07 November 2022 > 14 November 2022 Kindly invited to the opening of the exhibition "Placeholder" by Rea Vogrinčič, on Monday, 7 November at 7 p.m. at Alkatraz Gallery, ACC Metelkova mesto.
10. 11. 2022, 17.30 - 19.00 Guided tour of the exhibition and zine workshop
In focus of Rea Vogrinčič’s new art project, titled Placeholder are different support networks within an art context. Various bases, stands and shelves that usually play the role of support structures become center pieces of the present exhibition. Elements that have been stripped of their primary function now carry the potential of something indefinable. They are a preliminary state that sets the framework for everything that will, or could, happen in this space in the following weeks. They implied that they might be reworked, reassembled and embedded in another context. Just as the Pita Projekt position itself on the line between an art project and software that artists are using in order to establish themselves within the system, the selected objects in the exhibition Placeholder, with their indeterminacy, are situated somewhere between a sculpture and an applied object.
Objects made of plaster and chipboard, placed in the exhibition space, are replicas of various pylons that supported works in previous exhibitions. The artist 'strips her own projects down to the bones' and keeps only what is of integral importance and always present when exhibiting an artwork, but rarely understood as a part of it. The absence of the content, however, does not only change the purpose of the exhibited objects, but also offers a space for a discussion about support networks that are often invisible, or rather unseen. Although various networks of support systems are omnipresent and accompany us at every step, we usually notice them only when their breakdown occurs, cutting into the established rhythm of the everyday. In that situation, we are forced to dive into the guts of what enables us as individuals and as a community not to derail from the mechanisms of the established ways of life. In the context of the exhibition, we can understand support systems literally as physical carriers of artworks. At the same time, the set-up of selected objects can mark the space of invisible support networks, by means of which the artist returns to questioning the status of the in-betweenness of cultural workers, constantly switching between different positions, tasks and spaces.