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LUKA PRINČIČ
…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 Škuc.
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 Prinčič 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 Škuc team
You can
attend
performance
every day during the show from 7 till 10 pm at Galerija
Škuc.
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