| Galerija Skuc : LUKA PRINČIČ �SPREAD SPACES, SENSIBLE FORCEFULNESS� - 13 Nov 2008 to 21 Nov 2008 Current Exhibition | ||||
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| LUKA PRINCIC �SPREAD SPACES, SENSIBLE FORCEFULNESS� November 13 � 21, 2008 You are kindly invited to attend the opening of the exhibition with performance on Thursday, November 13th at 8 pm at Galerija �kuc. Artist�s Self-Portrait Throw a ball and let us catch it ourselves. Never throw a ball in order to run after it to show how you catch it. Something visible is released. The gesture of a break connects much more than the connection itself; the father is more important when he is not present, and less when he is. Is there not imperfection hiding in the Deleuzian ontology of becoming, with becoming displaying the impotence of being? Nobody can be, but the subject is full of desire, torn between need and satisfaction, between �to want� and �to acquire�. The second a desire is satisfied, want ceases; the materialised desire changes want into possession, which is nothing but the having of another (redundant) object. This is also torn, similarly to desire, between useful and useless, between satisfied and desired. When the last desire is satisfied, something ends and at the same time begins. Music. Dance. Creativity. Child. Thought. Revolution. Meaning and happiness are not something assumed; they are processes of becoming. You can grow happy, but you cannot be happy; you can search for meaning, but you cannot find it definitely. In moments of satisfaction when, due to the circulation of gravity, you have become (a) happy (subject), you must first enable others to be happy, since you will actually be happy only when we all are. Until then, we understand and feel the meaning, here and there, or put differently: again and again. Art can be a concept, a gesture, an insight, a conception, an object, a thought, a tool, etc.; but art always becomes this when it is adopted by, perhaps only temporary, anonymous or collective author(s). Artworks are not only created, but various objects, tools or concepts become this. The same is true of a performer�s body � the body of eternal becoming, unfolding, opening and, in the end, also of a limit, wall and compromise. "...open spaces, sensitive forcefulness..." is a survey of the artist�s more recent works. The exhibition is a combination of some of the more characteristic aesthetic categories of contemporary creative processes that, by themselves, do not fit into the broader social and political context, but are, in the fashion of a new media subversive poetics per se, attempts at returning autonomy to art practices and artworks. If contemporary art examined the direct content contextualization of the social and the political, contemporary �autonomous� art slips into the political and social especially in formal considerations, in the mode and process of creation torn between the author �> subject and machine �> tool/object. The exhibited works have become what they are by way of performance, sampling, exploring the relationship between original and copy, ready-made and the study of generative art. When entering the gallery, the artist � drummer � is carrying out his performance. Drumming is a way of presenting the relation between human being and machine. The sound coming from this "dry" drumming is not only an external sound heard by everyone, but takes us within, where thoughts flow and the techno(r)evolution arising from the immediacy of sound which physically takes over the body begins. The artist is not a trained drummer, but is only learning to play. The exhibition reveals a view of creativity through the dichotomy of expertise and appropriation, coincidence or improvisation. A trained musician who is learning to play the drums is delivering continuous "playing" as an empowering performance. The next room displays a series of photographs of people's profiles; however, these are not static portraits, but persons caught doing something or moving � who have turn or looked away, are dancing or were slapped by someone. This time, looking away is not a symptom of passivity, abandoning or delegating responsibility, but quite the opposite: it shows movement, an attested form of negation, a shift to another direction. "Action" profile portraits will be displayed as photographs, photocopies, collages, the emphasis always being on "coincidental" (random) content and form. In the middle room there are two computers with an open pd-patch. This is a transition to randomisation, which culminates in the films X.Struct.Eros.Tempos and Max Wolfram. The PD-patch on screen is a visual and dynamic canvas, which shows the process of work and directly includes and "takes advantage of" a technological tool � human extension � the computer. Similarly to playing the drums, the artist learned programming in Pure Data on his own. In technology-supported art the artist is, much more than with other media, torn between expertise, learning, researching and testing, as artists-computer specialists, like geeks, strive for newness and innovations, but not for the pursuit of better and prettier things, or profit, but out of curiosity and a desire for knowledge. The films shown in the last room are recorded processes of randomisation, as Prin�i� programmed a tool in pd to manipulate image and sound so that they determine each other to the greatest possible extent, with the image giving the sound and vice versa. In films X.Struct.Eros.Tempos and Max Wolfram the feed, or a different kind of basis is from a different film, different figuration, and the pd-patch enables it to become an abstraction, which in the continuation seems to become a figuration again, thereby humanising it in some way. Abstract forms come to life, as they are treated as something determined and tangible, while the kaleidoscopic aesthetics of a generative artistic process results in the extreme example of autonomous art. Exhibition, event, representation, communication, spectacle, pleasure, pastime, daze, formal purity. Copy. Sample. And the web. A web of you, who are you, like we are all you, and you are all of us. Slap. Wish. Satisfaction. Another wish. Another satisfaction. Another slap � because with shared knowledge, collective drowning and ephemerality, we demand of ourselves to be always prepared and absolute. No, thank you. She turned away. And drummed to greet the micro-revolution. Reference: Gilles Deleuze, Pekka Himanen, Lucy Lippard, Geert Lovink, Lev Manovich Key words: coincidence, gesture art, sampling, copy�original, ready made, found object(s), trash art, generating, programming, live art Curated by: Dunja Kukovec Assistant: Breda Kralj Help with video: Luka Dekleva Thanks to: Maja Delak, Galerija �kuc team You can attend performance every day during the show from 7 till 10 pm at Galerija �kuc. The programme of �kuc Gallery is supported by Ministry of Culture of the Republic of Slovenia and Cultural Department of the City of Ljubljana. For further information contact Dunja Kukovec on +386 31 33 00 72 | ||||
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