News


Friday, 8 November, 18.00

ŠUM#12: THRESHOLD ECOLOGIES

First we were told we can’t call her mother. Then we were told we can’t call her nature (nor should we call her culture). No Gaia or Medea for us too. Benjamin Bratton writes in The Terraforming: “There is chemistry, abstraction and phase change, pattern and then collapse, and other things besides.” A series of collapses, for that matter. The threshold ecologies.

Texts by: Bogna M Konior, Lukáš Likavčan, n1x, Domen Ograjenšek, Germán Sierra
Edited by: Marko Bauer, Tjaša Pogačar

Šum#12 LAUNCH EVENT:
Domen Ograjenšek “No, I don’t Cry on the Outside Anymore”,
performative reading @ Fotopub project space, Tivolska 44, 1000 Ljubljana, Friday, 8 November, 6 PM.

*
Special issue ŠUM#12 is published in conjunction with the exhibition Adaptation to the Future curated by Aleksandra Vajd and Edith Jerabkova.

Published by: Šum (Društvo Galerija Boks)
Co-published by: UMPRUM, Prague


Sunday, 13 October, 11.00

25th International Festival of Computer Arts

Šum discussions, talk and panel discussion

Talk on the world-building of Pop music videos from the early 2000s and the realities they inform or have informed.

|\, Strangely enough, the world of Xtina’s Dirty covers a different altitude. The heights of the abandoned skyscrapers are substituted for underground basements that maze in a disorienting manner, leaving behind the once dedicated functions of the spaces they occupy. If the sauna-like furnishing of Britney’s environment still upholds the functionalist framework, it is only to accommodate the already existing micro-climate conditions — to help make sense of them; to make the rooms seem unbearable by design and thus frame the constant and unavoidable heat and moisture as a luxury or even decadence. Yet Xtina’s basement-dwelling, dark, damp and flooded with the rising seawater, leaves behind even these last remnants of making sense. It is radically anarchic and representative of a different post-apocalyptic class experience. /|


Saturday, 15 June, 18.00

Centre for Contemporary Arts Celje (Likovni salon)

Fig. 2 – Video Screening

Works by: Brishty Alam, Nicole Prutsch

Curated by: Domen Ograjenšek

Part of the Museum on a Summer Night 2019 programme.


Friday, 19 April, 19.00

Centre for Contemporary Arts Celje (Likovni salon)

Exhibition opening of Fig. 2

Artists: Brishty Alam, Nicole Prutsch

Curated by: Domen Ograjenšek

/ Fig. 2 is a reference to an enclosed image. It refers to “Fig.” or “Figure”, which serves as a clear way to cite and index images or illustrations in scientific publications. It is as much a proxy of the image as an extension of its cognitive function; it is the image itself, evading the anachronistic loopholes of its own phenomenal nature. /

More info: https://csu.si/en/exhibition/fig-2/


Thursday, December 20th, 18.00

ŠKUC Gallery, Ljubljana

Lecture | Fever Theory, Domen Ograjenšek


Wednesday, November 28th, 18.00

Museum of Contemporary Art Metelkova (+MSUM), Ljubljana

Launch and presentation | ŠUM#10 – On the Contemporaneity of Contemporary Art, new issue of ŠUM Journal.

Part of the new issue also the article Fever Theory (D. Ograjenšek). The article deals with the fun facts of pop culture and the caveats of new aesthetic paradigms and genre’s of writing. [The article is in Slovene, although an English version is in the works.]

From the article:

“Her appeal is rather on the side of genre equilibrium, which neutralizes the image of ‘the intrusion of viral dividual entities’ with an image of ‘calls from the intimate stock exchange’ (calls for mutual investment – symbolic, emotional, physical, existential; a kind of “Intimacy Trade Center”). If Couroux, therefore, continues to use the excessive style of writing in order to emanate a cult of mystery and thus seize the object of theory for himself, Minogue rather stands for the circulation of the object. This replaces the violence of the “invasion” of the alien with the violence of mutual trust, sharing, and over-human “concern for”, in light of which even the fall of Mariah Carey (coinciding with the fall of the Twin Towers) becomes a sign of solidarity – at least in the sense of a sonic consolidation between the two untimely falls. Carey and the Twin Towers step into mutual investment, into a gentle embrace of a murmur that accumulates at the extreme limits of our representational capabilities: as reciprocal noise on the side of sensual reception and as mutual listening on the side of the sensuous given – a sonic “trading” or the experience forging the world. „Who would’ve believed / That you and me would fall / And land together …“ (CAREY, Mariah, “The Lead The Way”, Glitter, Virgin Records, 2001, song 2)”


Wednesday, August 29th, 18.00

ŠKUC Gallery, Ljubljana

Arist talk | Jon Derganc – All That is Solid Melts into Air

Jon Derganc in conversation with Domen Ograjenšek.

More info