Toward Limitlessness
No doubt that the question whether to “work with audience” or not is not a matter of choice. It is not a matter of choice in the case of an artist who wants to be something more than a shopwindow mannequin. Who wants to intentionally install him/herself between this...K brezmejnosti
Brez dvoma, vprašanje, ali “delati s publiko” ni stvar izbire. Ni stvar izbire, v primeru umetnika, ki želi biti nekaj več kot le izložbena lutka. Ki želi sebe z razlogom umestiti med tako ali drugače povabljene ljudi. Ključ je pri tem v kvaliteti te...Counterculture—An Impossible Performance
Being invited by an obscure academic journal to contribute to the seemingly everlasting topic in the South-Eastern European context—culture as a potential for social change in post-totalitarian1 Europe—I’ve recalled my previous writings that have to do with...Edina umetnost je smeh
Lokalno gledališče vztraja pri trendu eksistencialne drame, s poudarkom na premišljanju osebnih stisk v okoliščinah pod skupnim imenovalcem zahodnjaška civilizacija, ki čedalje bolj duši sam smisel življenja. Ta trend se v predstavi 2020 kaže skozi spektakl podob, ki...Leaving the Theatre of the Absurd
The city is a structural chronicle of the emotionality, a chronicle that changes over time slowly enough so that it can be seen as practically unchanging at any given stage of a human life. Various architectural styles and interior designs are introduced into the...Radikalna nežnost
Ohranjevalnik zaslona. Odpravlja bojazen, da slika ne izgine, ohranja “življenje” podob, ki želijo biti večne, neugasljive, samozadostne. Ohranili smo zaslone, izgubili sebe, Zoom-irali smo se in zombi(n)ficirali. Ste med klikanjem, tapkanjem in skrolanjem...Izlaz prekid prelom
Nema izlaza, ali je prelom uvek moguć. / Akcija Aleksandra Brenera i Barbare Schurz na bienalu (savremene umrtvljene umetnosti) Manifesta 3 u Ljubljani 2000-te (primer iz knjige Performans-kritika, str. 257) / Brener istrčava na pozornicu Cankarjevog doma i ispisuje...
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