeil, ki »silijo« v realnost, zato so včasih s posebnim verizmom dodajali tudi podobo muhe. Celotno problematiko realizma BridA humoristično zapre – ad acta – v kontekst (in, dobesedno,

prostor) računalniškega monitorja, kjer se različni slikarski plani eklektično razvežejo v večmedijsko delo, sploščeno pod tehnološko opno našega časa. Vendar tehnologija kot preferiran idiom skupine ni izraz fetišizacije, temveč potrebe po čim bolj razvidnih pravilih igre in preciznosti njihove formulacije. Ampak kot vedno pri Bridi, določeno načelo se vzpostavi samo zato, da bi se ga v naslednji instanci negiralo. To nazorno kaže tudi projekt Trackeds. Enigmatična in zapeljiva koreografija linij nas hkrati napeljuje na sklep o znanstveni vizualizaciji kakšnega fenomena urbane krajine, ko pa mu poskušamo priti do živega in se dokopati do logike dogajanja, nam postane jasno, da je obravnava povsem umetniška, kakor koli eksakten naj bi bil njen informacijski izvor. Eno najstarejših del skupine, Nano Plotter, v svoji neposrednosti najbolj emfatično združuje premislek o znanstvenem in nonšalanco umetniškega pristopa v kolektivu ljubi tehnološki govorici, vendar z vintage pridihom.

Pred nami razvijajoča se mini drama dveh narisanih mož razvija nekoliko zmeden pogovor o nanodelcih, ki v gledalcu odmeva kot refleksija o nas samih, naši razsrediščenosti in negotovih temeljih. S to humorno in prisrčno uprizoritvijo nam BridA sporoča, da se neznanega ne gre bati, temveč ga je treba sprejeti in stopiti na njegovo pot, saj je šele v soočanju z lastno mejo možnost resničnih korakov naprej.

Umetnost je torej za Brido ime za rešitve, ki ne morejo biti zlahka asimilirane niti v pravila določenega polja niti v izkoriščevalske taktike politike ali kapitala. Umetnost je način, kako prelisičimo lastni konformizem in s tem odvzamemo moč represiji. O tem priča Lažno ogledalo, projekt, ki meri prav na degradacijo sodobnih medprostorov in njihovo redukcijo na bodisi nadzorstveno bodisi komercialno funkcijo. BridA temu oporeka na svojstven igriv in (samo)ironičen način, s tem, da nas povabi k selfijem v zakotne, spregledane in prepovedane kotke Google Zemljevidov. In kot je vedno primer pri Bridi, stroga analitičnost podatkovnega materiala gre z roko v roki s humorjem in ironijo. BridA nas nenehno sooča s to dvojno igro, tako v metodološkem smislu, z nenehnim preklapljanjem različnih registrov, sodelovanjem navidez nezdružljivih logik, kot tudi z dialektiko visokega in nizkega, eksaktnega in impulzivnega, resnega in duhovitega. Zaman bi v delu kolektiva iskali primat prvega ali drugega, prav nasprotno: funkcija Bridine dvojne igre je razbitje teh binarnosti, ki so predolgo opredeljevale naše mišljenje in ga zapirale v obvladljive vzorce.

Zato ni naključna odprtost, s katero smo v njihovih projektih soočeni, saj šele potisnjeni čez rob pričakovanega in v manku vnaprej pripravljenih branj lahko pridemo do novih pogledov na svet. In v tem je vsa umetnost.

Vladimir Vidmar

Modux 1.0, 2006, Maribor

Modux 1.0, 2006, Maribor 5

Medprostorni modul / Interspace Module, 2017, Piran 7

DOUBLE PLAY and the current exhibition is the result of BridA's meticulous expansion of the reach of contemporary art and is by no means accidental.

Despite the eloquence of BridA's projects in the context of this socio-political moment, it would be difficult to label their practice as "engaged" in any artivist sense. Similarly, despite scientific grounding and - in part - methodology, BridA can hardly be placed in the field of art-science. Even a superficially engaged observer of their projects would notice that the weighty scientific substantiation of their works is usually followed by a moment when the positivism of scientific evidence is subtly and elegantly replaced by an argument of a different register and a turn in logic that reframes the project dynamics upside down. This is a typical BridA maneuver, which also occurs vice versa. The refined painterly métier, which draws us to many of their projects, proves in more detailed analysis to be quite the opposite, since it actually negates its recognizable painterly idiom with strict analytical protocol.

What is hidden behind these petty subversions, behind these

(Foto: Maid Hadžihasanović k.p.l. / © LokalPatriot)

The celebration of a quarter of a century of the BridA art collective falls in the midst of circumstances that only a couple of years ago seemed unimaginable, but are in fact a consistent derivation of long-lasting socio-political issues. These are issues that the BridA art collective has been researching since its conception and around which it formulates new tasks and a new field of contemporary art research. In today's increasingly radicalized climate, issues surrounding the treatment of information, the emancipatory potential of technology and its repressive instrumentalization, the control of bodies and populations, and the status of science and the power of its argument, are gaining more fatal and far-reaching implications.

We seem to be balancing on a thin line between fatalistic predictions of the end and the prospect of new beginnings.

It would be difficult to imagine a more suitable scenography for a retrospective exhibition on the occasion of the 25th anniversary of the collective, but it would be completely wrong to conclude that occasional referencing of this moment is essential to their method of operating. On the contrary, the concurrence between the radicalization of these problematics

Plantportation / Q-modul, 2021, Novo mesto, produkcija / production: LokalPatriot, konS 8

force us to change our readings, to switch between seemingly incompatible registers, such as seeing a painting as a rationally organized system or giving meaning to a scientific phenomenon through the idiosyncratic logic of the work of art.

Let us look at this more precisely. The most recent project of the group, Plantportation / Q-module, is an impressive multimedia installation that enters the still murky field of quantum physics and tackles the phenomenon of quantum teleportation. Plantportation probably most explicitly summarizes their ambition for new perspectives, and is symptomatic already in the very choice of their research subject. The phenomenon of quantum teleportation, with the related phenomena of superposition and quantum entanglement, represents that desired zone beyond comfort, where accepted ways of thinking and maxims of science show their clear boundaries and destroy even such basic coordinates of our understanding and experience of the world as the three basic postulates of classical logic and causality. BridA tackles the problem of how to approach this paradoxical constellation,

(Foto: Maid Hadžihasanović k.p.l. / © LokalPatriot)

traps that the collective skillfully sets for us? How does this “method” essentially define the mission of the collective? On the one hand, it articulates the basic mission of the group, which strives to constantly expand the borders and reach of the field we acknowledge as contemporary art. But their work does more than that. As their “contamination” occurs in both directions, it shakes the boundaries of both science and art, and seeks to make the membranes of both fields more permeable. In fact, their intention is to break down mental patterns that all too often lock us into dogmatizations and ready-made positions. The stalemate of this historic moment eloquently presents what occurs when we are too secure in our own determined ways. BridA breaks down predetermined readings, typified solutions of connoisseurship and professional idiocy, and demands that we imagine the field of our action and participation more broadly. Participation indeed. For this is the other side of BridA's "method", affirming that the change begins with us. We expand the boundaries of different fields by expanding our own boundaries, and this is what the argumentative turn in their works confront us with. They

Plantportation / Q-modul, 2021, Novo mesto, produkcija / production: LokalPatriot, konS 9

particularly through its visualization, and out of it emerges Plantportation. It is an eclectic interspace in a double sense, as it brings together representations of popular culture with the latest scientific findings, as well as scientific and artistic research logic. The dynamics of interspace are also used in the Interspace Module, which can also be observed in the logic which forms the conceptual frame of their current exhibition, where the interspaces of both projects intersect and deepen their implications. The Interspace Module complements the Plantportation interspace with the element of the human body through a game of finding non-standard levers for creating (and reading) messages. Here, too, we are witnessing a paradoxical turn in which we are both the object and the creator of the message, and the elusive code of transforming our corporeality into a message is constantly jumping between different registers. The hybrid connection of the two projects emphatically accentuates their problematic openness, as the projects do not offer us the final key to unlocking the reading of the work or "solution", but playfully and defiantly address the visitor as the actual missing link to the formula.

(Foto: Maid Hadžihasanović k.p.l. / © LokalPatriot)

The spectator is the true focus of BridA’s projects, not as an atomized individual but as a unit of sociability, as the potential of sociability. This is addressed by the Modux project, which shows both BridA's painterly roots and the ubiquitous need for the art object to be repeatedly removed from the

dustiness of the connoisseurship, and the process eradicated of pseudo-romantic myths. Painting, as an archetype of a closed system of divinized geniuses and their dedicated interpreters, becomes a socially creative process, on the one hand relying on all obvious rational protocol, and on the other left to the random forces of social dynamics. At its starting point, Modux creates the "painting" out of the collected data from a certain group or environment, which is usually visually interpreted by the visitors involved in the work. The fact that the work of art actually takes place before us, not as an explosion of individual genius but as a complex web of different circumstances, social forces, traditions and coincidences of the moment, implies an essential questioning of authorship and its conventional dimensions. Again, we are witnessing BridA's "double game", because what works as an abstract image is in fact a collective record of environmental information following an exact scientific protocol. The project lucidly and ironically turns upside down the classical problematics of painting. The relationship between the artist, the image and the world, is ironically redrawn by the transfer of emphasis to that which has always been their Other, the audience. A similar problematization of the painting tradition can be traced to Les Mouches, a witty reiteration of Renaissance masters' display of virtuosity with trompe l'oeil elements protruding into reality, a role at times rendered by a particularly veristic image of a fly.

BridA humorously shuts the whole problem of realism - ad acta

Kompozicija Plantportation / Q-modul, 2021, Novo mesto, produkcija / production: LokalPatriot in konS 10

For BridA, art is the name for principles that cannot be easily subsumed under the rules of a particular field or the exploitative tactics of politics or capital. Art is a way of deceiving our own conformism and thus depriving forces of repression of their power. This is evidenced by False Mirror, a project that measures the degradation of modern interspaces and their reduction to either a surveillance or commercial function. BridA challenges this in its own playful and [self] ironic way, by inviting us to take selfies in the remote, overlooked and forbidden corners of google maps. And as is always the case with BridA, the rigorous data analytics goes hand in hand with humor and irony. BridA constantly confronts us with this double game, both in methodological terms, with the constant switching of different registers, the collaboration of seemingly incompatible logics, as well as in the dialectic of exalted and lowly, exact and impulsive, serious and witty. In vain would we look for the primacy of the first or the second in the work of the collective, quite the opposite: the function of BridA's double game is to break down these binaries that have defined our thinking for too long and locked it into manageable patterns. Therefore, the openness we are faced with in their projects is all but random, because only when we are pushed over the edge of the expected and in the absence of predetermined readings can we encounter new views of the world. And therein lies all the art.

Vladimir Vidmar

(Foto: Maid Hadžihasanović k.p.l. / © LokalPatriot)

- within the context [and actual space] of a computer monitor, where various painting plans are eclectically reframed in a multimedia work flattened under the technological membrane of our time. However, technology as the preferred idiom of the group is not an expression of fetishization, but the need for the clearest possible rules of the game and the precision of their formulation. As is always the case with BridA, a certain principle is established only to be denied in the next instance. This is also clearly shown by the Trackeds project, where the enigmatic and seductive choreography of lines alludes to a scientific visualization of some kind of an urban landscape phenomenon; however, when we attempt to confront its logic, it becomes clear that it is a purely artistic treatment regardless of the exactness of its information source. One of the group's oldest works, Nanoplotter, most emphatically combines a reflection on science and the nonchalance of an artistic approach in a technological idiom the collective is so fond of, but with a vintage touch. In front of us, the evolving mini-drama of two drawn men develops a somewhat confusing conversation about nanoparticles, which resonates in the viewer as a reflection on ourselves, our lack of centre, and uncertain foundations. With this humorous and heartfelt performance, BridA informs us that the unknown should not be feared, but should be accepted and set on its path, as only in the face of one's own limitations does the possibility of real steps forward become a reality.

Plantportation / Q-modul, 2021, Novo mesto, produkcija / production: LokalPatriot in konS 11

Modux 1.1, 2014, Kalmar, Švedska / Sweden 13

Nanoploter, 2010

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Nanoploter, 2010

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Trackeds Chemnitz / Karl Marx, 2021, Chemnitz, Nemčija / Germany 16

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Les Mouches, 2008

Les Mouches, 2011

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BridA (Foto: Uroš Abram, 2018)

Kolektiv BridA, ki ga sestavljajo diplomanti beneške Akademije lepih umetnosti Tom Kerševan, Sendi Mango in Jurij Pavlica, se je oblikoval med študijem leta 1996. Ustvarja lastno umetniško produkcijo na širokem polju sodobnih umetniških praks, razstavlja tako doma kot v tujini, poleg tega pa sodeluje tudi v številnih mednarodnih rezidenčnih programih, na delavnicah in seminarjih, večkrat je bil povabljen h kuriranju festivala intermedijske umetnosti Pixxelpoint v Novi Gorici, organizira in vodi tudi lasten mednarodni rezidenčni center ter festival sodobnih umetniških praks R.o.R. v Šempasu. Dela kolektiva BridA so bila odkupljena za več mednarodnih zbirk sodobne umetnosti. Leta 2015 je za 20 letno uspešno delovanje na področju umetnosti prejel najvišje priznanje Mestne občine Nova Gorica, nagrado Franceta Bevka, leta 2018 pa mednarodno nagrado TESLA, ki jo podeljuje MoTA – Muzej tranzitornih umetnosti v Ljubljani. Med drugim, so prejemniki štipendij Iaspis, ki jo podeljuje Ministrstvo za kulturo Švedske in Culture Bridges, ki jo pod okriljem EU podeljuje British Council.

Umetniška produkcija kolektiva BridA sodi v široko polje interdisciplinarnih umetniških praks. Umetniki posegajo v polje inovativnih tehnoloških in znanstvenih pristopov, ki na revolucionaren način odpirajo nove možnosti razumevanja sodobne umetnosti. S svojimi interaktivnimi projekti v umetniški proces aktivno vključujejo publiko, ki je skozi leta razvoja postala glavni akter njihovih umetniških projektov.

Tom Kerševan Sendi Mango Jurij Pavlica

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 produces artwork across a wide spectrum of contemporary artistic practices exhibits both locally and internationally and has participated in numerous international residency programmes, workshops and seminars. BridA’s works have been purchased for a score of 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. BridA’s artistic production extends to the broad field of interdisciplinary art practices. The artists draw on the field of innovative technological and scientific approaches that, in a revolutionary way, open new possibilities of understanding contemporary art. In their interactive projects, the audience is actively included in their artistic process. In their interactive projects, they actively include the audience in the artistic process. Thus, through the years, the audience has become the main actor in such projects.

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IZBRANE RAZSTAVE

2021 Prepletenost, pregledna razstava ob 25. obletnici delovanja

umetniškega kolektiva, Mestna galerija Nova Gorica, Nova Gorica,

kurator: Vladimir Vidmar

Plantportation Q-modul, Galerija Simulaker, Novo mesto,

kurator: Adrijan Praznik, produkcija LokalPatriot / konS 2019 Lažno ogledalo, Napeta sedanjost, Kibla Portal, Maribor,

produkcija Kibla Plantportation, Yermilov Centre, Kharkiv, Ukrajina,

kuratorica: Olena Kasperovych 2017 Vstop na lastno odgovornost, Razstavišče Monfort Portorož,

Obalne galerije, Piran, kurator: Vladimir Vidmar

ENTRY POINT, Apollonia gallery, Strasbourg, Francija,

kuratorica: Daria Evdokimova 2016 Onkraj naše oble, 8. trienale sodobne umetnosti – U3,

Moderna galerija, Ljubljana, kurator: Boris Groys 2015 MODUX/KALMAR, Kalmar Konstmuseum, Kalmar, Švedska

SpreadKOM, Aksioma project space, Ljubljana

Krize in novi začetki: Umetnost v Sloveniji 05-15, +MSUM, Muzej

sodobne umetnosti Metelkova, Ljubljana,

kuratorji: Bojana Piškur, Igor Španjol in Vladimir Vidmar 2014 Trackeds Houston, Alabama Song, Houston, TX, ZDA 2011 Zamenjaj barvo!, Pregledna razstava skupine BridA, MGLC, Ljubljana

kurator: Božidar Zrinski 2010 Nanoploter, U3 – 6. trienale sodobne umetnosti v Sloveniji: Ideja za

življenje. Realizem in realno v sodobni umetnosti v Sloveniji,

Moderna galerija, Ljubljan, kurator: Charles Esche Trackeds–Parliament, Galerija Kapelica, Ljubljana 2009 28. grafični bienale, MGLC, Ljubljana 2008 MODUX 3.4, multimedijska postavitev, Ars Electronica,

Lentos Art Museum, Linz, Avstrija, kurator: Jurij Krpan 2007 Informacijski pospeševalnik, Mestna galerija, Ljubljana,

kurator: Sarival Sosič 2006 Modux 3.0, U3 – Trienale slovenske sodobne umetnosti,

Moderna galerija, Ljubljana, kurator: Jurij Krpan

Modux 1.2, Mestna galerija Nova Gorica, Nova Gorica Modux, Umetnostna galerija Maribor, Maribor

SELLECTED EXHIBITIONS

2021 Entanglement, Review exhibition on the occasion of the 25th

anniversary of the artistic collective, The Nova Gorica City Art Gallery,

Nova Gorica, curator: Vladimir Vidmar

Plantportation Q-modul, Galerija Simulaker, Novo mesto,

curator: Adrijan Praznik, production LokalPatriot / konS 2019 The False Mirror, Tense Present, Kibla Portal, Maribor, production Kibla Plantportation, Yermilov Centre, Kharkiv, Ukraine,

curator: Olena Kasperovych 2017 ENTER ON YOUR OWN RISK, Contemporary Art Space Monfort Portorose,

Obalne galerije Piran, curator: Vladimir Vidmar

ENTRY POINT, Apollonia gallery, Strasbourg, France,

curator: Daria Evdokimova 2016 Trackeds Houston, Beyond the Globe | 8th Triennial of Contemporary

Art – U3, Moderna galerija, Ljubljana, curator: Boris Groys 2015 MODUX/KALMAR, Kalmar Konstmuseum, Kalmar, Sweden

SpreadKOM, Aksioma project space, Ljubljana

Crises and New Beginnings: Art in Slovenia 2005–2015,

+MSUM, Metelkova, Ljubljana,

curators: Bojana Piškur, Igor Španjol and Vladimir Vidmar 2014 Trackeds Houston, Alabama Song, Houston, TX, USA 2011 Change the colour!, BridA first retrospective exhibition, MGLC Ljubljana,

curator: Božidar Zrinski 2010 Nanoploter, 6TH TRIENNIAL OF CONTEMPORARY ART U3,

An Idea for Living. Realism and Reality in Contemporary Art in Slovenia,

Moderna Galerija Ljubljana, curator: Charles Esche, Trackeds–Parliament, Kapelica Gallery, Ljubljana 2009 Trackeds Como, 28th Ljubljana Biennial of Graphic Arts, MGLC, Ljubljana 2008 MODUX 3.4, Ars Electronica, Lentos Art Museum, Linz, Austria

curator: Jurij Krpan 2007 Information Accelerator, The City Gallery, Ljubljana,

curator: Sarival Sosič 2006 Modux 3.0, 5TH TRIENNIAL OF CONTEMPORARY ART U3,

Moderna Galerija Ljubljana, curator: Jurij Krpan

Modux 1.2, The Nova Gorica City Art Gallery, Nova Gorica Modux, UGM Maribor Art Gallery, Maribor

Naslovnica / Cover, foto: Maid Hadžihasanović k.p.l. / © LokalPatriot Razstavo in izid kataloga sta finančno omogočila / The exhibition and catalogue have been financially supported by:

Sponzor razstave / Sponsor:

MESTNA OBČINA NOVA GORICA

20

Katalog izdal/Catalogue issued by: Kulturni dom Nova Gorica (Zanj/Represented by: Pavla Jarc) - Urednica/Editor: Mateja Poljšak Furlan - Avtor besedila/Texts written by: Vladimir Vidmar - Prevod/Translation: Manca Bajec - Fotografije/Photographs: arhiv kolektiva BridA - Oblikovanje in prelom/Catalogue design & DTP: Vid Simoniti Tisk/Print: Tiskarna Present d.o.o. - Kraj izida/Place of publication: Nova Gorica - Leto izida/Publication year: 2021 - Naklada/Nr. of copies: 250

MESTNA GALERIJA NOVA GORICA Trg Edvarda Kardelja 5 SI 5000 Nova Gorica T: 05 335 40 17 E: mestnagalerija@kulturnidom-ng.si W: www.kulturnidom-ng.si FB: https://www.facebook.com/groups/Mestna.galerija.Nova.Gorica/

URNIK: od ponedeljka do petka od 9. do 13. ure in od 15. do 19. ure Ob sobotah od 9. ure do 12. ure.

Ob nedeljah in praznikih zaprto.