ZDRUŽBA 3

Glavne reference postavitve temeljijo na izmerjenih podatkih, ki sem jih pridobila tekom znanstvenega eksperimenta. Sam eksperiment se ukvarja z izolacijo organizmov iz okolja (sistema) in njihovim čisto fizičnim opisom (izgled ali morfologija). Organizme sem gojila tri mesece in jih vzdolž tedenske periode pobirala in osamila na gojišče in precepila do čiste kulture (da sem dobila genetsko enak organizem). Vsak organizem vsebuje torej svoj vpis v čas.

Ena od predpostavk, ki sem jo želela preveriti je bila, da so organizmi, ki so zrasli v enakem časovnem obdobju (prvi mesec) tudi morfološko med seboj bolj podobni, kot so podobni sevom iz druge časovne periode. Na vsaki plošči – (simulaciji petrijevke) je upodobljen eden od 180 različnih bakterijskih sevov. Vsak sev je opisan s 5 lastnostmi (barva, oblika, velikost, prozornost, površina). Za referenco sedaj nisem vzela originalnega seva, niti ne njegove slike, ampak samo pet lastnosti, ki smo jih izbrali glede na referenco opisano v članku Smiberta in Kriega, (1994). Potem sem glede na pestrost sevov ugotovila in določila nabor barv, razredov oblik, razredov velikosti, nabor transparentnosti kolonij in ugotovila 35 lastnosti, ki se pojavljajo med samimi izoliranimi bakterijami. Teh 35 lastnosti predstvlja eno vrsto v matriki, ki združuje 180 sevov. Za ugotavljanje podobnosti teh sevov sem potem uporabila program SPSS in metodo hierarhičnega združevanja. Ta metoda združuje v drevesne veje ali nekakšne gruče znotraj drevesa tiste seve, ki so si med seboj bolj podobni. Primerja vseh 5 lastnosti in računa razdalje na podlagi katerih se potem te seve uvršča v drevo. Oddaljenost vej med seboj v drevesu nekako pomeni tudi distanco med njimi. Ker ima vsak sev svoj vpis v čas, ta kot neodvisna spremenljivka nekako butne ven tudi na vrhu postavitve kot bel ali črn kvadratek, ki na vejici izrašča na vrhu označene bakterije, ki se nahaja v nekakšni simulaciji petrijevke. Spremenljivka je izražena kot bel  ali črn kvadratek, ki sta oznaki za dve različni časovni obdobji v katerih se je določen sev pač pojavil in ponazarja prisotnost seva v enem od dveh obdobij (znotraj treh mesecev). 

V postavitvi bom uporabila dva pogleda. Enega kjer je vseh pet lastnosti skupaj. Nosi jih krožna oblika, ki je prvotno mišljena kot bakterijska kolonija, hkrati pa je vrh palice, ki spominja na falus. Prebadala  bo drugo krožno obliko (simulacija petrijevke) in bo torej nosilka teh 5 lastnosti za katere smo se, glede na referenco odločili, da jih bomo opazovali. Na zgornjem kvadratu pa bo na vrhu – pogled, ki zaobsega in določa uvrstitev vseh teh lastnosti v en določujoč zakon. Ob straneh kvadratka pa bo vsaka stranica (vključno s spodnjo) nosilka ene od teh 5 lastnosti. Se pravi, da bo prej sintetičen pogled razcepljen na 5 ločenih lastnosti in povezan z eno določujočo (bela ali črna), kateri naj bi bile glede na našo predpostavljeno hipotezo podrejene – sedaj pa bodo na voljo in v vpogled gledalcu. 

Gre za konstrukcije krožničkov – (simulacija petrijevke narejena ročno iz porcelana), ki so okrogle oblike; palica oziroma veja in njena spojitev s simulacijo petrijevke pa nekako asocira na oploditev. Vendar je tok življenja že od spodaj prekinjen. Že sama izolacija od okolja vzpostavlja pogoje za konstrukcijo. Želela bi, da gledalec dojame, da se prekinitev z življenjem zgodi že, ko palica predre skozi pleksi steklo, oziroma še na nižjem nivoju. Skozi krožno obliko pa na tanjši vejici oziroma palčki poteka in izrašča – simulacija analitičnega pogleda. Na vrhu bo kvadratek, na katerem se vseh pet lastnosti, ki so prej skupaj loči na pet stranic – zgoraj na vrhnji ploskvi pa bo čas – hipoteza, ki naj bi po naši predpostavki določala celotno razporeditev organizmov v sistemu. Ta palčka poteka skozi debelejšo palico in nakazuje funkcijo semenovoda. S tem ko prehaja skozi pleksi steklo prav tako nakazuje na sterilizacijo, ki  je izvedena tako, da se preveže  semenovode. Delno naj bi to pomenilo da, ko zakodiramo organizem v času – mu določimo pozicijo in se odločimo kaj bomo opazovali – ga s tem na nek način naredimo neplodnega, hkrati pa ga fiksiramo – naredimo neminljivega. Če organizem ločiš od okolja, ga na nek način kastriraš. V bistvu cela skonstruirana združba stoji na tej spodrezani energiji – na mestu, ki omogoča prenos naprej v neskončnost, vendar pa se tukaj prekine. Kje se energija potrebna za nastanek življenja, ki pa je v bistvu že odmiranje – kje se to sklaplja in kje se vklaplja v večnost? Kje je točka, ki se jo ne da definirati, ki je lahko eno in drugo? Kdo ima nekako nadzor nad to točko? Kaj če je točka (ali prostor ali mesto) posredovana? Kajti do nje ne moremo več dostopati neposredno. Mesto kjer poteka izolacija iz narave je mesto, ki je točka prehoda. V tej točki lahko obstaja možnost obeh poti v neskončnost ali končnost – ko je ta točka definirana lahko govorimo samo še o posredovanosti, definiranosti, dokumentaciji. Ideja, ki pogojuje celotno strukturo združbe sega do same osnovne plošče življenja – to je plošče preživetja, razmnoževanja, povezanosti z življenjem samim. Nakazuje gradnje pozicije moči preko izkoriščanja osnovne energije, za vzdrževanje le teh pa je potrebnen nadzor nad  podstatjo, ki omogoča razmnoževanje. 

Skica, porcelan, pleksi steklo/Sketch, porcelain, plexi glass 2010

COMMUNITY 3

The main references of the layout are based on measured data that I obtained during a scientific experiment. The experiment itself deals with the isolation of organisms from the environment (system) and their purely physical description (appearance or morphology). I cultivated the organisms for three months and over a weekly period I picked them and isolated them on a culture medium and inoculated them to a pure culture (to obtain a genetically identical organism). Each organism therefore contains its own inscription in time.
One of the assumptions that I wanted to verify was that organisms that grew in the same time period (the first month) are also morphologically more similar to each other than they are similar to strains from another time period. On each plate – (simulation of a petri dish) one of 180 different bacterial strains is depicted. Each strain is described by 5 properties (color, shape, size, transparency, surface). For reference, I did not take the original strain, nor its image, but only five properties that we chose based on the reference described in the article by Smibert and Krieg, (1994). Then, based on the diversity of strains, I identified and determined the set of colors, shape classes, size classes, and transparency set of colonies, and identified 35 properties that occur among the isolated bacteria themselves. These 35 properties represent one type in a matrix that combines 180 strains. To determine the similarity of these strains, I then used the SPSS program and the hierarchical clustering method. This method combines those strains that are more similar to each other into tree branches or clusters within the tree. It compares all 5 properties and calculates distances based on which it then places these strains in the tree. The distance between the branches in the tree also somehow means the distance between them. Since each strain has its own entry into time, it, as an independent variable, also sticks out at the top of the layout as a white or black square, which grows on a branch on top of the marked bacteria, which is located in a kind of Petri dish simulation. The variable is expressed as a white or black square, which are labels for two different time periods in which a certain strain appeared and illustrates the presence of the strain in one of the two periods (within three months).

I will use two views in the layout. One where all five properties are together. They are carried by a circular shape, which was originally intended as a bacterial colony, and is also the top of a stick, which resembles a phallus. It will pierce the other circular shape (Petri dish simulation) and will therefore be the carrier of these 5 properties that we decided to observe, based on the reference. On the top square there will be a view that encompasses and determines the placement of all these properties in one determining law. Along the sides of the square, each side (including the bottom one) will be the carrier of one of these 5 properties. That is, the previously synthetic view will be split into 5 separate properties and connected to one defining one (white or black), which, according to our assumed hypothesis, should be subordinated – but will now be available and visible to the viewer.

These are constructions of saucers (a simulation of a Petri dish – made by hand from porcelain), which are round in shape; the stick or branch and its connection to the simulation of a Petri dish somehow associate with fertilization. However, the flow of life is already interrupted from below. The isolation from the environment itself establishes the conditions for the construction. I would like the viewer to understand that the interruption with life occurs when the stick breaks through the plexiglass, or even at a lower level. Through the circular shape, on a thinner branch or stick, it runs and grows – a simulation of the analytical view. At the top there will be a square on which all five properties that were previously together are separated into five sides – and above on the top surface there will be time – a hypothesis that, according to our assumption, should determine the entire arrangement of organisms in the system. This stick passes through a thicker stick and indicates the function of the vas deferens. By passing through the plexiglass it also indicates sterilization, which is carried out by tying off the vas deferens. This is supposed to partly mean that when we encode an organism in time – we determine its position and decide what we will observe – we make it infertile in a way, but at the same time we fix it – we make it infinite. If you separate an organism from its environment, you castrate it in a way. In essence, the entire constructed community stands on this undercut energy – in a place that allows transmission to infinity, but it is interrupted here.

The energy needed to start life, which is essentially already dying, where does this come together and where does it fit into eternity, where is the point that cannot be defined, which can be one thing and another. Who somehow has control over this point. What if the point (or space or place) is mediated? Because we can no longer access it directly. The place where isolation from nature takes place is the place that is the point of transition. At this point, there can be the possibility of both paths to infinity or finitude – when this point is defined, we can only talk about mediation, definition, documentation. The idea that conditions the entire structure of the association reaches back to the very foundation

MIKSER 2010

Tudi v tem delu jemljem za referenco podatke iz eksperimenta, ki sem ga izvedla v laboratoriju. Samo delo ima obliko pravokotne pokončne škatle, ki omogoča vstop gledalca vanjo in spominja na nekakšno halo ali prehoden prostor, hkrati pa omogoča tudi zaščito. Izgrajena je iz prozornih, gibljivih PVC – gumijastih trakov. Ponavadi se taki plastični gibljivi trakovi uporabljajo kot zaščitni trakovi pred prepihom, vetrom, kot zaščita v delovnih halah, hlevih, kot nekakšna bariera, meja, ki ščiti pred zunanjimi vplivi, hkrati pa je prehodna, prehodna tudi pogledu. 

Na vrhu škatle naj bi se v vrtelo štiristrano rezilo (podobno tistemu, ki se uporablja v mixerjih za sadje). Hitrost vrtenja okroglega rezila naj bi določala hipoteza o času – tromesečnem obdobju, ki je nasekano na 12 enakih delov.  V teh točkah smo v čas potegnili (zasledili smo njihovo pojavljanje na hranilnem gojišču) vse seve in jih s tem vpisali v čas. Dobili so svojo identifikacijsko številko. Celo združbo smo »pogledali« s štirimi različnimi metodami – se pravi s štirih različnih smeri ali očišč. Zanima me razmerje zunaj – znotraj t.i. hipoteze, ki bo šele postala zakon oziroma nad – ideja. Ideja, ki hkrati seka, reže in cefra, po drugi strani pa je krožna – kar naj bi opisovalo neko celoto. Združit v nek označitelj dve nasprotji se pravi združevanje, celostnost, neskončnost, ki pa se materializira tako, da se ta neskončnost nareže na delčke. Način rezanja na delčke pa določa hipoteza. Potem pa se ta narezan kaos izcedi preko igel v točno določene izmerjene entitete. Te so izpostavljene pogledu od zunaj in nekako opisujejo način gledanja v znanosti – od zunaj – objektivno gledanje. Kako subjekt lahko vstopa znotraj teh meritev – ki so nekako fiksno določene? Kako lahko prekinemo končnost in vstopamo znotraj procesa kjer se vrši prevod iz neskončnsti v končnost in kakšna je ta pozicija? Igle nekako asociirajo na odvzem, prenos, prevod tekočine – na nek tok, ki se zaustavi. Odvzem ali prevod se vrši preko fizičnega stika, bolečine. Prevod iz neizgovorljivega preko telesa prehaja iz gnetljive tekoče mase podatkov – katere delčki so narezani s hipotezo v fiksno točko v sistemu. Vse se vrši preko meritve in različnih metod, ki pokrivajo različna merilna območja. Ali je za utelešenje meritve vseeno potrebno telo – za prevod hipoteze – oziroma nadideje v merilne točke na zunajo stran?  Vendar je to povezano z bolečino pretoka – šele to potem omogoča ustavitev. Zanima me torej proces, ki se zgodi preden stvari fiksiramo, označimo in določimo. Kaj s tem naredimo in kako s tem omogočamo konstrukcijo sistema in kakšen vpliv ima to na sam subjekt izvajanja meritve. Kaj pomeni biti znotraj hipoteze? Kakšno paradoksalno pozicjo pravzaprav zavzemaš kot znanstvenik – po eni strani si izključen iz sistema katerega opisuješ, po drugi strani pa »trdno« verjameš v način kodiranja in način gledanja na svet – si miselno znotraj znanosti in paradigem s katerimi si pomagaš pri dekodiranju neznanega. 

Skica, PVC gumjasti trakovi, porcelan/Sketch, PVC rubber ribbons, porcelain, 2010

MIXER 2010

In this part, I also take as a reference the data from an experiment I conducted in the laboratory. The work itself has the shape of a rectangular upright box, which allows the viewer to enter it and resembles a kind of hall or transitional space, while also providing protection. It is made of transparent, flexible PVC-rubber strips. Usually, such plastic flexible strips are used as protective strips against drafts, wind, as protection in work halls, stables, as a kind of barrier, a border that protects against external influences, but is also transitory, transitory to the view.

A four-sided blade (similar to the one used in fruit mixers) is supposed to rotate at the top of the box. The speed of rotation of the round blade is supposed to be determined by the hypothesis of time – a three – month period, which is cut into 12 equal parts. At these points, we pulled all the strains into time (we tracked their appearance on the nutrient medium) and thus inscribed them in time. They received their identification number. We “looked” at the entire community with four different methods – that is, from four different directions or vantage points. I am interested in the outside – in relationship of the so-called hypothesis, which will soon become a law or super – idea. An idea that simultaneously intersects, cuts and divides, and on the other hand is circular – which is supposed to describe a whole. Combining two opposites into a signifier is called unification, integrity, infinity, which is materialized in such a way that this infinity is cut into pieces. The method of cutting into pieces is determined by the hypothesis. Then this cut chaos is squeezed out through needles into precisely defined measured entities. These are exposed to the view from the outside and somehow describe the way of seeing in science – from the outside – objective viewing. How can a subject enter into these measurements – which are somehow fixedly determined? How can we interrupt finitude and enter within the process where the translation from infinity to finitude is taking place and what is this position? Needles somehow associate with the withdrawal, transfer, translation of a liquid – to a flow that stops. The withdrawal or translation is done through physical contact, pain. The translation from the unspeakable through the body passes from the kneadable liquid mass of data – the particles of which are cut by the hypothesis to a fixed point in the system. Everything is done through measurement and various methods that cover different measurement areas. Is the embodiment of measurement still necessary for the body – for the translation of the hypothesis – or rather, transcendence into measurement points to the outside? However, this is related to the pain of flow – only then does it allow for stopping. So I am interested in the process that happens before we fix, label and define things. What do we do with this and how do we enable the construction of the system and what impact does this have on the subject of the measurement itself. What does it mean to be within the hypothesis? What a paradoxical position you actually take as a scientist – on the one hand, you are excluded from the system you describe, and on the other hand, you “firmly” believe in the way of coding and the way of looking at the world – you are mentally within the science and paradigms that help you decode the unknown.

ŠKATLA Z LUČMI 2010

Škatla s štirimi preluknjanimi stenami – luknje pozicije v  matrikah in sistemih kamor smo bakterije uvrščali. Podatki na škatli znotraj kroga so grobi, samo opisujejo stanje, ni pa znane povezave in “hipoteze”, ki bi jih določala. Kako nasekana ideja – od zunaj določa idejo znotraj in jo poveže preko svetlobe – tako, da prehaja skozi prevrtane nosilce podatkov – prav tako pa jo naredi spremenljivo in odvisno od časa. Na zunanjih nosilcih pa so nanešeni končni – podatki iz katerih lahko ugotovimo hipotezo, ki naj bi jih določala. Znotraj se posredni podatki – sence združijo v celoto, ki pa se spreminja glede na zunanjo hipotezo – ki je krožna a razdeljena na štiri dele – pred vsako od teh luči je tabla s podatki, in se vrti okrog same škatle na montiranem kovinskem obroču. Gre za odnos med originalom, ki preko sence daje svetlobo in šele ta potem omogoča združevanje v celoto.

Skica, steklo, porcelan, pleksi steklo/Sketch, glass, porcelain, plexiglass glass, 2010

BOX WITH LIGHTS 2010 A box with four perforated walls – the holes are positions in the matrices and systems where we placed the bacteria. The data on the box inside the circle are rough, they only describe the state, but there is no known connection and “hypothesis” that would determine them. How a chopped idea – from the outside determines the idea inside and connects it via light – so that it passes through the perforated data carriers – also makes it variable and dependent on time. On the outer carriers, the final data are applied – from which we can determine the hypothesis that is supposed to determine them. Inside, the indirect data – shadows are combined into a whole, which, however, changes according to the external hypothesis – which is circular but divided into four parts – in front of each of these lights is a data board, and it rotates around the box itself on a mounted metal ring. It is about the relationship between the original, which is given light via the shadow and only then allows the combination into a whole.

PANOJI 2010

V linearno – perspektivično postavitev so na panojih postavljene realne bakterije v petrijevkah iz mikrobne združbe, podobe istih bakterij, slike njihovega 16S rRNK gena in mikrotitrske plošče – prehranski testi (kaj te bakterije jedo). Znanost omogoča vpogled v prostor nevidnega in raziskuje subjekte v svetu, ki nam drugače ni dostopen. Podobe (realne okrogle petrijevke, ki tvorijo kvadrat so postavljene v obliki premičnega panoja (gor – dol), ki pa ga gledalec lahko prime in prestavi – montirana koleščka. Ker bi šlo za postavitev v kvadrat je prostor tvorjen tako, da so med krogi prazni prostori, kar opisuje način zajemanja – filtriranja resničnosti in razlaga način delovanja filtra. Filter je v bistvu hranilni gel, ki omogoči rast le okrog 1 – 5 % vseh bakterij iz tal in je na ta način selektiven, omogoča videnje le enega majhnega dela celote. Te petrijevke bodo združevane in postavljene v prostor na način kot sem ga uporabila v laboratoriju in je v bistvu zelo podoben perspektivičnemu gledanju. Gre za združbo bakterij, ki smo jo raziskovali v času pod določenim vplivom, ki smo ga izbrali mi. Torej bodo podobe bakterij razdeljene po sklopih. Tiste bakterije, ki so zrasle v času prej bodo sedaj v prostoru pred tistimi, ki so zrasle kasneje. Po sklopih bodo združevane pa glede na vpliv, ki smo ga izbrali mi (v tem primeru redčitev združbe). Tem bo sledil sklop slik teh istih bakterij – gre za dokument procesa v času.

Tem podobam bo sledil sklop slik bakterijskega gena 16S rRNK  (črne lise na beli podlagi) in slika sekvence tega gena (gen preberemo in na ta način določimo za kateri organizem gre – vprašanje identitete). To je v bistvu drugo okno v svet, ki ga samo z našimi čuti ne zaznamo in je na ravni ene same celice. Tudi ta vpogled bo predstavljen v obliki premičnega in pomičnega panoja; podoba pa bo tvorjena iz kvadratov – slik gelov, ki nam pod UV svetlobo omogočijo videti DNK molekulo. Tu je postavitev v obliki dokumentacije, saj smo ko smo hoteli dobiti DNK ene bakterije le to morali ubiti, da smo pridobili to informacijo. Ker pa se bakterije delijo s cepitvijo in so genetsko enake gre v bistvu za enake osebke, kot rastejo na gelu. Več kopij ene bakterije – kloni nam omogoča, da hkrati bakterijo ohranjamo živo, po drugi strani pa jo ubijemo in identificiramo in hkrati lahko vzporejamo več identitet enega osebka in celotne združbe.

Tretji sklop podob pa bodo tvorile mikrotitrske plošče na katerih je 30 substratov (30 različnih menijev – hrana). Postavitev bo podobno na panojih kot že druga dva sklopa. Dodan bo set slik dokumentacije procesa spreminjanja procesa razgradnje hranil v času (dalj časa kot je trajal proces, bolj so te plošče obarvane).

Zanima me problematiziranje znanstvenega označevanja. Podobe, ki bodo tu razstavljene namreč niso znanstveni dokument ampak nekako nerabni produkti, izločki znanosti. So podobe ki jih znanost skuša napraviti kar se da razvidne, da bi lahko na osnovi teh podob presojala resničnost samo. (Groys, 2004). Tem podobam tu umanjka referenčni okvir. Te podobe so vmesnik med realnostjo, ki nam ni dostopna s čuti in med poimenovanjem označevanjem teh podob, identifikacijo in uvrščanjem v klasifikacijske sisteme. Znanost namreč izbere del stvarnosti, ki ga bo preučevala in iz več različnih vidikov (trije pogledi – tri metode) in analizira ta delen pogled. Vrednost ali umeščanje teh podob doseže tako, da dobljeno informacijo – v našem primeru bakterije, ki jih ne poznamo opiše glede na znane kriterije in tem bakterijam pripiše vsem enake kategorije različnih atributov, ki potem omogočajo klasifikacijo teh osebkov v nek red. Klasifikacija in umeščanje se vršita glede na standarde ali pa baze podatkov, ki služijo kot referenčni okvir. Ko je ta del opravljen se teh podob ne rabi več, pomembni so samo še podatki, ki se jih potem interpretira glede na prej zastavljeno hipotezo.

Gledalec bo torej soočen s podobami, ki so nekako model ali filter realnosti in jo nekako zakrivajo.

Podobe bodo narejene tako da jih bo možno prestavljati in premeščati. Te podobe naj bi gledalec sam iz linearne perspektivične postavitve pripeljal v isto ravnino in iz teh fragmentov tvoril novo podobo, ki bo tvorjena s strani subjekta. Poudarek se iz objektivnega sveta prenese na nas in naša subjektivna merjenja (teorija relativnosti). Podobe, ki bodo vzporejane bodo izvzete iz linearnega časa.

Paneli skica, petrijevke, železni nosilci, plexisteklo/Sketch, layout in linear perspective, petridishes, iron beams, plexi glass, 2010

Paneli skica, petrijevke, železni nosilci, plexisteklo/Sketch, petridishes, iron beams, plexi glass, 2010

PANNELS 2010

In a linear – perspective layout on the panels, real bacteria in Petri dishes from the microbial community, images of the same bacteria, images of their 16S rRNA gene, and microtiter plates – nutritional tests (what these bacteria eat) are placed. Science provides insight into the space of the invisible and explores subjects in the world that are otherwise inaccessible to us. In the image (real round Petri dishes), which form a square and are placed in the form of a movable panel (up – down), which the viewer can grab and move – mounted wheels. Since it would be placed in a square, the space is created in such a way that there are empty spaces between the circles, which describes the method of capturing – filtering reality and explains the way the filter works. The filter is essentially a nutrient gel that allows the growth of only about 1 – 5 % of all bacteria from the soil and is thus selective, allowing the viewing of only one small part of the whole. These Petri dishes will be grouped and placed in space in the way that I used it in the laboratory and is essentially very similar to perspective viewing. It is a group of bacteria that we studied in time under a certain influence that we chose. So the images of the bacteria will be divided into groups. Those bacteria that grew in time before will now be in space in front of those that grew later. They will be grouped according to the influence that we chose (in this case, the dilution of the community). This will be followed by a set of these images of these same bacteria – it is a document of a process in time.
These images will be followed by a set of images of the bacterial gene 16S rRNA (black spots on a white background) and an image of the sequence of this gene (we read the gene and in this way determine which organism it is – a question of identity). This is essentially another window into the world, which we do not perceive with our senses alone and is at the level of a single cell. This insight will also be presented in the form of a movable and moving billboard; the image will be made up of squares – images of gels, which allow us to see the DNA molecule under UV light. Here the layout is in the form of documentation, because when we wanted to obtain the DNA of one bacterium, we had to kill it in order to obtain this information. However, since bacteria divide by fission and are genetically identical, these are essentially the same individuals as they grow on the gel. Multiple copies of one bacterium – clones – allow us to simultaneously keep the bacterium alive, on the other hand, kill and identify it, and at the same time we can we are comparing multiple identities of one individual and the entire community.
The third set of images will be made up of microtiter plates on which there are 30 substrates (30 different menus – food). The layout will be similar to the other two sets on billboards. A set of images documenting the process of changing the process of nutrient decomposition over time will be added (the longer the process lasted, the more colored these plates are).
I am interested in problematizing scientific labeling. The images that will be exhibited here are not scientific documents but somehow useless products, excretions of science. They are images that science tries to make as clear as possible so that it can judge reality on the basis of these images alone (Groys, 2004). These images lack a frame of reference. These images are the interface between reality that is not accessible to us through the senses and between naming and labeling these images, identifying and placing them in classification systems. Science selects a part of reality that it will study; and from several different perspectives (three views – three methods) and analyzes this partial view. The value or the placement of these images is achieved by describing the information obtained – in our case, bacteria that we do not know – according to known criteria and assigning the same categories of different attributes to these bacteria, which then allow the classification of these specimens in a certain order. Classification and placement are carried out according to standards or databases that serve as a reference frame. When this part is done, these images are no longer needed, only the data is important, which is then interpreted according to the previously set hypothesis.
The viewer will therefore be faced with images that are somehow a model or filter of reality and somehow obscure it.
The images will be made so that they can be moved and rearranged. The viewer himself should bring these images from a linear perspective arrangement to the same plane and create a new image from these fragments; which will be created by the subject. The emphasis is transferred from the objective world to us and our subjective measurements (theory of relativity). The images that will be paralleled will be taken out of linear time.

SITO 2011

Sistem in posameznik, ki ga obravnavam preko odnosa posameznika in napotnice (vzete iz našega zdravstvenega sistema) preko katere se vrši prevod. Napotnica je v tem primeru napotnica za pregled brisa materničnega vratu, kjer določiš stopnjo »okvare« celic. Višja kot je, večja je možnost, da nekdo zboli ali je že zbolel za rakom materničnega vratu.  Zanimajo me podatki, sistemi, določeni obrazci po katerih funkcionira družba, po katerih uokvirjamo naravo in telo in ji s tem omogočamo bivanje in dojemanje v našem obstoju. Zanima me, kako nekaj, kar uokvirja dojemanje – nek označitelj – v tem primeru napotnica, ki označuje neoznačljivo – se pravi mejo med življenjem in smrtjo postane nek skoraj absolutni določitveni medij skozi katerega sestopa neskončno v končno. Preko katerega dobiva obliko obstoja, hkrati pa ga tako določa, da mu nekako odvzema nedoločenost in se ga prezentira kot določeno in kot način dostopa do družbene moči. Ali obstajajo neodvisni podatki – tukaj je še večji problem, saj dejansko ne gre za podatke dobljene z merilnim inštrumentom, ampak za vizualno-slikovno informacijo (pridobljeno z instrumentom -mikroskop)? Ali so odvisni od osebe ali načina gledanja? Kako je bolečina telesa povezana z dojemanjem te ideje, ki te uokvirja in nekako zastira dostop do neskončnosti? Kaj pomeni biti ti tisti nosilec, izrezovalec in ločevalec, sito – presejalec rakavih podob in celic iz smrti v življenje? Sem sito, ki posredno preko očesa  lovi podobe smrti in jih shranjuje v svoje dele telesa, ki pa so ločeni in razdeljeni glede na napotnico. Se pravi, da če vstopaš med objektivno merilo in napravo za gledanje (mikroskop) kaj se dogaja s tabo in tvojim telesom in z nedoločljivim katerega gledaš? Če si med končnostjo in neskončnostjo in prevajaš in presejaš eno od drugega. 

Kot referenca bi služili že izbrani rakavi brisi nad sitom iz lateksa kot nek medij preko katerega skozi luknje – napotnico prehaja izven sistema v življenje ostali brisi pa ostajajo na situ in padajo skozi odprtine – diagnoze v človeške organe. Postanem na nek način nosilec podob smrti, ki so hkrati podobe večnosti. S svojim telesom jih lovim – preko pogleda v življenja, te pa se ugrezajo v meso. Rakave celice se delijo v neskončnost….neomejenost…Kako se zrcali referenca neskončnosti, ko pada čez, a ostane na situ…to sito pa sem jaz. Naj bi bil nekakšen avtoportret.

Kaj obesiti na rakave celice – brise da bodo postali končni, kako jih ustaviti – z izrezovanjem in s sevanjem…. da jih izrežeš z vidom…s svojimi očmi jih ločiš od smrti in skozi napotnico pošlješ v življenje. Sistematizirano izrezovanje podob iz kaosa v življenje s svojim organom — tvoje oko se preko mikroskopa loči od telesa,…Fizično pa potem telo nosi te podobe, ki so bile posredno izrezane. Nekaj neskončnega se ugnezdi vate, postaneš nosilec delov telesa (rakavih celic) tistih, ki so padli v življenje.

Rakave celice ne poznajo kontaktne inhibicije, ne poznajo urejanja v rasti, ne poznajo končnosti. Nekaj zunanjega – virus se vgradi v zapis celice in jo prisili, da dela po njegovem programu. Da množi njega. Nekaj »neživega« se vključi v živo in ga naredi smrtnega – ta meja, ko se to dogaja, pa je zelo nedefinirana.

Za postavitev bom vzela realno referenco- približno 2300 brisov in podatkov o ženskah, ki vstopajo v ta program in sem jaz pogledala njihove brise in 200 brisov, ki imajo diagnozo različnih stopenj predrakavih sprememb in služijo v inštalaciji kot referenca, kot podobe, ki so nad sitom in se odsevajo v njem…odsevajo v napotnici. Programiran si, da si zapomniš te podobe in ko vidiš podobno jih ločiš od smrti. Ne spustiš jih skozi sito. Sito je iz lateksa (lateksni trakovi), je umetno organsko, odprtine so diagnostične točke, točno določeni brisi pa pa lahko preidejo (glede na prej postavljeno diagnozo le točno določeno odprtino), ostali pa tudi glede na diagnozo le točno določeno odprtino, ki pa se konča kot vrečka v obliki odlitka mojega organa iz lateksa. Lateks asocira na neko mejo oziroma bariero, ki preprečuje nastanek življenja, se pravi da prehod preko tega medija omogoča vstop v življenje. Sama konstrukcija naj bi bila usmerjana z nekakšnim motorjem ali pa s posegom gledalca, ki bi omogočal tresenje in prerazporejanje in presejanje skozi sito. Nekaj zunanjega določa in omogoča gibanje.

Možna je tudi izdelava na način kanvasa. Da gledalec z uporabo tega sita – s skakanjem po sredini spravi celotno sito v pogon in v presejanje. Skok nekako simulira bitje srca – gre za krčenje in raztezanje in to potem poganja celotni stroj inštalacije, ki na ta način dobiva energijo, silo za to da se ločevanje brisov dogaja. Hkrati pa se skok človeka in premik brisov dogaja z zamikom. Ko pa se bris ustavi in prilagodi določeni diagnozi in pade skozi odprtino v določeno vrečko ni več na razpolago za ločevanje – ni več na meji življenja in smrti – diagnoza fiksira in odloča.

Skica, pleksi steklo, odlitki, ki simulirajo organe, lateks, na stekla s fuzijo prenšene slike brisov/Sketch, plexiglass, casts simulating organs, latex, images transferred to glass by fusion, swab

SIFE 2011

A system and an individual that I discuss through the relationship between an individual and a referral (taken from our health system) through which translation is performed. In this case, the referral is a referral for a cervical smear, where you determine the level of “damage” of the cells. The higher it is, the greater the chance that someone will get or has already gotten cervical cancer. I am interested in data, systems, certain forms by which society functions, by which we frame nature and the body and thereby enable it to have a kind of existence and perception in our existence. I am interested in how something that frames perception – a signifier – in this case a referral that marks the unmarkable – that is, the border between life and death – becomes an almost absolute determining medium through which the infinite descends into the finite. Through which it acquires a form of existence, while at the same time determining it in such a way that it somehow takes away its indeterminacy and presents itself as determined and as a way of accessing social power. Are there independent data – here is an even bigger problem, because it is not actually data obtained with a measuring instrument, but visual image information (obtained with an instrument – microscope), or does it depend on the person or the way of seeing? How is the pain of the body related to the perception of this idea that frames you and somehow obscures access to infinity. What does it mean to be that carrier, cutter and separator, sieve – sifter of cancer images and cells from death to life? I am a sieve that indirectly catches images of death through the eye and stores them in its parts of the body, which are separated and divided according to the referral. That is, if you enter between the objective measure and the viewing device (microscope) what happens to you and your body and the indefinable that you are looking at. If you are between finitude and infinity and you translate and sift one from the other.
The already selected cancer smears above the latex sieve would serve as a reference as a medium through which, through the holes – referral, it passes outside the system into life… the other smears remain on the sieve and fall through the openings – diagnoses into human organs. I become in a way a carrier of images of death, which are at the same time images of eternity. I catch them with my body – through a look into lives and these sink into the flesh. Cancer cells divide into infinity….limitlessness… how the reference to infinity is reflected when it falls over, but remains on the sieve… and this sieve is me… it should be a kind of self-portrait.
What to hang on cancer cells – smear so that they become final, how to stop them – by cutting and with radiation…. to cut them out with vision… with your eyes you separate them from death and send them through the referral into life. Systematized cutting of images from chaos into life with your organ – your eye is separated from the body through a microscope, and then physically the body carries these images that were indirectly cut out. Something infinite nestles within yoo. You become the bearer of body parts (cancer cells) of those who have fallen into life.
Cancer cells do not know contact inhibition, they do not know regulation in growth, they do not know finitude. Something external – a virus – is built into the cell’s record and forces it to work according to its program. To multiply it. Something “non-living” is incorporated into the living and makes it mortal – this boundary, when this happens, is very undefined.
For the installation, I will take a real reference – approximately 2300 smears and data on women who enter this program and I looked at their smears and 200 smears that have a diagnosis of various stages of precancerous changes and serve in the installation as a reference,… like images that are above the sieve and are reflected in it… reflected in the referral. You are programmed to remember these images and when you see something similar, you separate them from death. You do not let them through the sieve. The sieve is made of latex (latex strips), it is artificially organic, the openings are diagnostic points, and specific smears can pass through (based on the previously established diagnosis, only a specific opening), and the rest, also based on the diagnosis, only a specific opening, which ends up as a bag in the form of a cast of my organ made of latex. Latex associates with a certain border or barrier that prevents the emergence of life, that is, the passage through this medium allows entry into life. The construction itself is supposed to be directed by some kind of motor or by the intervention of the viewer, which would enable shaking and rearranging and sifting through the sieve. Something external determines and enables movement.
It is also possible to make it in the manner of a canvas. That the viewer, by using this sieve – by jumping in the middle, puts the entire sieve into motion and into sifting. The jump somehow simulates the heartbeat – it is about contraction and expansion and this then drives the entire installation machine, which in this way receives energy – force for the separation of the swabs to occur. At the same time, the jump of the person and the movement of the swabs occur with a delay. But when the swab stops and adapts to a certain diagnosis and falls through the opening into a certain bag, it is no longer available for separation – it is no longer on the border of life and death – the diagnosis fixes and decides.

STRAŽARJA 2011

Stena- rakavi geni

Na steni oziroma vratih bo sistem drevesa genov p53 in rb- gatekeeper in caretaker, ki nosita ključno vlogi v regulaciji celičnega cikla. Njuno pravilno delovanje zagotavlja normalno podvajanje celice. Če njuno delovanje odpove – mehanizem varovanja, potem se celica lahko nemoteno deli. To pomeni, da nastopi dovolj mutacij v teh dveh genih, da postane celica rakava. Slovenski prevod za imena teh dveh genov bi bila nekako popravljalec in zadrževalec. V znanosti se ponavadi riše drevesa teh genov – ki so med seboj oddaljeni glede na število mutacij v enem ali drugem genu. Da je risanje teh dreves sploh možno pa se predpostavlja enoten izvor genov, ki stojijo na meji v neskončnost. Uporabila bi že nekako narejeno drevo in izgradila nekakšno montažno plezalno steno (kot se ponavadi uporabljajo za trening prostega plezanja v sobnih prostorih). Sistem naj bi fizično omogočal plezanje…menjanje in iskanje ustrezne pozicije do vrha (znotraj že postavljenega sistema oz. smeri). Gre za neke vrste utopijo, neke vrste smer, ki je delno odvisna od meritve, delno pa od gledalčevega posega, delno pa od predpostavke, da imajo geni enoten izvor, enoten začetek in da so razlike med njimi posledica mutacij. Po drugi strani pa te mutacije te gene lahko tako spremenijo, da ne ščitijo več prehoda v neskončnost, ampak omogočajo, da se celice neomejeno delijo, kar pa za organizem pomeni smrt. Gre torej za združevanje dveh paradoksov.. Meja,..pot v neskončnost,..oziroma simulacija te poti…je odprta. Gre torej za združitev oziroma pokrivanje dveh pogledov – enega z drugim, da lahko potem iščemo točko svobode…ali pot do utopije. Točke kjer lahko s ponavljanjem ali konstruiranjem svojih dejanj postavljam nove poti, ki niso določene, ki so samo subjektivne znotraj že določene objektivnosti. Funkcija omenjenih genov iz katerih bo konstruirana plezalna stena oziroma filogenetsko drevo, ki služi kot plezalna stena  asocira na kerube oziroma nekakšne nebeške stražarje, ki stojijo pred vhodom v nebesa. Z variacijo znotraj primerjav teh genov lahko prebijemo sistem…s svojo subjektivnostjo in s konstrukcijo nove znotraj že obstoječe. 

Stena, skica postavitve, porcelan/Wall, sketch of the layout, porcelain 2011

GUARDIANS 2011

Wall – cancer genes

On the wall or gate will be a system of gene trees p53 and rb – gatekeeper and caretaker, which play a key role in regulating the cell cycle. Their proper functioning ensures normal cell replication. If their functioning fails – the protection mechanism, then the cell can divide unhindered. This means that enough mutations occur in these two genes for the cell to become cancerous. The Slovenian translation for the names of these two genes would be somehow repairer and retainer. In science, trees of these genes are usually drawn – which are distant from each other according to the number of mutations in one or the other gene. In order for these trees to be even possible, it is assumed that there is a single origin of genes that stand on the border of infinity. I would use a tree that has already been made and build some kind of prefabricated climbing wall (like those usually used for free climbing training indoors). The system is supposed to physically enable climbing…changing and finding the appropriate position to the top (within the already established system or direction). It is a kind of utopia, a kind of direction that partly depends on measurement, partly on the viewer’s intervention, partly on the assumption that genes have a single origin, a single beginning and that the differences between them are the result of mutations…but on the other hand, these mutations can change these genes in such a way that they no longer protect the transition to infinity, but allow cells to divide indefinitely, which for the organism means death. So it is a combination of two paradoxes. The border,..the path to infinity,..or the simulation of this path…is open. So it is a combination or covering of two views – one with the other, so that we can then search for a point of freedom…or the path to utopia. Points where, by repeating or constructing my actions, I can set new paths that are not determined, that are only objective within an already determined subjectivity. The function of the aforementioned genes from which the climbing wall or phylogenetic tree that serves as a climbing wall will be constructed is associated with cherubs or some kind of heavenly guards who stand in front of the entrance to heaven. By varying within the comparisons of these genes, we can break through the system…with our subjectivity and by constructing the new within the already existing one.

RAČJI DVOR – PREDSTAVITEV PROJEKTA 2025

Projekt se navezuje na obnovo in revitalizacijo Račjega dvora.
V postavitvi bo uporabljenih več materialov. V vidoprojekciji/mappingu na fasado bo uporabljena arhitekturna zgodovina dvorca, ki bo vizualno predstavljena kot shematizirane in ilustrirane risbe v ilustratorju, vmes pa bodo vključki rasti, narave, živali in biotske raznovrstnosti. Biotska raznovrstnost govori o tem koliko vrst je v določenem habitatu in opisuje kako so povezane med sabo in kaj počnejo. Pomeni nekako povezavo organizma z njegovim okoljem. Tukaj je krajina spremenjena in naseljena in vrste so se prilagodile na stavbne in kulturne elemente. Povezovala se bosta trdno statično z naravnim in dinamičnim, preteklost s prihodnostjo. Za videoprojekcijo bodo narejeni skeni in mapiranja arhitekturnih načrtov in zgodovine in grafično stilizirani, vmes bodo inserti biodiverzitete, ki oživljajo to arhitekturo (dvoživke, plazilci, čebele, opraševalci, netopirji). Ti bodo predstavljeni z znanstveno ilustracijo, ki bo vključena v arhitekturo in arhitekturne detajle – kot možnost razviti majhna zatočišča za živali znotraj dvorca. Video bo zvočno opremljen delno z zvoki iz okolice in delno z zvoki živali, ki bodo ali že naseljujejo dvorec. Video bo sestavljen iz posameznih grafik, znanstvene ilustracije, mapiranja kartografije in favne, in delno posnetkov dvorca, ki mu bodo vizualno dodane živali, umetnost in arhitekturni elementi. Projiciiran bo na samo zgradbo dvorca kot videomapping (3d tehnika).
V kiparskem delu bodo izdelana bivališča iz porcelana, ki bodo asociirala ali imela vizualne elemente oken, vrat, portala iz dvorca (3d print porcelana, ročna izdelava). Za žabe in dvoživke bodo izdelani porcelanasti ribniki višine cca 10 cm, premera 50 cm in debeline cca 1 cm. Ribniki bodo ročno izdelani in nepropustni za vodo. Za zgornji del ribnika bo izdelan pokrov, ki bo pokrival nekje 75 % ribnika z namenom zaščite in opazovanja. Izdelan bo s pomočjo kalupa kamor bom naložila kose stekla, ki se potem zatalijo po obliki, vanj bodo vgravirani motivi žab, mresta in del arhitekture z vizualno komaj opazno belo barvo in samo na robovih. Za netopirje bodo izdelane netopirnice iz porcelana z vgradnjo nekaj značilnih arhitekturnih
elementov iz Račjega dvora. Netopirnice se potem obesi po stavbi – prilagojene bodo obliki dvorca in se bodo vklapljale v arhitekturo (porcelan je trpežen iz vzdržen material, ki je ko je žgan nepropusten za vodo). Prav tako s svojo belino sovpada z arhitekturnimi elementi fasade, tako, da vizualno dopolni fasado.
Prav tako bodo izdelani prebivališča za čebele (divje) in pitniki za čebele (3d print). Prebivališča bodo prav tako izdelana iz porcelana (ročna izdelava + kalup), vanje pa bodo potem vnesena rastlinska stebla kamor se lahko naselijo divje čebele.
Z izdelavo teh bivališč želim povezati dejansko arhitekturo in nadgraditi dvorec z estetskimi elementi, ki služijo kot bivališča za biološke vrste.
Cilj projekta je oživiti dvorec vizualno in ga nadgraditi s porcelanastimi elementi, ki omogočajo sobivanje lokalne biodiverzitete znotraj same arhitekture. Namen je, da so vizualno izčiščeni, se vklapljajo v arhitekturo in da tam vsaj nekaj časa ostanejo, zato taka izbira materiala.
V te porcelanaste hišice bi vizualno vnesla določene arhitekturne posebnosti, ki so me pritegnile (bela klasicistična okna, portal vrat, oken,…). Porcelan bi delno vlivala, delno ročno oblikovala, delno pa bi uporabila tehniko 3D printanja, če bo to potrebno.
V okolici dvorca – v prostor kjer je namenjen zasaditvi je namen zasaditi 12 trt, ki bodo obdana s steklenimi obroči, ki simbolizirajo vinorodno tradicijo. Kot neke vrste projekcija v prihodnost, ko je trta že pretvorjena v vino in grozdje obrano, vmes pa služi kot vizualni element, ki ščiti, hkrati pa simbolizira čistost, pretočnost, vodo in zrak in svetlobo. Krožni elementi bodo izdelani iz stekla s pomočjo tehnike izgubljenega voska, široki cca. 50 cm, debeli 5 cm in visoki cca 25 cm. Steklene kiparske skulpture bodo narejene iz prosojnega stekla. Steklo kot material, kot posoda za pitje, kot vizualni element, ki ščiti rastlino hkrati pa že namiguje na njeno uporabo v prihodnosti. Delno bodo posnemala krožno obliko kupe ali kozarca. Stekleni elementi povezujejo hkrati tako tla z zrakom in soncem kot virom svetlobe, ki jo hkrati lomi in ojača. Navezujejo se na Vrbanski plato z otokom in oskrbo s pitno vodo. Steklo vsebuje elemente, ki asociirajo tako na svetlobo kot na zrak in vodo (odblesk stekla asociira na kristalno čisto vodo), njegova prosojnost in masivnost daje trti zaščito, hkrati pa dovoljuje soncu in vodi, da tako vizualno kot direktno prideta do trte.
Steklene skulpture bodo precej masivne. Najprej je namen, da izstopajo in vizualno poudarjajo trto okrog katere so nameščene, drugo pa je, da so kljub krhkosti materiala trajne. Steklo asociira na vinorodnost pokrajine in ponovno revitalizacijo okolice z zasaditvijo trte. Obroč nekako simbolizira kupo ali čašo, kamor je vino pretočeno.
Projekt želi povezati različne materiale, različne tehnike, hkrati pa povezuje zgodovino dvora z njegovo oživitvijo prav preko umetnosti, narave, živali in hkrati postaja mesto sobivanja tako živali, ljudi, umetnosti in učenja. Ekologija kot veda preučuje odnos med organizmom in okoljem, kako se med seboj povezujeta, kako sprememba v številu vrst vpliva na okolje in sorodne vrste. Biodiverziteta je pojem, ki opisuje število vrst v samem habitiatu (to je kraj kjer so vrste naseljene). Lahko se jo opiše s številskimi parametri. Video bo tako opremljen oceno in izračunom števila vrst in projekcijo kako se bodo te vrste množile v prihodnosti (štetje živali, ki bivajo v teh habitatih). Tako se predstavi tudi znanstveni model spremljanja vrst v okolju in se ga vizualizira – vizualizacija podatkov. Za štetje in oceno živali obstaja posebna formula izračuna biodiverzitete. Tako lahko ta bivališča služijo tudi učenju in dejanskemu spremljanju števila vrst v okolju in oceni ali je cilj s temi bivališči dosežen. Projekt želi nekako z
umetniškimi elementi nadgraditi že dano kulturno krajino, za to da se ohranja in povečuje število ogroženih vrst (netopirjev, plazilcev, čebel, žab,…). Hkrati pa vizualno bogati krajino. Porcelanaste bivalne enote delujejo kot kiparski objekt, ki pa ima uporabno funkcijo in je tako nekje vmes med skulpturo, arhitekturo in dejanskim bivališčem. Če bo potrebno bo porcelan nadgrajen s steklom z namenom delne zaščite oziroma opazovanja živali pri njihovem bivanju. Skulpture so namenjene tudi temu, da služijo kot učni objekt za opazovanje za otroke, šolarje in obiskovalce ne da bi s tem bila motena njihova funkcija bivanja.

RAČJI DVOR — PRESENTATION OF THE PROJECT

The project is related to the renovation and revitalization of Račji dvor.

Several materials will be used in the installation. The video projection/mapping on the facade will use the architectural history of the mansion, which will be visually presented as schematized and illustrated drawings in Illustrator, with inserts of growth, nature, animals and biodiversity in between. Biodiversity talks about how many species are in a certain habitat and describes how they are connected to each other and what they do. It somehow means the connection of an organism with its environment. Here, the landscape has been changed and inhabited, and species have adapted to building and cultural elements. They will be firmly connected statically with the natural and dynamically, the past with the future. For the video projection, scans and mappings of architectural plans and history will be made and graphically stylized, in between there will be inserts of biodiversity that bring this architecture to life (amphibians, reptiles, bees, pollinators, bats). These will be presented with a scientific illustration that will be included in the architecture and architectural details – as a possibility to develop small shelters for animals inside the castle. The video will be equipped with sound partly with sounds from the surroundings and partly with sounds of animals that will or already inhabit the castle. The video will consist of individual graphics, scientific illustrations, mapping of cartography and fauna, and partly footage of the castle, to which animals, art and architectural elements will be visually added. It will be projected onto the castle building itself as videomapping (3D technique).

In the sculptural part, dwellings will be made of porcelain that will associate or have visual elements of windows, doors, portals from the castle (3D print of porcelain, handmade). For frogs and amphibians, porcelain ponds will be made, approximately 10 cm high, 50 cm in diameter and approximately 1 cm thick. The ponds will be handmade and waterproof. A lid will be made for the upper part of the pond, which will cover about 75% of the pond for the purpose of protection and observation. It will be made using a mold where I will place pieces of glass, which will then be melted to shape, and motifs of frogs, spawning grounds and parts of architecture will be engraved in it with a visually barely noticeable white color and only on the edges. For bats, porcelain bat houses will be made with the installation of some characteristic architectural elements from Račji dvor. The bat houses will then be hung around the building – they will be adapted to the shape of the mansion and will fit into the architecture (porcelain is a durable and sustainable material that is waterproof when fired). It also coincides with the architectural elements of the facade with its whiteness, so that it visually complements the facade.

Habitats for bees (wild) and drinking troughs for bees (3d print) will also be made. The habitats will also be made of porcelain (handmade + mold), and plant stems will then be inserted into them where wild bees can settle.

By making these habitats, I want to connect the actual architecture and upgrade the mansion with aesthetic elements that serve as habitats for biological species.

The goal of the project is to visually revive the mansion and upgrade it with porcelain elements that allow the coexistence of local biodiversity within the architecture itself. The intention is that they are visually purified, fit into the architecture and that they stay there for at least some time, hence the choice of material.

I would visually introduce certain architectural features that attracted me to these porcelain houses (white classicist windows, portal of doors, windows, …). The porcelain would be partly cast, partly hand-shaped, and partly 3D printed if necessary.

Around the mansion – in the area where it is intended to be planted – the intention is to plant 12 vines, which will be surrounded by glass rings that symbolize the wine-growing tradition. As a kind of projection into the future, when the vine has already been turned into wine and the grapes have been harvested, in the meantime it serves as a visual element that protects, but also symbolizes purity, fluidity, water and air and light. The circular elements will be made of glass using the lost wax technique, approx. 50 cm wide, 5 cm thick and approx. 25 cm high. The glass sculptures will be made of transparent glass. Glass as a material, as a drinking vessel, as a visual element that protects the plant while also hinting at its use in the future. They will partly imitate the circular shape of a cup or glass. The glass elements connect the ground with the air and the sun as a source of light, which both refracts and amplifies it. They are linked to the Vrbanski plateau with the island and the drinking water supply. The glass contains elements that associate both light and air and water (the reflection of the glass associates it with crystal clear water), its transparency and massiveness provide protection for the vine, while at the same time allowing the sun and water to reach the vine both visually and directly.

The glass sculptures will be quite massive. First, the intention is to stand out and visually emphasize the vine around which they are placed, and secondly, they are durable despite the fragility of the material. The glass associates the wine-producing landscape and the revitalization of the surroundings with The ring somehow symbolizes the cup or goblet into which the wine is poured.

The project aims to connect different materials, different techniques, and at the same time connects the history of the court with its revival through art, nature, animals, and at the same time becomes a place of coexistence for animals, people, art, and learning. Ecology as a science studies the relationship between organisms and the environment, how they connect with each other, how changes in the number of species affect the environment and related species. Biodiversity is a concept that describes the number of species in the habitat itself (that is, the place where species are inhabited). It can be described with numerical parameters. The video will thus be equipped with an estimate and calculation of the number of species and a projection of how these species will multiply in the future (counting animals living in these habitats). Thus, a scientific model of monitoring species in the environment is also presented and visualized – data visualization. There is a special formula for calculating biodiversity for counting and assessing animals. Thus, these dwellings can also serve as a learning and actual monitoring of the number of species in the environment and assess whether the goal of these dwellings has been achieved. The project wants to somehow upgrade the existing cultural landscape with artistic elements, in order to preserve and increase the number of endangered species (bats, reptiles, bees, frogs, …). At the same time, it visually enriches the landscape. The porcelain dwelling units act as a sculptural object, which has a useful function and is therefore somewhere in between sculpture, architecture and actual dwelling. If necessary, the porcelain will be upgraded with glass for the purpose of partial protection or observation of animals in their habitat. The sculptures are also intended to serve as a learning object for observation for children, schoolchildren and visitors without disrupting their function as a dwelling.