Mirko Bratuša’s sculpture installation Heaters for Hot Feelings

Mirko Bratuša’s sculpture installation Heaters for Hot Feelings is composed of eight tactile, anthropo- and biomorphic pieces each of which about 2 m (7 ft.) high. Hidden electrical fittings heat, humidify and cool the fired clay sculptures. The heat generated by the cooling of the first sculptures will be used to heat the others. A network of connections is set up as a system of artificial bodies, which indicate their mutual dependence. The metaphorics of an artistic system constructed in this manner are universally applicable to modern society, in which everything happens in mutual relation: amassing wealth on one side of the planet leads to poverty on the other, exploiting nature causes natural disasters, social unrest changes political systems.

About Mirko Bratuša (1963): He graduated in Sculpture from the Academy of Fine Arts in Ljubljana in 1989, and continued his studies at the Academy of Fine Arts in Munich with Professor Leo Kornbrust from 1990 to 1992, and in 1993 at the Academy of Arts in Düsseldorf with Professor Tony Cragg. Among his many solo exhibitions are recent presentations at Círculo de Bellas Artes, Madrid (2005); Glesia Gallery, Ljubljana (2006) and Božidar Jakac Art Museum, Kostanjevica na Krki (2010).

Mirko Bratuša is part of a generation of Slovene sculptors which appeared at the end of the eighties under the heading of New Slovene Sculpture, following the model of New British Sculpture. The internationally best-known of this generation is sculptor Marjetica Potrč, and Tobias Putrih is noteworthy among their successors (both have exhibited previously at the Slovenian Pavilion at the Venice Biennale). Mirko Bratuša stands out atypically from this generation through his whimsicality and fascination with materials. His restless experimental spirit has led him to combine “old” sculptural media such as clay, wood and bronze with new industrially produced materials such as polyurethane, kerrock, electrical fittings and cooling systems. Since 1992 he is setting sculptural installations which are often interactive and include unusual technical tricks. His works hide a touch of humour, through which he presents his figures as the ironically “bright” future of posthuman society. http://www.mirkobratusa.si/

MIHA ŠTRUKELJ x=0 / y=0 Interference in Process (Slovenian Pavilion)

Sounds Like Venice

About the Slovenian Pavilion

Speakers: Alenka Gregorič/Curator, Miha Štrukelj /Artist, TSS announcers: Crystal16 and Mike16 /

Created by: Irena Pivka, Brane Zorman

interviews recorded: march – june 2009 Skype & Ljubljana

SLOVENIAN PAVILLION.mp3

 

Album : http://www.flickr.com/photos/miha-strukelj/show/

 

pavilion slov 1

 Opis projekta

x=0 / y=0Šum v procesuDela Mihe Štruklja se utemeljuje na raziskavi mehanizma percepcije, ki ga analizira s pomočjo orodij klasičnega slikarstva, vendar na način, da vanj vsebinsko prenaša aktualne razmisleke o perceptivnem in slikarskem dejanju kot zavezujočih eksistencialnih dejanjih v pogojih sodobnega subjekta.Umetnikova percepcija je tisto, kar je v razmerju do umetniškega dela v položaju nemega, nevidnega pogoja. Percepcija je nujni pogoj produkcije umetniškega dela, a je sama izključena iz končnega produkta; je slepa pega končne podobe. Kako dostopiti do nje? Kako jo napraviti vidno? Kako v končni podobi ohraniti materialno sled percepcije?

V slovenskem paviljonu na Beneškem bienalu Štrukelj obravnava vprašanje percepcije v petih enakovrednih segmentih.

Slovenia is represented by a project from Miha Štrukelj, conceived as a total artwork and based on four thematic levels and media: painting, wall drawing, drawing and Lego picture. The exhibition deconstructs the picture plane with the aid of the grid as a structural and conceptual basis, where the painting is deconstructed and reconstituted through the disillusioned gaze of the subject. The themes of Štrukelj’s artistic practice arise from a fascination with media-manipulated images and expand into the iconography of anonymous urban topography, and the isolated, quiet presence of the human figure. This approach is reflected in all the work, with the exception of the Lego-picture which portrays natural landscapes, a rare motif in Štrukelj’s work.

Miha Štrukelj’s work is based on researching and deconstructing the mechanism of perception, which he analyses with the aid of traditional representational media – painting and drawing – but so as to include a thoughtful and critical examination of the act of perception as the threshold of the individual’s self-definition. Since the end of the1990s, his painting has examined critical events in recent human history: from the Chernobyl disaster and the technologically sophisticated view of the distant phantom scenery of the Gulf War, which played itself out before the eyes of the world in the blurred reality of infotainment, to another climax of human self-destruction – New York’s Ground Zero. Meanwhile, Štrukelj’s canvases, drawings, drawing interventions on walls and Lego brick jigsaw puzzle images are home to motifs from city centres, anonymous and seemingly disparate details of cityscapes, crossroads, bridges and buildings, which create a different, parallel, more intimate and personal cartography of contemporary reality, formed by momentary glimpses, ‘snapshots’, where the human figure is only accidental.

The Venice project is a combination of approaches characteristic of Štrukelj’s output in the last few years, its most prominent segment being wall drawing. He has used the wall as a support medium only three times before Venice. The support medium is different than in older works while the content and application of fragmented images remain the same. However, in the latest mural, the thematic and formal starting points are taken one step further – while the urban environment is again more abstract and devoid of human figures, the individual returns, but in a very subtle way.

Miha Štrukelj (1973, Ljubljana):
Works primarily in painting, and has also focused on drawing and site-specific work in the last two years. He examines the process and boundaries of painting and explores urban environments and their perception. He has recently received two awards – the Pollock-Krasner Grant 2008 and the Henkel Drawing Award 2008. He has also been selected for ‘Slovenian Art 1995–2005’ and ‘Seven Sins; Ljubljana–Moscow’ at the Museum of Modern Art Ljubljana, and various other national and international shows. His work is included in the volume ‘Vitamin P: New Perspectives in Painting’ (Phaidon). He is currently artist-in-residence at ISCP in New York.

The exhibition x=0 / y=0, Interference in Process is organised by Škuc Gallery with the support of the Ministry of Culture of the Republic of Slovenia.

Commissioner: Aleksander Bassin
Deputy Commissioner: Tevž Logar
Curator: Alenka Gregorič
Co-curator: Noel Kelly

Venue: Galleria A+A
Slovenian Public Exhibition Centre
San Marco 3073, Venezia 30124

How to reach us:
Line 2
Boat stop: San Samuele
Opening hours
June (every day 11 a.m. – 6 p.m.)
July–November (Tuesday–Sunday, 11 a.m. – 6 p.m.)