Sodobna umetnost (Aljoša Abrahamsberg), 12. marec 2022 ― Transparentnost, krhkost. Iztok Maroh, ki kot umetnik, kurator in predavatelj deluje predvsem na področju umetniške skulpturalne keramike, v svojih kontinuiranih redefinicijah »umetniških dogodkov« raziskuje odnos med vizualnim, pojavnim svetom in človekom ter načine, na katere en drugega dekonstruirata, vzpostavljata, definirata, preoblikujeta. Kateri so tisti dejavniki, ki te procese pogojujejo? Kaj definira človeka skozi opazovanje umetniškega dela in obratno? Transparency, fragility. Iztok Maroh, who works as an artist, curator, and lecturer mainly in the field of artistic sculptural ceramics, in his continuous redefinitions of »artistic events«, explores the relationship between the visual, phenomenal world and human and how they deconstruct, establish, define and transform each other. What are the factors that condition these processes? What defines a person through observing an artwork and vice versa?The story Maroh is staging this time is multilayered, as is typical of his works. Naturally, the artist’s tireless contemplation about the aesthetic experience of the modern man cannot bypass the current state of mind that humanity is facing. The story the artist tells through the gallery space is about discomfort, individual and collective anxiety, the construction of value and the evaluation of labor within the capitalist structure, the alienation of the individual, the absurdity of the material, the absence of meaning and, consequently, one’s search for »footholds« and familiar associations within the phenomenal world, which he is trying to make sense of. Like any good story, this one, too, engages the viewer repeatedly with each individual artwork – the artist uses a fragile material such as porcelain and the menacing depth of the Black 3.0 black pigment as well as individual motifs of artworks to create formal and conceptual antagonisms.

Sodobna umetnost (Aljoša Abrahamsberg), 11. marec 2022 ― Za umetnico Thereso Schubert so glive popolna metafora omrežja, ne le zaradi njihove estetike, temveč tudi kot filozofija odnosov, procesov in prostora. Za svoj eksperiment z glivami v okviru raziskovalnega projekta 'Mind the Fungi' je zgradila zvočno izolirane škatle z zvočniki in izbrala micelije gliv, ki izvirajo iz gozdov v okolici Berlina. Več tednov jih je izpostavljala določenim zvočnim frekvencam. Na podlagi teh opazovanj je razvila interaktivno video instalacijo 'Zvok za glive. Poklon nedoločenosti', v kateri udeleženci prevzamejo vlogo zvočnega vala, ki modulira rast gliv. Improvizacija - ne toliko kot glasbeni proces, temveč razumljena kot naravni življenjski pojav - predstavlja pogoj samega obstoja. To stanje bivanja brez namena omogoča spontanost in nastajanje ter je vodilo avtoričine umetniške prakse. Ko Schubert v delu omogoča številne poti in izkustva podatkov o gobah, uporablja iste odprte kode tudi za sodelovanje z občinstvom in omogoča medvrstno izkušnjo, ki najbolje deluje, če obiskovalec k interakciji pristopi z mirnostjo in potrpežljivostjo. For artist Theresa Schubert fungi are perfect network metaphors, not only due to their aesthetics but also as a philosophy of relations, process and space. For her fungi experiment within the research project 'Mind the Fungi', she built soundproofed boxes with speakers and selected fungi mycelia stemming from forests around Berlin. For several weeks she exposed them to specific sound frequencies. From these observations, she developed the interactive video installation "Sound for fungi. Homage to Indeterminacy" where participants take on the role of a sound wave modulating the growth of fungi. Improvisation – not so much as a musical process but understood as a natural life phenomenon – represents a condition of existence itself. This state of being without intention enables spontaneity and emergence, and has been a guiding principle through Schubert’s artistic practice. By allowing many pathways and experi

Sodobna umetnost (Aljoša Abrahamsberg), 11. marec 2022 ― Za umetnico Thereso Schubert so glive popolna metafora omrežja, ne le zaradi njihove estetike, temveč tudi kot filozofija odnosov, procesov in prostora. Za svoj eksperiment z glivami v okviru raziskovalnega projekta 'Mind the Fungi' je zgradila zvočno izolirane škatle z zvočniki in izbrala micelije gliv, ki izvirajo iz gozdov v okolici Berlina. Več tednov jih je izpostavljala določenim zvočnim frekvencam. Na podlagi teh opazovanj je razvila interaktivno video instalacijo 'Zvok za glive. Poklon nedoločenosti', v kateri udeleženci prevzamejo vlogo zvočnega vala, ki modulira rast gliv. Improvizacija - ne toliko kot glasbeni proces, temveč razumljena kot naravni življenjski pojav - predstavlja pogoj samega obstoja. To stanje bivanja brez namena omogoča spontanost in nastajanje ter je vodilo avtoričine umetniške prakse. Ko Schubert v delu omogoča številne poti in izkustva podatkov o gobah, uporablja iste odprte kode tudi za sodelovanje z občinstvom in omogoča medvrstno izkušnjo, ki najbolje deluje, če obiskovalec k interakciji pristopi z mirnostjo in potrpežljivostjo. For artist Theresa Schubert fungi are perfect network metaphors, not only due to their aesthetics but also as a philosophy of relations, process and space. For her fungi experiment within the research project 'Mind the Fungi', she built soundproofed boxes with speakers and selected fungi mycelia stemming from forests around Berlin. For several weeks she exposed them to specific sound frequencies. From these observations, she developed the interactive video installation "Sound for fungi. Homage to Indeterminacy" where participants take on the role of a sound wave modulating the growth of fungi. Improvisation – not so much as a musical process but understood as a natural life phenomenon – represents a condition of existence itself. This state of being without intention enables spontaneity and emergence, and has been a guiding principle through Schubert’s artistic practice. By allowing many pathways and experi