-
View:
-
-
NO V.S.S.D., V.S.S.D., NO!, 1990
SPEED LECTURE - 400 SECONDS, 2008
V.S.S.D. - 20 YEARS BEFORE, 2009
MEMORY BOOK (CENSORED), 1999
POSTCARD, 2003
T=Top of all
Subject = name, date, place & time
A=Above all
Hey you!
Hope you are doing well, hope to see you in near future?
otherwise, I suggest you take a look around, if you have time for travel.
you won't be sorry!
talk to you later
Best!
C=Center of all
You get lost, place is OK, feeling wide. yesterday - everything seems so far away - I received your post-card from XXL post-platz. look - truly look - unfortunately I am not in best place and shape and not exactly flush, but still hoping to be better.
slovenia is getting frustrating, a bad taste and there is no harvest for me to enjoy. ljubljana is still (indoor&outdoor and in&here&there). time&place it’s not sensitive. it's hard to make things happen, that's sad but true about this place. kiss them all!
I don’t admire nonsense and I feel homeless. even future seems pointless to me. try to shi(f)t from production to consumption, but really wish to enjoy spirit of work, life and (in) nature. I don't want to keep on dying here for months, which I hope will not turn into years. wish to escape soon. sorry, this time I'm not deaf-and-dumb and think out loud...
see you in support ((wowow-land))
all the best,
a
in ljubljana, Dec 2002
D=Down below
THE WHITE POSTER, 1985
Project involving white, blank posters on the walls of Ljubljana. It happened 1985, on the 25 May, that is on what was then the Day of Youth in former Yugoslavia, official celebration of president Tito's birthday. There were 250 white posters (measuring 100x70cm), which we pasted onto the walls of Ljubljana.
WINDOWS ’95, 1995
WINDOW INTO MUSEUM, elegant illusions; WINDOW INTO THE WORLD, real illusions.
Glass - is from the stone.
House - is of the wish and of brick. House is home, furniture; peoples house proud, housekeeper, housewife, and houseman.
Windows – house arrest with no windows. A very poor and dark closed hole without windows and doors. A Prison cell.
People in glass houses shouldn’t throw stones.
(1995)
DAILY ISN'T A NIGHTLY, 2004
»Ensembles« - Three-Dimensional Rebuses / A Stone in the Sky, 2008
TEXTS, 2000
Culture is for everybody; art is for only one. Culture is food; art is hunger. Culture is prison; art is freedom. Culture is using; art is not having. Culture is functional; art does not function. Culture is convention; art is the violation of convention and culture. Culture is language; art is barking. Culture is the dress; art is the woman. Culture is old; art is beautiful. Culture is national; art isn’t.
VSSD 1985 - 1995, 1995
I, VSSD - "Veš slikar svoj dolg" precisely means "Do you, painter, know your dues?". And the title itself (and not the name) is a question that could be regarded as an answer, and it is not nessesary meant to be answered. What really matters is often a question without an answer or vice versa - an answer without a question. In one word, what I try to express cannot be expressed in words.
ACTION BURNING PAINTING, 1990
Action, called "Burning Painting/Anamorphosis," was carried out on 8 February 1990. (In Slovenia, 8 February is the National Day of Culture).
As we know, the tendency to destroy the cultural heritage is present throughout history. History is not only about great and marvelous works and monuments. We are familiar with this dark side of human beings, the evil deeds in history and in the present. In many periods of human history, the entire cultures of certain nations were systematically wiped out. The history of culture has always known creation and destruction at the same time. There is also anonymity in history - not only remembering, but also a great deal of erasing, forgetting, and emptiness. Burning a painting is a gesture that points to this traumatic, dark side of human cultural history in which stages of creation alternate with periods of negation.
THE PLAY (WOMAN AND MONEY), 2001
THE SOWER / 1,000,000. , 2001
Look at money. Money shines, money blinds. The back side of every artwork is material, the economy, production that measures and is expressed in its costs, in money. In The Sower/1,000,000 project, money is its back side but also its front side. Here money is merely an appearance, the only ‘means’, ‘expressive’ material and also ‘contents’, the motive of the project. We look at the aesthetic mode of the existence of money. Money - cash - is on the floor. Here money is out of circuit; ‘frozen’ outside exchange, it represents ‘basic contents’, the object of the gaze and the motive of the exhibition.