By the end of the millennium, record labels were already establishing a globalised market, selling a record amount of albums (with ever lower costs of production mostly due to the emergence of new recording technology, namely the CD), and thus gaining momentum at driving emotional and attentional investments of their consumers with a handful of intricately formulated strategies of sonic construction. The challenges of the internet and the emergence of digitally compressed audio files (MP3) coupled with new internet technologies of dissemination of such files (such as Napster, Gnutella, Freenet etc.) may have somewhat hindered the growth of the industry, but not without also considerably expanding the dissemination of its products (and with it their influence and reach).
It is in this climate, specifically in 2001, that the Australian pop sensation Kylie Minogue released her 8th studio album and with it the single “Can’t Get You Out of My Head” that ended up defining the pop scene of the decade. The album and the single could have been met by a similar destiny as that of the 8th studio album by Mariah Carey — the success of which was hindered by its unfortunate release on September 11th 2001 —, if it were not for its gradual international release (on September 8th 2001 in Australia, on September 17th in Great Britain and only on February 18th 2002 in the USA).
Domen Ograjenšek, Untitled, 2018, photo: Luigi Cazzaniga.
Nika Kupyrova, White Honey at Galerie 35m2, Prague, 5. 10. – 2. 11. 2018 (curated by Tereza Záchová)
“Roses are red,
Gaming is fun,
‘You are carrying too much to be able to run’.”
Looking into the short history of video game design one may gain insight into much more than the narrative frames pertaining to the various manners of electronically manipulating images. From games like Minecraft, Call of Duty, and other first-person designs, to games like Diablo, World of Warcraft, that is, games utilising a third person perspective and defined as RPGs (role-playing games), the relationship towards possession changes drastically, especially when considering the various approaches toward the inventory, a trusted element of game design. Continue reading “Your Inventory is Full”
The iterations (one towel, two towels, three times a towel) follow in a line that reinstates the identity of an object, the identity of which was never at risk. No threat of dispersion in sight, no misuse of its meaning, function, cultural or societal role — yet they affirm their representational counterpart without ever becoming or fully alluding to one. The collection does not consist of actual towels per se, nor of objects resembling them, but more so of a dynamic between the frame and the fold, the glare and the colourisation.
Dergančeve fotografije v črno-beli izvedbi dramatizirajo to, kar je očitno, ne implicitno. Tako se vsaj sprva zdi. Oblikujejo tri tipe gledalca. Proces, ki sovpade s tremi shemami pogleda in teoretičnimi okvirji, ki jim ti pripadajo. V skladu s tem se nadalje oblikujejo trije tipi branja in sicer okoli strukture, ki se jo da razdeliti na ospredje, ozadje ter njun prehod.
A short reflection (the second in the series) that focuses on the dynamics of the surface in contemporary art, specifically the recent tendency to patch that, which is in no need of patching, and the specific contemporary anxiety that accompanies it.
The world is in need of healing, it is often said. From over-the-counter food supplements that help combat burnout to the anxiety-re-ridden teenagers re-actualising the subject of depression via the prominent rise of sad rappers such as XXXTentacion, in a preachy way Logic, and others (not the most exhaustive list, but burnout draws out even these very fingers doing the typing), we are hurt, hurting, and don’t know where the bottom of this pit of hurt lies.
The short reflection focuses on plaster as a materialisation of the paradox of abstraction within the formation of contemporary artistic positions.
Plaster, used both for protective and decorative purposes in walls and ceilings, meets contemporary art on the intersection of the aesthetic and pragmatic, mostly due to its soft white aesthetic characteristic and fragile kinetic effects. In this short reflection, I will take a look at two artistic practices that both use the mentioned building material in order to explore various layers of destructive, even self-destructive, principles and phenomena of contemporary society. From death drive to the autonomisation of capital, the practices brush over multiple sides of what it means to fail at being ‘human’.
The practices at hand are namely that of Lenka’s Đorojević and Matej’s Stupica, I will focus particularly on the works ‘Neur-o-matic’ (2014) and ‘Mon-o-matic’ (2015), and that of Evelyn’s Loschy, concretely, the kinetic sculptures (2012-2016).