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.

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.

(THE EDGE - TEACHER, MASTER)  Once upon… Once upon a time… Can such a beginning point to something “without time and without place”? Can anything be without time and without place; is this indeed possible in – this in is already a place – space, society, or living nature? Perhaps as a spoken, phonetic word, or a term? But this sounding vibration has its source or place, and it has its time, its end in time when it stops. Place and time, do they remain? The deletion is difficult, and thus there is neither a single place nor single time any more. Skin is the large outer surface of the body, it is between the surroundings, or outside space, and the physical volume. However, skin is not a boundary or protective cover; it is actually a place of passage. A wall is a solid boundary and barrier; it is a difference, but also a place between two sides, a place of passage. And what is the edge that lies between two opposite surfaces, for example, between two walls? Technically speaking, the edge is the final, outermost part of the body, it is something between two sides, it is an aberration, or turn – it is where one side turns into another, where one surface hides, retracts, or “shifts” to a different side, or in a different direction.

People make the place. It is open and closed. There can be no entrance here; there is not even a wall; there can only be a thin line. The space is stubbornly occupied by numbers; what is inhabited will soon be again uninhabited, empty, vacant. A naked space. Capitalize, buy space. Set a limit and define, inhabit space. It is impossible to think of everything and of everywhere; spatial arrangements do not suit all interests, all desires, the removal of foreigners and the liberation of space. A full bank card is an excellent way to go; a bank card means passage, the best passport. But there are other emergency rooms and exits: disposal and alienation (=the bathroom), regret and drainage (=the altar), mapping and transubjectivity (=the dressing table), switching off and transference (=the movies), departure and amnesia (=the bed), the modern stage and the modern window (=the television). "Without place and without time?"

The Hotel. It is important, then, to ask "where?" - where is the place? where is the location? The project is exhibited (placed around) in a hotel, as a specific kind of space that differs from a private home. The hotel is a "homeless," non-personal, person-less space. The hotel room, the way it is arranged and equipped, is functional and stereotypical, and therefore, impersonal and without personality, even though it is intended for habitation, for a person, that is, a guest, to provide him or her with rest and a chance for withdrawal into the private sphere. The hotel room is also intended for sleeping, and the guest, then, is one who spends the night.

BLACK IS THE COLOR OF THE FLAG

Pollution is actually the common, undeniable and persistent topic which can hardly be ignored when discussing other matters and things. No more isolation, the questions remain here. The most fortunate and best possibility, therefore, would be to keep the distance from the naked life of flesh; would this be more reasonable than any other visualisation or interpretation of carnal life? Out of the body. The solution, however, is not something that is supposed to be inherently harmonious and uncontaminated with the reality itself. Can we really see something unique, exceptional, and even ‘exalted’ above this objective and spoiled reality? Precisely at the ‘exalted’ level we are left without reflection, distanced from the image; we cut off the relation. To garden plastic flowers. And, essentially, without touching, without a direct confrontation (which is not necessarily an encounter) with reality we lose orientation, or the image, and its substitute is but a delusion.

Art opens up the closed space of the gallery, it widens its empty space. Today there are hardly any fixed forms of the world left; they are continually in motion, modification, transformation, and man is no longer the “motive, substance, and measure” of forms (Homo mensura), for many cultural and civilisational forms, for example, exist not only for man (those amusing, strengthening, and delighting her/him), but also against her/him (those bigger and stronger than her/him, which can hurt or even kill her/him).

The body is the first world; experience originates in the body, and it is only made possible by the body. The body is not a closed world, but rather an open system depending on the circulation between the exterior and the interior. The boundary is blurred, interlaced, for the body is not something (internal) opposed to the external. Our inner world is turned outwards, and thus the outer world is also our inner world. Therefore, this shift does not occur merely in the gaze, but also in the body. Our experiences in the world are achieved and confirmed by their infinite and permanent confrontation, which takes place through the entire body. We are in the body and we come from the body. The embodiment is determined by birth. The body precedes the gaze; it is a kind of a huge perceptive organ with high sensitivity and accentuated sensibility. The sensation, of course, relates not only to the edge, or the limit, or the skin of the body; it is to be found in the entire body. Hence, the body is where man feels. And the body is where man is vulnerable. The body is also where there is sexual difference. Thus, the body is pleasure, pain, and enjoyment.