03 Junij 2011 12:26
Hidden electrical fittings heat, humidify and cool the fired clay sculptures. The heat generated by the cooling of the first sculptures is 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.
Mirko Bratuša’s sculptures are captured in various states of emotion. They are fantastically expressive,designed with sculptural extravagance and refined humour. Hinting at eccentric phenomena from the western Catholic tradition, they reveal to us the exotic in the commonplace. Thus in order to achieve a higher level of empathy they are made from the decidedly expressive and no longer mass-marketed material of fired clay. They are tactile and warm. They show us the psychotic aspect of our everyday lives, reflect our fears and speak of our sense of being lost in modern culture, where it seems that we can no longer affect politics and social power relations and that it is no longer possible to halt the processes of destruction of nature. Therefore, Bratuša suggests, we have to return to elementary perceptions, to the realm of lost sensibility.
Name of the event: 54th International Art Exhibition- La Biennale di Venezia- Pavilion of Slovenia
When it took place: 3.6.-27.11.2011
Location: Venice, Italy
Gallery: Galeria A+A
Street: San Marco 3073, Venice 30124
Curator: Nadja Zgonik
Camera: Aljoša Abrahamsberg
Cut: Aljoša Abrahamsberg