1. No category

AVA
Akademija za vizualne umetnosti
Razstava diplomantov
Academy of Visual Arts Ljubljana
Degree Show
2014
Galerija Vžigalica, 11. 7. - 31. 8., 2014
Vsebina
Contents
07
Uvod
Introduction
Pepi Sekulich
11
Prilaščanje subjektivnosti
The Expropriation of
Subjectivity
Sebastjan Leban
18
Matjaž Bertoncelj
22
Ari Gabrijelčič
26
Ana Jagodic
30
Zala Kobe
34
Kristina Mehle
38
Anže Rumiha
42
Luka Savić
Uvod
Pepi Sekulich
Treba je priznati, da je bilo študijsko leto 2013/14, v vseh pogledih,
najzahtevnejše, od nastanka AVA – Akademije za vizualne umetnosti ter
začetka implementacije programov leta 2008.
Splošna družbena atmosfera se je zadnja leta poslabšala in vplivi, milo rečeno,
pervertirane in skorumpirane družbe, ki mazohistično sledi neoliberalni
paradigmi, ki od državljanov zahteva, da si morajo še bolj zategniti pasove,
ter jim že na mesečni ravni dodaja nove luknje, delujejo tudi na študente, ki
težko uvidijo lastno perspektivo ... Živimo pač v sistemu, v katerem se jemlje
revnim, da bi se še bolj bogatile korporacije ter njihovi razvajeni delničarji.
Na akademiji AVA se trudimo ohraniti moralo in kljub negativnim vplivom
okolja motivirati študente, ki na svojih ramenih že nosijo prekerno sedanjost.
Nepredvidljiva prihodnost pa je tako ali drugače v njihovih rokah, saj z
aktivnim in afirmativnim delovanjem nanjo lahko tudi pozitivno vplivajo.
Pričujoča dela izražajo interdisciplinarno naravnanost, originalnost in
individualnost pristopov, ki duhovito, kritično in originalno reflektirajo čas, v
katerem živimo, ter obenem napovedujejo čas, ki prihaja. To nam daje upanje
v boljšo, svetlejšo prihodnost.
Iskrene čestitke vsem študentom ob koncu študija kreativnih praks vizualnih
umetnosti ter kolegom, predavateljem, ki so z lastnim vložkom oplajali
študente ter jim s posredovanjem znanja omogočili in podprli njihov vstop v
profesionalno polje delovanja.
Dekan
7
Introduction
Pepi Sekulich
We have to admit that the 2013/14 academic year has in every respect been
one of the most difficult years since 2008, when AVA – Academy of Visual
Arts was founded and began offering its programs.
Over the last few years, the general social environment has deteriorated and
the impact of a – to put it bluntly – perverted and corrupted society that
masochistically follows the neoliberal paradigm, forcing citizens to keep on
tightening their belts by adding new holes in their belts virtually on a monthly
basis, has been affecting students, who have an increasingly hard time seeing a
future for themselves in this field. The fact is that we are living in a system that
takes from the poor to further enrich already wealthy corporations and their
spoilt shareholders.
Despite the depressing environment in which we find ourselves, we at AVA
continue to try to keep morale high and our students motivated. They are
already carrying the burden of the precarious present on their shoulders.
Yet the unpredictable future is also in their own hands, one way or another,
because through their positive actions they can also positively impact the
future.
The works presented in this show express the interdisciplinary, originality and
individuality of approaches reflecting the time we live in now in a humorous,
critical and original way while at the same time anticipating the time that is
coming, thus giving us hope for a better, brighter future.
Congratulations to all the students who are completing their study of creative
practices in visual arts, as well as to all the lecturers for enriching the students
with their input and for enabling and supporting their entry into professional
activity by sharing their knowledge.
Principal
9
Prilaščanje subjektivnosti
Sebastjan Leban
Walter Benjamin v knjigi Umetniško delo v dobi mehanične reprodukcije
razmišlja o transformaciji družbene realnosti kot posledici razvoja in vpeljave
strojev v produkcijo. Njegova teza temelji na tem, da se razvoj kapitala
definira z mehaničnostjo in tekočim trakom, ki sta omogočila nastanek nove
tehnološke paradigme, ki je korenito spremenila način produkcije, družbo,
svetovni red in umetnost. Marx v Grundrisse pojasni, da ves razvoj kapitala
poteka v načinu produkcije, skladne s funkcijo kapitala. To nastopi, ko
»sredstva dela ne prevzamejo le ekonomske oblike fiksnega kapitala, ampak
so tudi odstranjena v svoji neposredni obliki, in ko fiksni kapital prevzame
vlogo stroja znotraj produkcijskega procesa«.1 V fiksnem kapitalu je družbena
produktivnost dela izključna last kapitala. Marx poudarja: »Višja ko je raven
razvoja fiksnega kapitala«, bolj kontinuiteta produkcije in reprodukcije
postaja »zunanji obvezujoč pogoj načina produkcije, ki temelji na kapitalu«.2
To pomeni, da je v osnovi kapitala, da se stalno spreminja in izumlja nove
načine produkcije, ki so podlaga za njegovo nadaljnje osvajanje, prilaščanje,
produkcijo in lastninjenje.
Kot meni Beller, je kapital z nastankom kina našel nov način izkoriščanja
presežne vrednosti, ki jo ustvarja delavec. Ta se kaže v raznolikosti podobe
in v njeni zmožnosti materializacije pogojev za prilaščanje kapitala, ki
segajo onkraj meja materialne stvarnosti dela in življenja. Kinematični
način produkcije prevzema logiko tekočega traku in jo vpenja v človeško
subjektivnost. S tem preoblikuje človeško zavest in podzavest tako, da
postanemo popolnoma podrejeni realni subsumaciji. Zato ni odveč trditi,
da se prav v kinematičnem in digitalnemu načinu produkcije uresničuje na
novo nastala paradigma kapitala, katere cilj je popolna podreditev družbenega
telesa. Seveda to zahteva celostno preureditev imaginarija, ki postane tako
odvisen »od organiziranosti vidnega sveta«,3 v katerem imaginacija in
ideologija delujeta kot »imaginarni odnos do realnega«,4 ki strukturira razvoj
kapitala.
Beller trdi, da gre pri sodobni produkciji tržnega blaga za obliko montaže.
Mehanična paradigma se je posodobila z naborom vizualnega imaginarija,
ki povečuje produkcijo tržnega blaga in presežne vrednosti. S tem postaja
kapitalizem neskončen, saj ne le pridobiva globalno nadvlado, temveč
prodira v sam imaginarij. Kar je zgodovinsko in sodobno definirano kot
iluzija kapitala na podlagi podobe in s podobo, je pravzaprav konstitutivni
element realnosti. S podobo je kapital presegel meje tovarne in neposredno
11
vstopil v naše domove, zapolnil naša življenja in jih spremenil v tržno blago.
Bifo v knjigi After the Future vidi to spremembo na še bolj sofisticirani ravni.
Sklicujoč se na Marazzija, postavi tezo postfordistične nove realnosti, ki
v delavcu vidi rekombinant finančnega kapitala. Odvisnost od kapitala je
dosegla takšno stopnjo, da se vsakršen poskus razveze od njega izbriše. Bifo
ugotavlja, da smo v finančni kapital vključeni kot del njegove mašinerije.
Revolucija v načinu produkcije se kaže v tem, da kot delavci nismo le
podrejeni mehaničnemu načinu produkcije v tovarni. Bifo vidi tak primer
v mašineriji finančnega kapitala, v okviru katere smo delavci spremenjeni v
imetnike delnic5 podjetja, ki izkorišča naše delo.6 Tako stanje je značilno za
novo ekonomijo (New Economy), v kateri govorimo o novi obliki subsumacije
delavcev kapitalu; način, ki ga Marazzi zaznava v novem procesu podrejanja
delavčeve usode tveganjem finančnega kapitala. Kot Marazzi trdi, se to dogaja
na ravni brisanja »mej med kapitalom in delom, ki je implicitna fordističnemu
mezdnemu odnosu, tako da delavčeve prihranke veže na procese kapitalistične
transformacije/ restrukturacije«.7 Delavec je spremenjen v delničarja kapitala,
ki ga subsumira. Še bolj problematična pa se zdi (kar se med drugim
neposredno veže na Bifovo zahtevo po novem družbenem boju) realnost, ki
jo zaznavajo Bifo ter tudi Deleuze in Marazzi. Gre za realnost, ki zaznamuje
realno subsumacijo kapitala, pri kateri si delavec »soprizadeva za uspešno
delovanje kapitala«.8 S tega stališča postane realna subsumacija popolna,
celo perverzna, saj izničuje razredni boj tako, da veže delavca na spekulacijo
finančnega kapitalizma.
Tovarna kot naravno okolje dela in kapital s svojo materialno produktivnostjo
sta preurejena z novo kodo delovanja, ki omogoča utelešenje kapitala v
človeškem telesu, umu in duši. Ta koda je indeks kinematičnega in digitalnega
načina produkcije, v katerem kapitalizem (kot trdi Bifo) ne potrebuje več
delavcev (v fordističnem smislu), ampak »celularne fraktale dela, podplačane,
prekerne, razosebljene«.9 Trditi, da je kapitalistični stroj vseobsegajoč, da
naseljuje našo zunanjost in je konstitutivni del naše notranjosti, pomeni
definirati nov način produkcije kapitala v kinematični in digitalni dobi,
v kateri so meje med delom in nedelom, mehaničnim in nemehaničnim,
človeškim in nečloveškim izbrisane in nadomeščene z naborom tehničnoekonomskih regulacij, ki nadvladajo naše življenje.
Če spremljamo razvoj kapitala v kinematičnem načinu produkcije, vidimo,
kako vseobsegajoče je telo kapitala, ki biva v podobi in fluktuira v vizualnem.
Ta revolucionarni preskok kapitala iz strogo ekonomske in politične sfere v
kulturno sfero Beller pojmuje kot prehod v smeri naselitve čutnega, pri čemer
je logika »kapitalizirane vizualnosti vsesplošno razširjena in strukturira željo,
12
učinkovitost, percepcijo in samopodobo na svetovni ravni«.10 S tem postanejo
kultura, kulturna industrija in umetnost polje, ki omogoča indoktrinacijo
v kapitalistični način produkcije in življenja ter tudi oblikovanje odpora in
razvoj radikalnega kritičnega diskurza, usmerjenega proti dominaciji kapitala.
Na podobni osnovi govori Marazzi o današnjem kapitalu kot o
transformatornem elementu, ki se izjemno učinkovito prenaša ali neposredno
ponotranji v družbeno delovno silo.11 Tiziana Terranova v zvezi s tem pojasni,
kako je ekspanzija digitalne ekonomije ustvarila realnost novega fleksibilnega
dela in delovne sile, ki od delavca zahteva nenehno posodabljenje, da je lahko
kos stalno spreminjajočim se izboljšavam v vseh fazah produkcije. To stanje
zaznava Terranova v brezplačni delovni sili znotraj digitalne ekonomije, kjer
lahko vidimo transformacijo dela vse bolj v smeri samozaposlovanja. Tako
transformacija načina produkcije ponovno preuredi odnos podrejenosti
do kapitala. V digitalnem načinu produkcije človeška subjektivnost »ni
več samo instrument družbenega nadzora«,12 ampak postane neposredno
produktivna za kapital. Če je v mehaničnem načinu produkcije paradigma
kapitala temeljila na stvaritvi novega prostora produkcije z osvajanjem sveta
(teritorialno), si kapital v kinematičnem načinu produkcije in posledično
tudi v digitalnem načinu produkcije ne prizadeva le za to, da bi si podredil
delavčevo kreativnost znotraj delovnega procesa, ampak tudi njegovo dušo.
Karl Marx, The Chapter on Capital (Continuation), Second part of the Grundrisse and the Contribution
to the Critique of Political Economy, Economic Works 1857–1861, v: MECW, letnik 29 (New York
International Publisher, 1996).
2
Prav tam.
3
Jonathan Beller, The Political Economy of the Postmodern, v: CMP (Dartmounth College Press, 2006), 10.
4
Prav tam.
5
Zaradi politike uničenja socialne države in aktivne politike prekarizacije so delavci prisiljeni vlagati
v pokojninske sklade, trg vrednostnih papirjev, investicijske sklade, da bi si po upokojitvi zagotovili
socialno varnost.
6
Franco Berardi, Necronomy, v: After Future (AK Press, 2011), 109.
7
Christian Marazzi, From Post-Fordism to the New Economy, v: Capital and Language (Semiotext(e),
2008), 37.
8
Prav tam.
9
Prav tam.
10
Jonathan Beller, Wager within the Image: Rise of Visuality, Transforamtion of Labour, Aesthetic
Regimes, v: Cultural Machine, letnik 13, (2012), 7.
11
Christian Marazzi, The Violence of Financial Capitalism (Semiotext(e), 2011).
12
Prav tam., 11.
1
13
The Expropriation of Subjectivity
Sebastjan Leban
Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction
reflects on the transformations brought about by the invention and
introduction of machinery in the process of production, as its implementation
in the wider social sphere. He departs from the thesis that capital developed
through mechanics and the assembly line, into a new technological formation
that will drastically change the mode of production, society, the world order
and art. It is Marx that in Grundrisse explains how the full development of
capital takes place by the mode of production corresponding to its function.
This occurs when “the means of labour has not only taken the economic
form of fixed capital, but has also been suspended in its immediate form, and
when fixed capital appears as a machine within the production process.”1 It
is in fixed capital that the social productivity of labour is placed as the sole
property of capital. As Marx points out, the “greater the scale on which fixed
capital develops” the more the continuity of the process of production and
reproduction becomes the “externally compelling condition for the mode
of production founded on capital.”2 Meaning that it is in the very nature of
capital to constantly change and develop new modes of production, by way of
which to conquer more, expropriate more, produce more, and own more.
As Beller argues, with the advent of cinema capital found a new way of
extracting surplus labour from the worker. This new way resides in the
multiplicity of the image and in the possibility of the image to materialize
the conditions of expropriation of capital beyond the material reality of
work and life. It is the cinematic mode of production that takes the logic of
the conveyor belt and inserts it into human subjectivity. By this it kneads
our consciousness and unconsciousness up to subsuming us entirely to the
process of real subsumption. Thus consequently it is by the cinematic and
digital mode of production that we see realized the new emerging paradigm
of capital whose purpose is the complete subjugation of the social body. This
of course demands a complete reorganization of the imaginary that from
now on depends “upon the organization of the visible world,”3 in which both
imagination and ideology functions as the “imaginary relation to the real”4
that structures the development of capital.
For Beller, modern commodity production becomes a form of montage. The
mechanical paradigm has been upgraded by a set of visual imaginary that
expands commodity production and the production of surplus value. In
this way capitalism becomes infinite, since it does not only achieves global
dominance, but it enters into the imaginary. What is defined historically and
contemporary as the illusion of capital through and by the image is in fact a
constitutive part of our reality. It is with the image that capital transcended
15
the limits of the factory and enters directly into our homes, fulfilling our
lives, transforming it into a commodity. Bifo in After the Future detects this
transformation on an even more sophisticated level. Referring to Marazzi,
Bifo is able to structure the thesis of the post-Fordist new reality that sees
the workers as the recombinant of financial capital. The dependency upon
capital is developed to such an extent that any possible alternative of not being
depended on capital is practically erased. As Bifo observes, we are included
in financial capital as part of its machinery. The revolution in the mode of
production implies the fact that as workers we are not solely subsumed to the
mechanical mode of production of the factory. Bifo unveils such an example
being realized in the very machinery of financial capitalism, where as workers
we are transformed into shareholders5 of that same enterprise that exploits our
labour.6 A condition we see realized in the New Economy where a new way
of subsuming workers to capital is in place; a way that Marazzi locates in the
new process of tying the fate of the workers to the risks of financial capital. As
implied by Marazzi this happens on the level of eliminating the “separation
between capital and labor implicit in the Fordist salary relationship by
strictly tying workers' savings to processes of capitalist transformation /
restructuring.”7 The worker is thus transformed into a shareholder of that
same capital that subsumes him. What is even more problematic and that
is directly links to Bifo’s demand of a new class struggle, is the reality Bifo,
Deleuze and Marazzi detect, a reality that marks the real subsumption by
capital in which the worker is “co-interested in the good operation of capital
in general.”8 In this way the real subsumption becomes total, or to say even
perverse, since it annihilates the class struggle by tying the workers to the
speculation of financial capitalism.
The factory as the natural environment of work and capital with its material
productivity has been rearranged by a new code of operation through which
capital is able to execute its embodiment in the human body, brain and soul.
This code is the index of both the cinematic and digital mode of production
in which capitalism, according to Bifo, no longer need workers (in the Fordist
sense), but it needs “cellular fractals of labour, underpaid, precarious, depersonalized.”9 By stating that capitalist machine is all-embracing, that it
populates our externality and it is a constitutive part of our interiority, is to
define the new mode of production of capital in the cinematic and digital
era, where the limits of work and non work, machinic and non machinic,
human and non human is erased and replaced by a set of techno-economical
regulation that overrules our lives.
Following the development of capital in the cinematic mode of production
we become aware of the all-embracing body of capital that resides in the
16
image and fluctuates within visuality. This revolutionary leap of capital from
the strictly economical and political domain into the cultural domain is what
Beller defiens as the passage towards the habitation of the sense where the
logic of “capitalised visuality is widespread, structuring desire, performance,
perception and self-perception on a world scale.”10 This way culture along
with cultural industry and art becomes the field of both the indoctrination in
capital’s mode of production and life and the formation of resistance and the
development of radical critical discourse towards capital domination.
On similar premises, Marazzi speaks of today’s capital as of a transformatory
element that has the powerful effectiveness of being transmitted or directly
internalized in the social workforce.11 In this regard Tiziana Terranova
explains how the expansion of the digital economy has produced a reality of
a new flexible work and workforce that imposes a constant reskilling of the
worker to be able to cope with the ever changing amelioration in the software
and hardware production. A condition Terranova locates in the free labour
power of the digital economy, where we can see the transformation of labour
more and more toward self-employment. This way the transformation in the
mode of production reorganizes again the relation of subjugation toward
capital. It is in the digital mode of production that the human subjectivity
“ceases to be only an instrument of social control”12 but it becomes directly
productive for capital. If in the mechanical mode of production, the paradigm
of capital was to invent the new space for production in achieving global
conquer (territorially), in the cinematic mode of production and consequently
in the digital mode of production, capital is concerned not only with how to
subjugate the workers’ creativity within the labour process, but also with how
to subjugate the workers’ soul.
Karl Marx, The Chapter on Capital (Continuation), Second part of the Grundrisse and the Contribution
to the Critique of Political Economy, Economic Works 1857-1861, in MECW, Vol. 29, (New York
International Publisher, 1996).
2
Ibid.
3
Jonathan Beller, The Political Economy of the Postmodern, in CMP, (Dartmounth College Press,
2006), 10.
4
Ibid.
5
Due to the politics of destruction of the welfare state and an active politics of precarisation, workers
are forced to invest into pension funds, stock market, investment trust in order to provide themself
social security after retirement.
6
Franco Berardi, Necronomy, in After Future (AK Press, 2011), 109.
7
Christian Marazzi, From Post-Fordism to the New Economy, in Capital and Language, (Semiotext(e),
2008), 37.
8
Ibid.
9
Ibid.
10
Jonathan Beller, Wager Within the Image: Rise of Visuality, Transforamtion of Labour, Aesthetic
Regimes, in Cultural Machine, Vol. 13, (2012), 7.
11
Christian Marazzi, The Violence of Financial Capitalism, (Semiotext(e), 2011).
12
Ibid., 11.
1
17
Matjaž Bertoncelj
Matjaž Bertoncelj (risba), Jelena Bertoncelj (sivine), Fjodor M. Dostojevski (tekst)
Grafična novela po romanu
“Ponižani in razžaljeni”
Matjaž Bertoncelj (art), Jelena Bertoncelj (greys), Fjodor M. Dostojevski (text)
A graphic novel after a novel
“Humiliated and Insulted”
Ponižani in razžaljeni/Humiliated and Insulted
Svinčnik, tuš na papirju, photoshop/pencil, ink on paper, photoshop
18
Ari Gabrijelčič
Visoka umetnost/High Art
Instalacija iz različnih materialov/Mixed media installation
22
Ana Jagodic
Svilnata zver (detajl)/Silky Beast (detail)
118 × 175 cm
City light, used wax strips/Oglasna površina, uporabljeni depilacijski trakovi
Chewland (detajl/detail)
230 × 176 cm
Žvečilni gumiji na platnu/Chewing gums on canvas
26
Zala Kobe
Koncept, koreografija in ples/Concept, Choreography and Danced by:
Ida Hellsten, Luke Thomas Dunne, Bence Mezei
Oblikovanje svetlobe/Light Design: Leon Curk
Izvirna glasba/Sound Design: Jérôme Li-Thiao-Té
Oblikovanje scenografije/Set Design: Zala Kobe, Živa Petrič (Akademija za
vizualne umetnosti – AVA)
Izvršna producentka/Executive Producer: Tanja Skok
V sodelovanju/In collaboration with: AVA - Akademija za vizualne umetnosti
Zahvale/Thanks: Luka Curk, Eric Dean Scott, Endre Mezei, Tanja Skok, Jaka
Šimenc, Katarina Škaper, Ana Štefanec, Goran Pakozdi, Julija Travančić,
Marija Zidar
Kaj se zgodi, ko se dotakneš/What Happens When You Touch It
Scenografija za plesno predstavo/Set design for dance performance
30
Kristina Mehle
Odraz transparentnosti/Reflection of Transparency
Instalacija iz različnih materijalov/Mixed media installation
34
73
Anže Rumiha
Srečno, moja ljubezen!/Goodbay, My Love!
Igrani film/Feature film
38
Luka Savić
Mar bi vi zmogli?/Could You?
Skulptura/Sculpture
42
Akademija za vizualne umetnosti
Academy of Visual Arts Ljubljana
Predavatelji / Lecturers
Jaka Bonča
David Burrows
Philip Burt
Željko Hrs
Karmen Ključar
Jasna Klančišar
Gregor Kroupa
Sebastjan Leban
Živa Ljubec
Tevž Logar
Miran Mohar
Jovita Pristovšek
Andrej Savski
Pepi Sekulich
Andrej Šprah
Aleksandra Vajd
Martina Vovk
Asistenta / GTA
Matija Jakin
Sanja Vatić
V spomin / In memoriam
Dušan Černe - Duško (1949-2014)
Tehnična podpora / Technical support
Klemen Drobež
Gostujoči umetniki /
Visiting artists
2013 /14
Nika Autor
Sezgin Boynik
Alenka Gregorič
Marina Gržinić
Janez Janša, Janez Janša, Janez Janša
Andrea Murnik
Avi Pitchon
Apolonija Šušteršič
Katalog izdala / Catalogue published by
AVA
Trubarjeva 5
1000 Ljubljana
Slovenija
www.ava.si
Urednika / Editors
Sebastjan Leban, Miran Mohar
Oblikovanje / Design
Miran Mohar, Patrick Ward
Postavitev / Layout
Luka Savić
Prevodi / Translations
Jasna Hrastnik, Tanja Passoni
Lektoriranje / Language editing
Jean McCollister, Sonja Pezdirc
Tisk / Print
Studio Print, Ljubljana
Akademijo za vizualne umetnosti
podpirajo / Academy of Visual Arts
Ljubljana is supported by
Gigo Design + Communications
Individa d.o.o.
Muzej in galerije mesta Ljubljane
Studio Černe d.o.o., Ljubljana
Tift d.o.o. Ljubljana
Društvo NSK Informativni center
Vogmar, Ljubljana
AVA 006 podpira /
AVA 006 supported by
Fotolito Dolenc d.o.o, Ljubljana