STENA (1): Poškodba in obnova / WALL (1): Damage and restoration (2024)

Site-specific instalation / concrete, asphalt, polyester, motors, plaster boards / 3400x1800x430mm

(SLO)

Če bi poškodovan zid zagledali v vsakdanjem gradbenem kontekstu, bi izbirali med dvema možnostima: ga podreti ali popraviti. Nič od navedenega ne velja za zid, ki je bil zgrajen na mestu, kjer je nekoč stal pravi funkcionalni zid. Post-readymade umetniški objekt je obtičal na intersekciji rušitve in obnove, ter razkriva območje spekulativne paleontologije, kjer tiči skrivnost takšnega stanja. Umetniško delo lepijo poškodbe, ki eliminirajo tehnološke funkcije in potencirajo umetniško s posnemanjem zakonitosti fosilizacije.

Čeprav niso bila fosilizirana s takšnim namenom so živalska okostja uporabljena, kot readymadi v prirodoslovnih muzejih. Prav tako niso iz umetniških, ampak tehničnih razlogov narejene tehnološke stvaritve. Komplensnejša tehnološka telesa, kot so stroji se hranijo s fosilizarno vegetacijo, ki imajo sposobnost shranjeno sončno energijo pretvoriti v kemično, fosilizirana okostja živalskih ostankov pa imajo s človeško apropriacijo sposobnost postati umetniška dela. Ta umetniška dela so izkopana okostja, ohranjena zaradi fosilizacije v sedimentnih kamninah. Ker so kosti neuporabne za druge organizme, ki pojedo zgolj mehke dele teles postanejo ostanki. In kot so stroji nepopravljivi, če so poškodovani njihovi motorji so enakovredni kostem v predelavi organskih teles. Razlog, da se ohranjajo ravno kosti je njihova neuporabnost za druge organizme, ki mehke dele mrtvega telesa pojedo.* V instalaciji so uporabljeni motorji, ki so s prerezom preveč poškodovani in neuporabni zakopani v akumularanih industrijskih kamninah iz koder jih izkopavanje preobraža v readymade umetniška dela v muzejih.

*avtu rečemo totalka, ko je poškodovan motor

(ENG)

If seeing a damaged wall in a construction context, we would choose between two options: tear it down or repair it. None of this applies to a damaged wall that was produced on a place, where formerly an actual wall stood. The post-readymade art object is stuck at the intersection of demolition and restoration, revealing an area of speculative paleontology, where a secret of this condition lies. The artwork is a knot of damages which aim to eliminate technological functions and enhances the artistic by imitating the laws of fossilization.

Although not fossilized for this purpose, animal skeletons are used as readymades in natural history museums. Likewise, technological creations are made for technical rather than artistic reasons. More complex technological bodies, such as machines, are powered by fossilized vegetation, which has the ability to convert stored solar energy into chemical energy, while fossilized animal remains have the ability to become works of art through human appropriation. These works of art are excavated skeletons, preserved through fossilization in sedimentary rocks. As bones are useless to other organisms, which only eat the body soft parts, they become remain. And as a machines are unrepairable if it's engine is damaged*, they're parallel to bones in organic bodies. * The installation uses engines that are too damaged and unusable to be cut open, buried in accumulative industrial rocks, from where excavation transforms them into ready-made works of art in museums.

*We call a car a total loss when the engine is damaged. Other parts are less crucial for machine to function.