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SREBRNE RASTNE KRIVULJE 2015
Zanima me način znanstvenega gledanja in jezika, kako reprezentirata realnost in kaj skušata postaviti kot standardizirano točko gledanja – točko, kjer je sporazumevanje mogoče in globalizirano. Srednja črta reprezentira aritmetično sredino, točke vmes pa vpoglede v realnost, ki se ne nanašajo nujno na resnico, so pa opisane kot numerično ustrezne. Napaka je določena z odklonom od sredine. Ukvarjam se s preddoločenim standardom – načinom statističnega gledanja – meritvijo, ki trikrat seže v merilno območje in dobi povprečno vrednost. Povezano je s politiko določanja standarda in se nanaša na Duchampovo delo Three standard stoppages – tri nitne enote, kjer Duchamp vzame enoto za meter.1 Za postavljanje rastnih krivulj sem uporabila svojo hipotezo o rasti bakterij v 3-mesečnem časovnem obdobju. Hipoteza služi kot neki nadomestek ideologije, ki omogoča ukalupljanje živega in njegovo umestitev v sistem, kjer je lahko nadzorovano. Izbrane so rastne krivulje DNB2 gojišča, ki se ukvarjajo s tem, kako simulirati ta odnos med živim in neživim, med mehansim in nemehanskim, kako postaviti model rasti bakterij v določenem časovnem obdobju. Hipoteza3 kot neviden sinonim zame kot opazovalca, ki jih razporejam v prostoru.
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Zame, ki predpostavljam, da vem, kako razporejati, postaviti, izbrati, indeksirati, vpoklicati v življenje, mapirati. Hkrati pokazati tudi mesto opazovalca, ki nikoli ne more zaobjeti neizgovorljivega – mesta med jezikom in svetom. Živo kot sinonim za merjeno entiteto, ki jo premeščamo znotraj sistema glede na hipotezo, ki pa je na določen način realna, je bila potrjena kot statistično značilna, če gledamo z očmi empiricista, pa je le empirično ustrezna. Želim vzpostaviti sistem, ki hkrati ponazarja in problematizira sistem postavitve, hkrati pa skušam vzpostaviti sistem, kjer obstajajo točke svobode, ki niso odvisne od ideološke oznake.Temelji na statistiki, nadzoru, beleženju, po drugi strani pa ima v sebi neko nepredvidljivost. Sam sistem izhaja, hkrati pa nekako računa na sukcesijo združbe (v tem primeru bakterij), na ponovno vzpostavljanje razmerij, ta razmerja pa se stalno rušijo in na novo vzpostavljajo. Odseva razmerja moči in prikazuje boj za vidno, boj za prevlado nad točko, ki naj ne bi bila določena. Sistem, ki je v ravnotežju z okolico, je mrtev sistem – se pravi je zmeraj nekje vzpostavljeno razmerje moči – na eno ali drugo stran. Napetost in razlika med enim in drugim polom je osnova za črpanje energije (princip baterije). Napetost je pozitivna, neravnotežje, ki se vzpostavlja omogoča proizvodnjo svetlobe, energije, življenja. Vsaka od ploščic se na določen način tej indeksaciji izmika. Gledalec pa je tisti, ki to logiko lahko popolnoma pretrga, celo tako, da se predre mesto fiksacije. Nasprotje med nosilcem (klasifikacijske sheme) in >živim< obstaja v naših glavah, ki prepoznavajo neznano glede na znano, tukaj pa identifikacija spodleti. Točke, ki prikazuje sredino izmerejene vrednosti so prikazane kot točke – delci, hkrati pa kot svetloba – led dioda – valovi – saj hočem doseči dvojni značaj tam, kjer je le-ta prikazan kot en sam. Hočem pokazati, da je prisiljenost v standardizirano4 gledanje nekaj dogovorjenega, kar je le empirično adekvatno, v dejanskih poskusih ali v vsakdanjem življenju pa se standard le redko ponovi, zato se ukvarjam z odklonom od standarda in v njem iščem prostor, kamor gledalec lahko poseže in hkrati tudi spreminja samo strukturo grafa in neposredno vpliva na srednje vrednosti, ki bodo reprezentirane s subjektivnim, z odmikom od srednje vrednosti – napako.Gledalčev poseg v sistem je dojet kot tisti pogled, ki povzroči, da se val pretvori v delec in povzroči dekoherenco – sklopitev več možnih kvantnih stanj (so v superpoziciji) na eno samo – in s tem ustvarjanje ideologije, vendar vsakič drugačne – odvisne od gledalca. Hkrati pa bo gledalec s posegom v že izmerjeno strukturo preko prevodnega porcelana (ki hkrati odseva gledalca, saj gre za srebrno zrcalo) vnesel nove podatke in s tem razbil že preddoločen pogled. Porcelan je uporabljen za reprezentacijo napake krivulj različnih redčitev. Redčenje5 je bilo v eksperimentu uporabljeno kot nevtralni dejavnik, preko katerega določimo struktro združbe. V instalaciji pa različne redčitvene krivulje delujejo kot reprezentacija delov družbe, ki razslojuje ter izloča manj številne in reprezentativne. Tiste, ki jih je v združbi največ, ostanejo po več redčitvah še prisotne na ploščah. Po karakteristikah, ki smo jih določili, so to r- strategisti⁶ in K – strategisti⁷ Porcelanaste ploščice so naparjene s srebrnim zrcalom (Tollensov test⁸), so biosensor in naj bi prevajale signal, ki ga z dotikom uvede gledalec, s tem pa vplivale na led diode, ki predstavljajo število bakterij v časovni skali meritve treh mesecev. Za posrebritev in ustvarjanje zrcala bom uporabila srebrov nitrat (HNO3 – dušikova V. kislina) amonijak (NH3) in sladkor. Srebrov nitrat bom dobila z raztapljanjem srebrnega⁹ kovanca Silver Eagle.¹⁰ Z raztapljanjem v HNO₃ nekako povzročim razpad simboličnega standarda, ki reprezentira ekonomsko moč zahodne družbe. Kot navajam, je postal kovanec nedostopen za nakup avgusta 2008 pred začetkom recesije. Rastne krivulje pa prikazujejo rast bakterijske združbe, preden se je ta rast ustavila in postala negativna.¹¹ Ključ pri tem, kar postane vidno je, kakšen je bil na začetku vir energije in kakšna združba se ustvarja v povezavi s točno določenim virom energije (srebro in maščoba kot zaloga družbe ali telesa),
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kakšna je podlaga, na katerem se vidno kaže in kakšno merilno območje opazovanja se pri tem uporabi. ¹Ki je bila določena v Parizu leta 1889. ²DNB – dilluted nutrient broth – razredčena hranilna brozga. ³Predpostavili pa smo, da so si hitreje rastoče bakterije med seboj bolj podobne, kot pa tiste, ki se na trdnem gojišču uspejo pojaviti po dveh ali treh mesecih. Se pravi, da se bodo v času projicirale nove in nove entitete. Hipoteza je uporabljena z namenom kodiranja in časovnega razvrščanja projektov, nakazujoč neke vrste evolucijo – linerno branje in umeščanje projektov in določanje njegove pozicije v sistemu. ⁴Če v znanstvenem članku ne uporabiš standardizirane metode ali testa, je le-ta manj objavljiv (s tem si prisiljen v nakup točno določenega testa točno določenega proizvajalca).⁵Rima B. Franklin., Jay L. Garland, Carl H. Bolster, Aaron L. Mills, Impact of Dilution on Microbial Community Structure and Functional Potential: Comparison of Numerical Simulations and Batch Culture Experiments APPLIED AND ENVIRONMENTAL MICROBIOLOGY, 2001 Feb. 2001, str. 702-712 Vol. 67, Št. 2: Na koncu v najvišjih redčitvah ostanejo v združbi najbolj pogosti organizmi, ker je večja verjetnost, da se z redčenjem odstranijo tisti organizmi, ki jih je v združbi manj. ⁶S hitro rastjo in razgradnjo enostavnih sladkorjev (glukoze) in hitrim razmnoževanjem. So oportunisti in so bolj značilni za nestabilna okolja. ⁷Bi lahko opisali s počasno rastjo, številčno manj potomci in nižjo zastopanostjo v združbi, čeprav verjetno opravljajo za ekosistem pomembne procese. ⁸Se uporablja za ločitev aldehidov in ketonov. Srebrno zrcalo nastane le, če ni ketonov – ki so produkt (v telesu) ketoacidoze. So vrsta kisline, ki nastaja pri presnovi oziroma razgrajevanju telesne maščobe. Presnova maščob se začne, kadar v telesu ni na voljo dovolj glukoze, aldehidi pa nastanejo z oksidacijo alkoholov. Zagotavlja zalogo za preživetje, hkrati pa služi kot skladišče za strupe, ki na ta način ne škodijo telesu. file:///C:/Users/Mojca/Downloads/KineticsofSilverDissolutioninNitricAcidfrom-doi- 10.3321j.issn1005-0302.2006.05.025.pdf 9Medtem ko srebro simbolizira čistost (verjetno obstaja povezava z njegovo protimikrobno aktivnostjo (Woo Kyung Jung, Hye Cheong Koo, Ki Woo Kim, Sook Shin, So Hyun Kim, Yong Ho Park, Antibacterial Activity and Mechanism of Action of the Silver Ion in Staphylococcus aureus and Escherichia coli, Applied and Environmental microbiology, 2008, str. 2171-2178 Vol. 74, Št. 7) in prevodnost (http://www.lehigh.edu/~amb4/wbi/kwardlow/conductivity.htm, prav tako simbolizira možnost, da si hkrati pokvarjen in čist (za razliko od zlata, ki je popolna kovina), saj v kontaktu s sulfidi nastanejo madeži. Navezuje se na svet korporacij in na pozicije moči. 10http://www.apmex.com/category/22100/silver-american-eagles, http://en.wikipedia.org/wiki/American_Silver_Eagle: pregledano 3.2. 2015: Do leta 1964 je bila večina kovancev srebrnih. Vezava valute na zlato osnovo se je umaknila leta 1971 in s tem se je tudi srebro začelo umikati kot monetarna kovina. V 70. in 80. letih je tako ZDA ostajalo veliko srebra (od kovancev), ki so ga plasirale kot naložbene kovance. Silver eagle – ameriški naložbeni srebrnik za 1 unčo z nominalno vrednostjo 1 dolar in 99 % čistostjo. Na srebrniku je updobljena Lady Liberty zavita v ameriško zastavo, hkrati pa je na isti strani še napis In god we trust. Na drugi strani pa je orel in 13 zvezdic, ki predstavljajo prvotne kolonije. V eni nogi nosi oljčno vejico v drugi pa puščice in naj bi simboliziral predsednika ZDA, ki odloča o vojni in o miru. Kot rezultat globalne recesije je zahteva investitorjev za naložbenimi kovanci poskočila. V marcu 2008 se je prodaja teh kovancev povečala za 9 x (iz 200.000 na 1.855.000). Avgusta 2008 ni bil več na voljo za nakup. Septembra 2008 pa je izbruhnila recesija. ¹¹Septembra 2008 – trend ekonomske stagnacije. Krivulje govorijo o času pred tem zlomom.

SILVER GROWTH CURVES 2015

I am interested in the way of scientific vision and language, how they represent reality and what they try to establish as a standardized point of view – a point where communication is possible and globalized. The middle line represents the arithmetic mean, and the points in between represent insights into reality that do not necessarily refer to the truth, but are described as numerically appropriate. Error is determined by the deviation from the mean. I am dealing with a predetermined standard – a way of statistical vision – a measurement that reaches the measurement range three times and gets an average value. It is connected to the politics of standard setting and refers to Duchamp’s work Three standard stoppages – three thread units, where Duchamp takes the unit for a meter.¹ To establish growth curves, I used my hypothesis about the growth of bacteria over a 3-month period. The hypothesis serves as a kind of substitute for ideology, which allows the molding of living things and their placement in a system where they can be controlled. The growth curves of the DNB² culture medium are selected, dealing with how to simulate this relationship between the living and the non-living, between the mechanical and the non-mechanical, how to set up a model of bacterial growth over a certain period of time. Hypothesis³ as an invisible synonym for me as an observer, who arranges them in space.
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For me as an independent, who assumes that I know how to arrange, place, select, index, call to life, map. At the same time, to show the place of the observer, who can never embrace the unspeakable – the place between language and the world. Alive as a synonym for a measured entity, which we move within the system according to a hypothesis, which is in a certain way real, has been confirmed as statistically significant, but if we look at it through the eyes of an empiricist, it is only empirically appropriate. I want to establish a system that simultaneously illustrates and problematizes the system of placement, and at the same time I try to establish a system where there are points of freedom that do not depend on ideological labeling. It is based on statistics, control, recording, but on the other hand, it has a certain unpredictability. The system itself is derived from, but at the same time somehow counts on, the succession of the community (in this case, bacteria), on the re-establishment of relationships, and these relationships are constantly being destroyed and re-established. It reflects power relations and shows the struggle for the visible, the struggle for dominance over a point that is not supposed to be determined. A system that is in balance with its surroundings is a dead system – that is, there is always a power relation established somewhere – to one side or the other. The tension and the difference between one and the other pole is the basis for drawing energy (the principle of the battery). The tension is positive, the imbalance that is established enables the production of light, energy, life. Each of the tiles evades this indexation in a certain way. The viewer, however, is the one who can completely break this logic, even by breaking through the place of fixation. The opposition between the carrier (classification scheme) and the >living< exists in our minds, which recognize the unknown in relation to the known, but here the identification fails. The points that show the middle of the measured value are shown as points – particles, and at the same time as light – LED – waves – because I want to achieve a dual character where it is shown as a single one. I want to show that the compulsion to standardized⁴viewing is something agreed upon, which is only empirically adequate, and in actual experiments or in everyday life the standard is rarely repeated, so I deal with the deviation from the standard and in it I look for a space where the viewer can intervene and at the same time also change the structure of the graph itself and directly influence the mean values, which will be represented by a subjective, by a deviation from the mean value – error. The viewer’s intervention in the system is perceived as the view that causes the wave to turn into a particle and causes decoherence – the coupling of several possible quantum states (they are in superposition) into a single one – and thus the creation of an ideology, but each time different – dependent on the viewer. At the same time, by intervening in the already measured structure through the conductive porcelain (which also reflects the viewer, since it is a silver mirror), the viewer will enter new data and thus break the already predetermined view. The porcelain is used to represent the error of the curves of different dilutions. Dilution⁵ was used in the experiment as a neutral factor through which we determine the structure of the group. In the installation, the various dilution curves act as a representation of parts of society, stratifying and eliminating the less numerous and representative. Those who are the most in the group still remain present on the panels after several dilutions. According to the characteristics we have determined, these are r-strategists⁶ and K-strategists⁷ The porcelain tiles are coated with a silver mirror (Tollens test⁸), they are a biosensor and are supposed to translate the signal introduced by the viewer with a touch, thereby influencing the LED diodes, which represent the number of bacteria in the time scale of the three-month measurement. For silver plating and creating the mirror, I will use silver nitrate (HNO3 – nitric acid), ammonia (NH3) and sugar. I will obtain the silver nitrate by dissolving a silver⁹ coin Silver Eagle.¹⁰ By dissolving it in HNO3, I somehow cause the symbolic standard that represents the economic power of Western society to disintegrate. As I mentioned, the coin became unavailable for purchase in August 2008 before the recession began. The growth curves show the growth of the bacterial community before this growth stopped and became negative.¹¹ The key to what becomes visible is what the energy source was at the beginning and what kind of community is created in connection with a specific energy source (silver and fat as a store of society or the body),
¹³ what is the basis on which it is visibly manifested and what measuring range of observation is used for this.
REFERENCES 1 Which was determined in Paris in 1889. 2 DNB – diluted nutrient broth. 3 We assumed, however, that the faster growing bacteria are more similar to each other than those that manage to appear on a solid medium after two or three months. That is, new and new entities will be projected over time. The hypothesis is used for the purpose of coding and temporal classification of projects, indicating a kind of evolution – a linear reading and placement of projects and determining its position in the system. 4 If you do not use a standardized method or test in a scientific article, it is less publishable (thereby forcing you to buy a specific test from a specific manufacturer). 5Rima B. Franklin., Jay L. Garland, Carl H. Bolster, Aaron L. Mills, Impact of Dilution on Microbial Community Structure and Functional Potential: Comparison of Numerical Simulations and Batch Culture Experiments APPLIED AND ENVIRONMENTAL MICROBIOLOGY, 2001 Feb. 2001, pp. 702-712 Vol. 67, No. 2: Ultimately, the most common organisms remain in the community at the highest dilutions, because the dilution is more likely to remove those organisms that are less abundant in the community. 6 With rapid growth and breakdown of simple sugars (glucose) and rapid reproduction. They are opportunists and are more typical of unstable environments. 7 They could be described as slow growth, fewer offspring and lower representation in the community, although they probably perform important processes for the ecosystem. 8 It is used to separate aldehydes and ketones. The silver mirror is only formed if there are no ketones – which are a product (in the body) of ketoacidosis. They are a type of acid that is produced during the metabolism or breakdown of body fat. Fat metabolism begins when there is not enough glucose available in the body, and aldehydes are formed by the oxidation of alcohols. It provides a supply for survival, but also serves as a storage for toxins that do not harm the body in this way. file:///C:/Users/Mojca/Downloads/KineticsofSilverDissolutioninNitricAcidfrom-doi- 10.3321j.issn1005-0302.2006.05.025.pdf 9While silver symbolizes purity (probably related to its antimicrobial activity (Woo Kyung Jung, Hye Cheong Koo, Ki Woo Kim, Sook Shin, So Hyun Kim, Yong Ho Park, Antibacterial Activity and Mechanism of Action of the Silver Ion in Staphylococcus aureus and Escherichia coli, Applied and Environmental microbiology, 2008, pp. 2171-2178 Vol. 74, No. 7) and conductivity (http://www.lehigh.edu/~amb4/wbi/kwardlow/conductivity.htm), it also symbolizes the possibility of being both corrupt and pure (unlike gold, which is a perfect metal), as it tarnishes when in contact with sulfides. It is associated with the corporate world and positions of power. It is also associated with the feminine and with still water due to its ability to reflect. 10http://www.apmex.com/category/22100/silver-american-eagles, http://en.wikipedia.org/wiki/American_Silver_Eagle: accessed 3.2. 2015: Until 1964, most coins were silver. The currency’s gold standard was removed in 1971, and silver began to decline as a monetary metal. In the 1970s and 1980s, the United States was left with a lot of silver (from coins) that it placed as investment coins. Silver eagle – an American investment silver coin for 1 ounce with a face value of 1 dollar and 99% purity. The silver coin features a Lady Liberty draped in an American flag, with the words In God We Trust on the reverse. On the reverse is an eagle and 13 stars representing the original colonies. She carries an olive branch in one leg and arrows in the other, symbolizing the president of the United States who decides on war and peace. As a result of the global recession, investor demand for investment coins soared. In March 2008, sales of these coins increased by 9x (from 200,000 to 1,855,000). In August 2008, they were no longer available for purchase. In September 2008, the recession broke out. 11 September 2008 – a trend of economic stagnation. The curves show the time before this collapse.

March 30, 2025

HYBRID CATCHER II

Test lovilec hibridov II 2015/2016

Mojca Založnik Test lovilec hibridov II 2015 Svetlobno zvočna instalacija Instalacija je vizualni prikaz podatkov, ki jih izračuna algoritem za določanje količine visokorizičnega HPV virusa v vzorcu s področja materničnega vratu. Svetloba in matrika slik omogočajo vstop skozi različna gledišča. Instalacija bo omogočala vstop gledalke/ca v prostor, kjer se razkrije, kako nedoločena in pogosto arbitrarna je verjetnost, da zboliš za rakom materničnega vratu. Algoritem naj bi reprezentiral “objektivno” določen pogled, za katerega se izkaže, da temelji na znanstvenem konsenzu. Med jasnimi negativnimi in pozitivnimi izvidi obstaja siva cona. Med pozitivnim izvidom in zbolevnostjo, pa polje med življenjem in smrtjo, prostor kvantne verjetnosti, ki ga medicina z orodji diagnostike in statistike ne more opisati. Stanje spominja na Schroedingerjevo mačko, kjer je mačka v obeh stanjih hkrati (živem in mrtvem), dokler s pogledom ne določimo izida. Zato bo z vstopom gledalca/ke omogočena sprepletenost in soobstajanje in hkrati spreminjanje preddoločenega izvida, kar bo reprezentirano s spremembo jakosti svetlobe in zvoka. Odločitev je posledica pogleda na svet, ki določa pravilnost samo enega diagnostičnega pogleda. Test lovilec hibridov II omogoča pogled na

rezultate testa skozi algoritem. Vprašanje, ki ga zastavlja avtorica z instalacijo je povezano z biopolitiko (kdo je notri in kdo je zunaj) in kontekstom (okoliščine – politične, osebne, sistemske), tudi v povezavi s sivo cono testa (mejno področje med 0,8 RLU – relativna svetlobna enota, in 2 RLU, ki je vmes med negativnim in pozitivnim izidom) in oddaljenostjo od pogoja za zbolevnost, ki je numerično določena. Okužba z virusom HPV je pogoj za obolevnost za rakom materničnega vratu. Višja kot je količina HPV hibridov (kompleks virus HPV – sonda), večja je svetilnost in višji je zvok. Negativni izvid ima nizko svetilnost in nižji zvok oziroma frekvenco zdravja. Ti signali so vzporejeni z vizualno kuliso, sestavljeno iz slik različnih rakavih in predrakavih stopenj (od negativnih do karcinomskih). Rezultati, ki so negativni so predstavljeni kot prevrtana luknja v PVC ploščo, pozitini pa niso prevratni. Prikaz deluje kot nekakšno “sito” za celice, kjer senca ki jo meče plošča deluje kot njen negativ…, čeprav ima nekako pozitiven pomen, saj so vzorci spuščeni v življenje, ti ki so ostali na cedilu pa omogočajo prepoznavo in nadaljne zdravljenje. Plošča in njena senca, ki jo meče sestavljata celoto življenja in smrti, prav tako dodatna plošča na tej vizualni kulisi, ki ima združeni komponenti svetlobe (LED dioda ob pozitinem izidu zasveti in ima drugačno frekveno zvoka) kot negativen izid. Materiali: Arduino, elektronsko vezje, LED diode, rezultati HPV Hybride Capture II testa pridobljeni z rednim testiranjem vzorcev – slike negativnih in različnih predrakavih in rakavih sprememb.

Mojca Založnik Hybrid Hunter Test II 2015

Light and sound installation The installation is a visual display of data calculated by an algorithm for determining the amount of high-risk HPV virus in a cervical sample. Light and a matrix of images allow entry through different viewpoints. The installation will allow the viewer to enter a space where it is revealed how indefinite and often arbitrary the probability of developing cervical cancer is. The algorithm is supposed to represent an “objectively” determined view, which turns out to be based on scientific consensus. There is a gray area between clear negative and positive results. Between a positive result and morbidity, however, is the field between life and death, a space of quantum probability that medicine cannot describe with the tools of diagnostics and statistics. The situation is reminiscent of Schroedinger’s cat, where the cat is in both states at the same time (alive and dead) until we determine the outcome with our gaze. Therefore, the entry of the viewer will enable entanglement and coexistence and at the same time change of the predetermined result, which will be represented by changing the intensity of light and sound. The decision is a consequence of a worldview that determines the correctness of only one diagnostic view. The Hybrid Catcher II test allows a view of
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test results through an algorithm. The question that the author poses with the installation is related to biopolitics (who is in and who is out) and context (circumstances – political, personal, systemic), also in connection with the gray zone of the test (the borderline area between 0.8 RLU – relative light unit, and 2 RLU, which is in between a negative and a positive result) and the distance from the condition for morbidity, which is numerically determined. Infection with the HPV virus is a condition for cervical cancer morbidity. The higher the amount of HPV hybrids (HPV virus – probe complex), the greater the luminosity and the louder the sound. A negative result has a low luminosity and a lower sound or frequency of health. These signals are paralleled by a visual backdrop consisting of images of various cancerous and precancerous stages (from negative to carcinoma). Negative results are presented as a hole punched in a PVC plate, while positive ones are not reversed. The display acts as a kind of “sieve” for cells, where the shadow cast by the plate acts as its negative… although it has a somewhat positive meaning, since the samples are released into life, and those that are left behind allow for recognition and further treatment. The plate and its shadow that it casts constitute the whole of life and death, as does an additional plate on this visual backdrop, which has a combined light component (the LED diode lights up with a positive result and has a different sound frequency) as a negative result. Materials: Arduino, electronic circuit, LED diodes, HPV Hybride Capture II test results obtained through regular testing of samples – images of negative and various precancerous and cancerous changes.

Mednarodne skupinske razstave Cik Cak, kuratorica Lenka Đorojević / International group Exhibition Zig Zag, curated by Lenka Đorojević, Galerija Škuc, 5.10.2015, Festival Mesto žensk / Festival City of Women http://www.cityofwomen.org/sl/content/2015/projekt/cik-cak

MEJNI SISTEM 2008

– dimenzije 2,5m x 1m x 75 cm – večja škatla
– 1,8mx1mx75cm-druga večja škatla
– 0,75cmx80cmx30cm-4manjše škatle
– Študija in grafi izdelani na podlagi podatkov, 91 so služili kot podlaga za opravljeno delo. – Kako vstopimo v smrt – kot to dokončno možnost? V gledalčevi percepciji

– Predstavljam čas zaostanka, ⁹², vendar za prihodnost, kot čas, ki ga človek potrebuje, da izgine. ⁹⁰ (ujema se
ogledov – statistična mera za ujemanje med opazovalci) Povezujem ga s časom zakasnitve sevov mikrobne skupnosti, da ocenim čas, ki ga ima posameznik, da izgine (to je čas, specifičen za subjekt). Temelji na ideji, da se v življenju pojavi podobno kot izgine, ostalo kodira.

– Postavitev spominja na eksperiment z mačkami, ki ga je predlagal Erwin Schröedinger.
– Meritev je tista, ki povzroči, da je objekt omejen na eno samo možnost. Iz države
sočasnih možnih stanj (superpozicija) dobimo eno – in hkrati postavimo sistem. Znotraj tega že merjenega sistema sem izbral pot, ki bo ustrezala temu sistemu (objekt bo postavljen tam, kjer je bil izmerjen, hkrati pa želim na tej točki

(poiščite nedoločenost). Želim obratno – že vgrajeni sistem postaviti v nedoločeno stanje, omogočiti možnost simultanosti, ki pa je mogoča le z vstopom gledalca (subjekta opazovanja v ložo). Postavitev je kot nekakšen oreh, skozi katerega gledamo svet, ki nam je sicer neviden in zato potrebujemo razširitve. Gojišče, čas gojenja in redčenje asociacije predstavljajo več čistil, s katerimi želimo zajeti mikrobno pestrost v tleh. A ker v znanosti stremimo k objektivnosti in k temu, da se čim bolj izključujemo, sem s to postavitvijo skušal poseči prav v to vrzel. Gledalca želim postaviti v situacijo, ko fizično vstopi v to matrico – uleže se v škatlo. Na petrijevke sevov, iz katerih smo uspešno pomnožili DNK, sem namestil leče, kar pomeni, da smo znotraj danega čistilišča vnesli še eno novo, ki nam omogoča vpogled v genetsko strukturo organizma. Ko gledalec vstopi v škatlo, je znotraj minevajočega časa – je linearen in razdrobljen, vendar postavljen v trenutek, kjer je koncentrirana linearnost.
– izmerjeni sistem in negotovost. Osnova, ki določa združevanje, je hipoteza, 96 ki je v znanosti preverjena. Primer spremljanja nenehnega procesa rasti, ki vodi do same manipulacije življenja v laboratoriju. Določanje kraja ali tedna, v katerem se je pojavila določena bakterija, je umetno in je v enem tednu; razmik med skupinami bolj kaže na to, kako
– znanost interpretira realnost, to interpretacijo pa nato prenese v prostor. Delo deluje z
– perceptivne perspektive (ki poudarja neenakomernost percepcije v znanosti).
– Znanost označi snov kot številko ali kot točko in statistično ovrednoti verjetnost, da
snov sama ustreza tej vrednosti. Konstrukcija prozornih škatel služi prilagajanju merjenih elementov lastnim izmerjenim vrednostim (v tem primeru deformacije, ki so všite v isto konstrukcijo, določajo enak čas izolacije). Vstop v prozorno škatlo podvoji že opravljeno konzerviranje v namen delovnih bakterij (varjenje v PVC folijo) in zavedanje, da vstop v sistem nekako paralizira, ustavi, ubije, hkrati pa prepreči gnitje, a tudi rast. .
– ⁹¹ Lešnjak (Založnik) Mojca, (2012), Izolacija in karakterizacija mikrobne združbe iz tal Ljubljanskega barja,
– magistrsko delo, 2012, mentor izr. prof. Ines Mandič Mulec, 89 p.
– ⁹² Čas, ko se kolonija pojavi na plošči

BORDER SYSTEM 2008, PEF GALLERY
dimensions 2.5m x 1m x 75 cm – larger box
1.8mx1mx75cm-second larger box
0.75cmx80cmx30cm-4smaller boxes
Study and graphs made on the basis of data, 91 served as the basis for the work done. – How do we enter death – as this final possibility? In the viewer’s perception
I represent the lag time, 92 but for the future, as the time it takes a person to disappear. 90 (matching
of views – a statistical measure of agreement between observers) I relate it to the lag time of the strains of the microbial community to estimate the time an individual has to disappear (that is, the time specific to the subject). It is based on the idea that in life, what appears similar to what disappears, encodes the rest.
The setup is reminiscent of the cat experiment proposed by Erwin Schröedinger.
Measurement is what causes the object to be limited to a single possibility. From a state of simultaneous possible states (superposition) we get one – and at the same time we set up a system. Within this already measured system, I have chosen a path that will correspond to this system (the object will be placed where it was measured, but at the same time I want to find indeterminacy at this point). I want to do the opposite – to place the already built-in system in an indeterminate state, to enable the possibility of simultaneity, which is only possible with the entry of the viewer (the subject of observation into the box). The setup is like a kind of nut through which we look at the world, which is otherwise invisible to us and therefore we need extensions. The culture medium, the cultivation time and the dilution of the association represent several cleaning agents with which we want to capture the microbial diversity in the soil. But since in science we strive for objectivity and to exclude ourselves as much as possible, I tried to intervene in this very gap with this setup. I want to put the viewer in a situation where they physically enter this matrix – they lie down in a box. I have placed lenses on the Petri dishes of strains from which we have successfully amplified DNA, which means that we have introduced another new one within the given purgatory, which allows us to see the genetic structure of the organism. When the viewer enters the box, they are within the passing of time – it is linear and fragmented, but placed in a moment where linearity is concentrated.
a measured system and uncertainty. The basis that determines the grouping is a hypothesis, 96 which is verified in science. An example of monitoring the continuous process of growth, which leads to the manipulation of life itself in the laboratory. Determining the place or week in which a certain bacterium appeared is artificial and is within a week; the spacing between the groups is more indicative of how
science interprets reality, and then transfers this interpretation into space. The work works from
a perceptual perspective (which emphasizes the unevenness of perception in science).
Science designates a substance as a number or as a point and statistically evaluates the probability that
the substance itself corresponds to this value. The construction of transparent boxes serves to adapt the measured elements to their own measured values (in this case, deformations that are sewn into the same construction determine the same isolation time). Entering a transparent box doubles the preservation already done for the purpose of working bacteria (welding into PVC foil) and the awareness that entering the system somehow paralyzes, stops, kills, and at the same time prevents decay, but also growth. .
91 Lešnjak (Publisher) Mojca, (2012), Isolation and characterization of microbial communities from the soil of the Ljubljana Marshes,
master’s thesis, 2012, mentor Assoc. Prof. Ines Mandič Mulec, 89 p.
92 The time when a colony appears on a plate

DREVO RAZGRADNJE 2008,

Galerija Meduza Piran, september delo meseca

Delo skuša najti mejo med naravnim in umetnim. Rdeče zastekljene pike so vzete s konca procesa razgradnje hranil s strani bakterij. Ti prehranski profili99 so osnova za binarno matriko. Iz matrice smo izračunali dendrogram (drevo, ki je dvodimenzionalno). Veje določajo oddaljenost samih predmetov drug od drugega in od vira. Oddaljenost posamezne organske oblike pleksi stekla je torej določena računsko, keramične palice na zadnji strani pa nekako nakazujejo korenine – izvor. Zato sem se spraševal, kakšen vpliv ima to na naš pogled na naravo. 99 Rezultati, pridobljeni na eni takšni mikrotitrski plošči s 96 luknjami – test je standardiziran in se imenuje BIOLOGEcoplate.

v znanosti na predmet, zato organski deli nekako spominjajo na telo. Ti profili (rdeče nepravilne pike) se nekako pogrezajo v meso – glino in določajo njegovo lego. Razporeditev teh delov je bila izračunana v programu SPSS z metodo hierarhičnega združevanja v gruče (združevanje) in z Jaccardovim koeficientom.100 Podatki, vneseni z branjem s slik, posnetih ob določenem času ob koncu procesa in še ne

digitalizirana. Torej digitalni sloj – prej omenjena matrika, določa položaj vizualnega – in to je posnetek zaustavitve procesa, ki je že tako izločen iz svojega okolja in ga vidimo le posredno – rdeča barva pomeni, da je prišlo do okvare. določenega hranila in s tem rast. Ker gre za profile bakterijske razgradnje (bakterije delujejo kot razgrajevalci, so nekako med življenjem in smrtjo), razporeditev organskih delov na krožniku še dodatno poudari razpad posameznega subjekta in se sprašuje o njegovem izvoru. Znanost namreč izbira del realnosti, ki ga bo preučevala; in analizira z več različnih vidikov ta delni pogled – delni pogled je v tem primeru iskanje fizioloških potencialov101 različnih bakterijskih skupnosti, medtem ko iščemo, kje se ti pogledi srečajo. Vrednost ali postavitev teh slik, dosežena s pridobivanjem dobljenih informacij – v našem primeru so prehranski profili bakterij iz različnih neznanih časov zaostanka opisani v skladu z znanimi merili in standardiziranimi testi102 ter tem bakterijam pripisuje vse iste kategorije različnih lastnosti, ki jih nato

omogočajo razvrščanje teh osebkov v določen vrstni red in primerjavo različnih asociacij glede na izbrano spremenljivko. Razvrščanje in umeščanje se izvaja po standardih oziroma bazah podatkov, ki služijo kot referenčni okvir. Ko je ta del končan, te slike ne potrebujejo več, pomembni so le podatki, ki se nato interpretirajo v skladu s predhodno postavljeno hipotezo. Gledalec bo torej soočen s podobami, ki so nekako model ali filtrirna realnost, ki nastane z neposrednim preslikavanjem bioloških podob.

THE TREE OF DECOMPOSITION 2008

The work tries to find the boundary between the natural and the artificial. g

Glazed dots are taken from the end of the process of nutrient decomposition by bacteria. These nutritional profiles99 are the basis for a binary matrix. From the matrix we calculated a dendrogram (a tree that is two-dimensional). The branches determine the distance of the objects themselves from each other and from the source. The distance of each organic form of plexiglass is therefore determined computationally, and the ceramic rods on the back somehow indicate the roots – the origin. So I wondered what impact this has on our view of nature. 99 Results obtained on one such 96-hole microtiter plate – the test is standardized and called BIOLOGEcoplate.
in science on an object, so the organic parts somehow resemble a body. These profiles (red irregular dots) somehow sink into the flesh – clay and determine its location. The arrangement of these parts was calculated in the SPSS program using the hierarchical clustering method (clustering) and the Jaccard coefficient.100 Data entered by reading from images taken at a certain time at the end of the process and not yet digitized. So the digital layer – the aforementioned matrix, determines the position of the visual – and this is a snapshot of the stopping of the process, which is already isolated from its environment and we see it only indirectly – the red color means that there has been a breakdown. of a certain nutrient and thus growth. Since these are profiles of bacterial decomposition (bacteria act as decomposers, they are somehow between life and death), the arrangement of organic parts on the plate further emphasizes the decay of an individual subject and asks about its origin. Science selects a part of reality to study; and analyzes this partial view from several different perspectives – the partial view in this case is the search for the physiological potentials101 of different bacterial communities, while looking for where these views meet. The value or placement of these images, achieved by obtaining the information obtained – in our case, the nutritional profiles of bacteria from different unknown lag times are described according to known criteria and standardized tests102 and all these bacteria are attributed the same categories of different properties, which then
10
allow these specimens to be ranked in a certain order and compare different associations according to the selected variable. The ranking and placement is carried out according to standards or databases that serve as a frame of reference. When this part is finished, these images are no longer needed, only the data is important, which is then interpreted according to the previously established hypothesis. The viewer will therefore be confronted with images that are somehow a model or filtering reality, created by directly mapping biological images onto clay tablets. The images are then arranged in space according to the already interpreted selves.

16s rdnk

Na steni oziroma pravilnem pravokotnem formatu 2,5 m x 1,5 m x 5 cm je 63

oprimkov oziroma kamnov nepravilnih oblik iz bele gline. na njih je dešifriran zapis 16s r dnk

bakterij iz mikrobne združbe tal ljubljanskega barja. Material bele gline in zapisa ni naključen.

Zanima me problematika nastanka življenja. Po precej verjetnih teorijah, naj življenje nebi

nastalo v prajuhi, saj ta ni omogočala zadostne koncentracije in bližine molekul dnk, ampak

na površinah glin. Te so zaradi pozitivnega naboja lahko vezale dovolj veliko koncentracijo

molekul dnk, ki so potrebne za nastanek življenja. Če se izrazim z biblijskim besediščem –

“beseda je meso postala” (nastanek življenja) in prah si in v prah se povrneš (smrt). Ali

⁷

drugače, gre za podobno razmerje kot je tisto me jezikom in svetom; vmes je polje, ki je

nedoločljivo, prav tako kot je nedoločljivo polje začetka in konca. chartrand (2007, 1)

vzporeja pridobivanje znanja z mitom o drevesu spoznanja dobrega in zlega, od katerega naj

človk nebi jedel, saj bi drugače spoznal, da je umrljiv. Stavek iz geneze primerja s poseganjem

v drevo življenja in smrti, ki ga vidi v obliki dnk heliksa. Jabes govori, da je beseda stalno

reflektirana z ozadjem, z belino, z nepopisanimi robovi. Zapisana beseda je narejena iz

praznine. Potrebuje se prostor praznega,tišina med eno besedo in drugimi, da bi besedo

lahko prebrali. Zapisanega ne bi mogli prebrati, če ne bi bilo praznega prostora med

besedamo in drugimi, da bi besedo lahko prebrali. Prazni prostor med besedami in okrušek tišine

omogoči, da izgovorjeno slišimo (Jabes 1995). Povezani smo z belim znakovne beline in

črno znaka postane berljivo na njenem najbolj belem mestu (Jabes 1993). Njegove misli, je

drugače potrebno umetiti v širši kontekst razumevanja sveta, katerega poglavitne enote so

Bog, knjiga, puščava in beseda. Pomembna je njegova dialektika zapisanega in odsotnega,

označenega in praznin, črke in beline (Strehovec 2003, 201). Sama postavitev kamnov ali

fragmentov v format je določena s programom clustal x. Glede na dobljeno zaporedje , ki

smo ga dešifrirali, je bila določena idetiteta same bakterije, ki smo jo osamili. Idetiteta se

določa tako, da se dobljeno zaporedje primerja z bazo zaporedij vseh že dosedaj

identificiranih bakterij in glede na odstotek sorodnosti z določeno že znano vrsto še

neidentificirane bakterije. Na samem oprimku je tako zapis, preko katerega smo to bakterijo

prepoznali (v obliki jezika molekule dnk, ki je sestavljena iz 4 črk: a,t, g, c) in njeno ime.

povezava med izvorom in oznako za bakterijo je vzpostavljena preko neposrednega vpisa

oznake za bakterijo in fragmenta dnk, preko katerega smo ugotovili idetiteto te bakterije.

Čeprav je potrebno omenti, da je ta dešifriran fragment po Baudrilardu v bistvu simulaker,

saj je dešifriranje izvedeno na nakopiranem fragmentu, ne poznamo pa več originalne dnk.

Povezavo med temi fragmeti določa sistem filogenetskega drevesa (drevo, ki določa izvor,

tudi dolžine črt, narejenih z ogljem ustrezajo razcepu v zgodovini). Povezav nisem skrila,

ampak razkrila, skrita je v bistvu cela računalniška baza. Neznana zapis se namreč vzporeja z

že znanimi podatki v bazi in določi njihovo mesto glede na to kar že poznamo. Prav tako

določi njihov izvor in povezave. Edina nedoločena spremenljivka je meja med življenjem in

smrtjo.

METAMORFOZE – WHAT IS MY SOUND? 2006

V sodelovanju s Tino Dobrajc in Mitom Gegićem

Delo je bilo zasnovano kot postavitev v okviru študentskih metamorfoz z namenom postavitve ob postajališče mestnega avtobusa. Delo je sestavljeno iz treh lesenih škatel in dveh “mehkejših” diskov na katere so nameščene slike PCR produktov 16S rDNK izolatov bakterij izoliranih iz tal Ljubljanskega barja.

Kot vzor je služil filmski ustvarjalec Petr Kubelka, saj je podana tema, da naj bi delo predstavljalo neke vrste asociacijo na film, pri njem pa gre za filme, ki imajo arhitekturno zgradbo in so sestavljeni samo iz črno belih sličic, kot popolna redukcija na osnovno enoto slikovnega zapisa. PCR produkti izgledajo kot črn fragment na beli podlagi (ali obratno, odvisno od izbire filtra pri slikanju). Nameščeni so vzdolž oboda kolesarske gume in prevlečeni s steklenimi vlakni in premazani z epoksidno smolo. Iz kolesa strlijo 4 plastične paličke, ki nekako predstavljajo prenos nukleotidnega zaporedja (tu je predstavljen kot slika) preko 4 oligonukleotidnih začetnik (A, T, G, C) v aminokislino. V instalaciji pa se te štiri palčke dotaknejo 20 kitarskih strun, ki so nameščene na obod dveh od treh škatel, kjer prihaja do stika. Ko gledalec zavti kolo sproži kolo življenja, simboličen prepis v aminokilisno in ustvarja zvok, medtem ko vrteče se kolo postane filmski trak, ki se vrti in proizvaja gibljivo sliko.

Dva mehka diska asociirata na medvretenčno ploščico, tri trdne škatle pa na kosti, spoj me njimi omogoča gibanje in proizvodnjo življenja, podobe in zvoka hkrati.

METAMORPHOSE – WHAT IS MY SOUND? 2006

In collaboration with Tina Dobrajc and Mito Gegić
The work was conceived as an installation within the framework of student metamorphoses with the intention of being placed next to a city bus stop. The work consists of three wooden boxes and two “softer” discs on which are placed images of PCR products of 16S rDNA of bacterial isolates isolated from the soil of the Ljubljana Marshes.
2
The filmmaker Petr Kubelka served as a model, as the theme given is that the work should represent a kind of association with film, but in his case it is films that have an architectural structure and consist only of black and white frames, as a complete reduction to the basic unit of image recording. The PCR products look like a black fragment on a white background (or vice versa, depending on the choice of filter when painting). They are placed along the circumference of a bicycle tire and are coated with fiberglass and coated with epoxy resin. Four plastic sticks are thrown from the wheel, somehow representing the transfer of a nucleotide sequence (here presented as an image) via four oligonucleotide primers (A, T, G, C) into an amino acid. In the installation, these four sticks touch 20 guitar strings placed on the perimeter of two of the three boxes, where they come into contact. When the viewer spins the wheel, the wheel of life is triggered, a symbolic transcription into amino acids and a sound is created, while the spinning wheel becomes a film strip that rotates and produces a moving image.
Two soft discs are associated with the intervertebral disc, and three solid boxes are associated with bones, the connection between them allows for movement and the production of life, image and sound at the same time.

ZDRUŽBA/COMMUNITY – 2007,

Celje Galerija Hodnik, Študentske poletne premiere

Kosi gline so vstavljeni v podlago, vanje pa je nekako naznačena oblika DNK, ki jo na sliki vidimo kot črn rahlo lobularen fragment. Zapisi na označevalcih (kamnih) za bakterije so dobljeni iz slik PCR produktov 16S rDNK izolacije iz bakterijske združbe. To obliko sem vrezovala v mehko glino. Glinene ploščice spominjajo na nagrobnike. Razporeditev v prostoru je namreč proces rasti mikrobne združbe v času, ki je spremljan v laboratoriju. Kar se je v času zgodilo prej, je sedaj tudi v prostoru spredaj. Ista točka oziroma teden v procesu določa tudi enak nosilec oziroma podlago. Postavitev upošteva diskontinuiranost v času in jo vleče v prostor, vendar tu, če gledalec vidi postavitev s sprednje strani, pride do prekrivanja kamnov – časovno prej, je tudi v prostoru spredaj. Ker bi šlo za postavitev v kvadrat, je prostor tvorjen tako, da so med podlagami, kamor so vstavljeni kamni prazni prostori, kar opisuje način zajemanja – filtriranja resničnosti – in hkrati razlaga način delovanja filtra. Filter je hranilni gel, ki omogoči rast le 1-5 % bakterij iz tal in je na ta način selektiven saj omogoča videnje le enega majhnega dela celote. Ti kamni na podlagah so združeni in postavljeni

v prostor na način, kot sem ga uporabila v laboratoriju in je v bistvu zelo podoben perspektivičnemu gledanju.

Vendar kot navaja Detela (2005, 64) ena točka označevalca (kamna) lahko reprezentira več kot eno točko označenega pogleda. Kontakt dveh kamnov v pogledu gledalca, ki reprezentira različna označevalca, ne reprezentira nujno fizičnega kontakta dveh predmetov v označenem prostoru, temeveč je možno, da razmejujoča linija reprezentira tudi neoznačen prostor, razdaljo med njima (Detela 2005, 64). Tako dobim hkrati diskontinuiranost, ki je posledica časovne dokumentacije vertikalne in horizontalne redčitve in pa prekrivanje v prostoru, ki ga v času nisem mogla izmeriti.

COMMUNITY – 2007,

Celje, Hodnik Gallery, Summer student premieres
Pieces of clay are inserted into the base, and a DNA shape is somehow indicated in them, which we see in the picture as a black slightly lobular fragment. The records on the markers (stones) for bacteria are obtained from images of PCR products of 16S rDNA isolation from a bacterial community. I carved this shape into soft clay. The clay tiles resemble tombstones. The arrangement in space is namely the process of growth of a microbial community over time, which is monitored in the laboratory. What happened earlier in time is now also in the space in front. The same point or week in the process also determines the same carrier or base. The installation takes into account the discontinuity in time and
draws it into space, but here, if the viewer sees the installation from the front, there is an overlap of stones – earlier in time, it is also in the space in front. Since it would be a square arrangement, the space is created in such a way that there are empty spaces between the bases where the stones are inserted, which describes the method of capturing – filtering reality – and at the same time explains the way the filter works. The filter is a nutrient gel that allows the growth of only 1-5% of bacteria from the soil and is thus selective because it allows only one small part of the whole to be seen. These stones on the bases are combined and placed in space in the way that I used in the laboratory and is essentially very similar to perspective viewing.
However, as Detela (2005, 64) states, one point of the marker (stone) can represent more than one point of the marked view. The contact of two stones in the viewer’s view, which represents different markers, does not necessarily represent the physical contact of two objects in the marked space, but rather it is possible that the demarcating line also represents the unmarked space, the distance between them (Detela 2005, 64). Thus, I simultaneously obtain a discontinuity that is a consequence of the temporal documentation of vertical and horizontal thinning, and an overlap in space that I could not measure in time.

PLOŠČA / BOARD – 2007,

Celje Galerija Hodnik, Študentske poletne premiere

Na plošči je na način filtra prenesen način razslojevanja dveh bakterijskih združb z vplivom, ki smo ga izbrali mi in ga označujemo kot neodvisno spremenljivko. Vsaka luknja je oznaka za eno bakterijo, ki hkrati odpira pot svetlobi. Način razslojevanja je prikazan po treh mesecih procesa rasti (v časovno prostorski skali) in ustavljen v eni točki v času. Gre za trenutke dokumetacije procesa življenja, vendar ne na način znanstvene dokumentacije procesa življenja, ki bi za to uporabila graf. Spremljevalna os in legenda točno določita kaj naj bi vizualizirani podatek pomenil. Z odstranitvijo legende in s tem da dejstvo označim kot okroglo, želim pogled odpreti tam, kjer ga znanost fiksira.

V te luknje so potem vstavljene epice z bakterijami iz te združbe, vendar je način izbiranja poljuben (bolj kaotičen kot prvi način izbire), zato niso prikazane vse in tudi ne sledijo prvotnemu načinu izbire. Te bakterije so bile skuhane na 100 stopinj Celzlija in s tem uničene. V te epice je bila potem nanešena hrana (gelan gel) in nekatere (ki so uspele tvoriti preživetvene oblike (spore) so po kuhanje ponovno zrasle in so vidne v obliki rumenih kroglic v gelu.

Luknje so oznake za točno določene bakterije, ki imajo svoje mesto v časovno prostorski skali, vendar pa je ta časovno prostorska skala le en način možnega gledanja oziroma označevanja stvari. Dokument tako spremljanega procesa je graf. Spremljevalna os in legenda točno določita kaj naj bi vizualizirani podatek pomenil. Z odstranitvijo legende in s tem da dejstvo označim kot okroglo, želim pogled odpreti tam, kjer ga znanost fiksira. Vmes med epico (kjer je bakterija – označenec iz te mikrobne združbe) in oznako za to bakterije, se zgodi neke vrste prelom (kuhanje na 100 stopinj označuje smrt oz. prelom).

Soočeni smo z dvema stvarnostima: smrtjo in ponovno rastjo. Po G. Bachelardu (1998, 255) se bit zdi okrogla. Ta likovni element sem izbrala namesto numeričnega podatka, ki je stal v grafu. Ker perforira nosilec, se po eni strani odpira v neskončnost, po drugi strani pa epice stopajo v prostor proti gledalcu. Podoba iz pleksi stekla je model, kjer je položaj epic z izbiro spremenljivke točno določen. To je predhodni pogled. Edina spremenljivka je sedaj življenje samo.

BOARD – 2007,

Celje Gallery Hodnik, Student Summer Premieres

The board is a filter-like representation of the stratification of two bacterial communities with an influence that we have chosen and which we designate as an independent variable. Each hole is a label for one bacterium, which at the same time opens the way for light. The stratification is shown after three months of the growth process (in a time-space scale) and stopped at one point in time. These are moments of documentation of the process of life, but not in the way of scientific documentation of the process of life, which would use a graph for this. The accompanying axis and the legend define exactly what the visualized data should mean. By removing the legend and by designating the fact as round, I want to open the view to where science fixes it.

These holes are then filled with bacteria from this group, but the selection method is arbitrary (more chaotic than the first selection method), so not all are shown and they do not follow the original selection method. These bacteria were boiled at 100 degrees Celsius and thus destroyed. Food (gellan gel) was then applied to these epics and some (which managed to form survival forms (spores) grew again after cooking and are visible in the form of yellow balls in the gel.

The holes are markers for specific bacteria that have their place in the time-space scale, but this time-space scale is only one way of possible viewing or labeling of things. The document of the process monitored in this way is a graph. The accompanying axis and the legend define exactly what the visualized data should mean. By removing the legend and labeling the fact as round, I want to open the view to where science fixes it. Between the epic (where the bacterium is – a marker from this microbial community) and the label for this bacterium, a kind of break occurs (cooking at 100 degrees indicates death or a break).

We are faced with two realities: death and regrowth. According to G. Bachelard (1998, 255), being seems round. This I chose the artistic element instead of the numerical data that was in the graph. Because it perforates the support, on the one hand it opens into infinity, and on the other hand the epics step into space towards the viewer. The Plexiglas image is a model where the position of the epics is precisely determined by the choice of a variable. This is a preliminary view. The only variable now is life itself.

ZDRUŽBA/UNION 2007,

2. bienale slovenske keramike Zemlja in nebo, Postojna

Bela glina 38 x 45 x 48 cm

Delo prikazuje šest posameznih rastočih struktur: tri enojne in tri dvojne. Strukture izraščajo iz ene površine, ta pa je namenoma prekinjena. S tem govori ravno o elementu – zemlji iz naslova natečaja. Tega elementa ni, vendar pa si ga zamišljamo, saj rast in dvigovanje struktur acociira na njihov izvor, prav tako razpoke v tleh. Strukture so na vrhu odprte proti nebu. Globina in širina odprti nista pri vseh enaki. kompozicija je sestavljena tako, da kljub temu, da niso fizično vezane, delujejo kot celota; celota, ki je skupaj, vendar pa je v tem skupaj nekaj nedorečenega, kar pušča gledalcu odprto za kakšen način povezave gre. Pri vsakem od teh struktur sem želelea govoriti o odnosih med seboj, s svojim izvorom in s poljem transcendence. Asociacije na odnose sem dobila v odnosih, ki se spletajo v naravi. Tam poznamo odnose sožitja, komenzalizma (kljer ima en organizem korist, drugi pa nima škode), parazitizma (kjer en organizem zajeda drugega), saprofitizma (hranjenje z odmrlim tkivom),…Delo ima naslov združba, saj želi rahlo asociirati na človeško združbo, vendar pa ne dolči zakaj, na kakšnem temelju so strukture združene med seboj. Prav tako delo asocira na Rodinovo delo Calaiski meščani, kjer se je šest meščanov žrtvovalo, ko so Angleži napadli Calais, zato, da so ostalim prizanesli. Rodinovo delo je brez podstavka, figure so ločene med seboj. Struktura tako pušča gledalcu odprto polje lastnega vstopanja in dojemanja dela.

The work shows six individual growing structures: three single and three double. The structures grow from one surface, which is intentionally interrupted. This speaks precisely to the element – earth from the title of the competition. This element does not exist, but we imagine it, since the growth and lifting of the structures is associated with their origin, as are the cracks in the ground. The structures are open to the sky at the top. The depth and width of the opening are not the same for all of them. The composition is composed in such a way that, despite not being physically connected, they act as a whole; a whole that is together, but there is something vague in this together, which leaves the viewer open to what kind of connection it is. With each of these structures, I wanted to talk about relationships with each other, with their origin and with the field of transcendence. I got associations with relationships from relationships that intertwine in nature. There we know the relationships of coexistence, commensalism (where one organism benefits and the other is not harmed), parasitism (where one organism eats another), saprophytism (feeding on dead tissue),… The work is titled Association, as it wants to slightly associate it with human association, but it does not explain why, on what basis the structures are united with each other. The work is also associated with Rodin’s work The Burghers of Calais, where six burghers sacrificed themselves when the English attacked Calais, in order to spare the others. Rodin’s work is without a base, the figures are separated from each other. The structure thus leaves the viewer an open field for their own entry and perception of the work.

VAKUUM GUMA 2007,

Celje, Galerija HODNIK, Študentske poletne premiere

Pri tem delu me je zanimal odnos do realnosti, kot ga lahko dojamemo preko znanosti. Vzela sem podatke iz referenčnega okvirja (grafa), tokrat glede na to kako odslikavajo realno. Namesto podatkov pa je tam snov, ki se prilagaja svojim oznakam; vmes sem za povezovalni in nosilni element vzela gumo za odmaševanje, ki sem jo prevlekla z lateksom. Orodje za odmaševanje ustvarja vakuum in naj bi asociiralo na povezavo s praznim prostorom, hkrati pa nosi vso racionalnost zaznave in jo kaže v njeni krhkosti. V delu gre za sočasno pojavljanje tekočega procesa rasti bakterij, zaustavitev tega procesa v času (preobražen dokument brez referenčnega okvirja), snov (mrtve bakterije) in v zgornji plasti iz njih izoliana DNK pridobljena s pomočjo PCR, ki se prilagaja lastnim oznakam. Skušam pokazati način kako znanost pristopa do realnosti in to povezati z elementom, ki kaže način povezave do realnosti. Lateks asociira na kožo in izolacijo. Način kako se vakuum guma uporablja skuša znanost narediti plodno tako da snov in podatke pošlje preko praznega prostora v življenje in “odmaši”distanco in objektiven pogled,ki je potreben, da znanost lahko deluje kot objektivna disciplina. Hkrati pa gledalcu omogoča, da lahko delo interpretira na več načinov.

VAKUUM RUBBER 2007,

Celje, Galerija Hodnik, Student summer premieres

In this work, I was interested in the relationship to reality as we can understand it through science. I took data from a frame of reference (a graph), this time in terms of how it reflects reality. Instead of data, there is a substance that adapts to its labels; in between, I took a rubber eraser as a connecting and supporting element, which I coated with latex. The eraser tool creates a vacuum and is supposed to associate with a connection to empty space, while at the same time carrying all the rationality of perception and showing it in its fragility. The work is about the simultaneous occurrence of the ongoing process of bacterial growth, the stopping of this process in time (a transformed document without a frame of reference), the substance (dead bacteria) and, in the upper layer, the DNA isolated from them obtained using PCR, which adapts to its own labels. I try to show the way science approaches reality and connect this with an element that shows the way of connecting to reality. Latex is associated with skin and insulation. The way the vacuum rubber is used attempts to make science fruitful by sending matter and data through empty space into life and “unclogging” the distance and objective perspective that is necessary for science to function as an objective discipline. At the same time, it allows the viewer to interpret the work in multiple views.

JEŽEK 2007

Delo jemlje za osnovo proces rasti združbe izolirane iz tal Ljubljanskega barja na gojiščih POL – polimerno gojišče in DNB – razredčena hranilna brozga. V pravokotno obliko iz poliestrske smole so zataknjene eze (plastične palčke, ki se uporabljajo za nacepljanje bakterij). Prilagajajo se oznakam rasti bakterij v grafu, ki je prenešen na ploskev. Na koncu ez je del poliestrske smole, ki deluje lepljivo Delo rahlo asociira na rosiko – mesojedo rastlino, ki se hrani z žuželkami. Barva dela je roza, kar nekako kaže na ranljivo kožo v katero so zapičene eze.

HEDGEHOG 2007

The work is based on the growth process of a community isolated from the soil of the Ljubljana Marshes on POL – polymer medium and DNB – diluted nutrient broth. Eze (plastic sticks used for inoculating bacteria) are stuck into a rectangular shape made of polyester resin. They adapt to the signs of bacterial growth in the graph, which is transferred to the surface. At the end of the ez is a part of the polyester resin that acts sticky. The work is slightly associated with the sundew – a carnivorous plant that feeds on insects. The color of the work is pink, which somehow suggests the vulnerable skin into which the eze are stuck.

ZDRUŽBA II/ COMMUNITY II 2007

Delo je narejeno iz steklene volne, prevlečeno s poliestrsko smolo, v to izolativno pregrado pa so zatanjeni tipsi rumene barve, ki se prilagajajo oznakam bakterij izraslih v treh mesecih bakterijske rasti na polimernem (POL) gojišču. Rumeni tipsi so nataknjeni drug na drugega in tvorijo krožno pot tam kjer je na grafu samo ena oznaka in predrejo bariero iz stekelene volne, ki ustvarja izolacijo. Nakazuje odnose v naravi, ki so povezani in govorijo o drugačnem nelinearnem načinu povezave, ki ga prikazuje sama znanost. Dopolnjujejo način znanstvene reprezentacije, na način, da prikazuejo kroženje odnosov in hranil.

COMMUNITY II 2007

The work is made of glass wool, coated with polyester resin, and in this insulating barrier are embedded yellow tips that adapt to the marks of bacteria grown during three months of bacterial growth on a polymer (POL) medium. The yellow tips are placed on top of each other and form a circular path where there is only one mark on the graph and penetrate the glass wool barrier that creates insulation. It indicates relationships in nature that are connected and speak of a different non-linear way of connection that science itself shows. They complement the way of scientific representation, in a way that they show the circulation of relationships and nutrients.

MENZURA 2007

ŠTUDENTSKO DELO Pef

Delo je sestavljeno iz štirih lesenih stebrov iz obdelane oljke, ki so prirezani tako, da je vanje lahko horizontalno vstavljena plošča iz oljke. Te štirje stebri so postavljeni v obliki križa, na sredi pa je 1 l menzura (merilni valj), ki je postavljen v središče strukture, ki tvori križ. Govori o izolaciji bakterij iz zemlje, ki jim z gojenjem in izolacijo določimo pozicijo in jih umestimo v prostor in čas. Hkrati struktura govori tudi o zemljemerstvu in določanju pozicij v prostoru in načinu kako izdelujemo karte in si pomagamo pri načinu kako dojemamo prostor kot dejansko in abstraktno kategorijo.

The work consists of four wooden pillars made of treated olive wood, which are cut so that an olive wood panel can be inserted horizontally into them. These four pillars are arranged in the shape of a cross, and in the middle is a 1 l beaker (measuring cylinder), which is placed in the center of the structure, which forms a cross. It talks about the isolation of bacteria from the soil, which, through cultivation and isolation, we determine their position and place them in space and time. At the same time, the structure also talks about surveying and determining positions in space and the way we make maps and help each other in the way we perceive space as a real and abstract category.

PRIHODNJI PROJEKT

AMILOID – HIDROKSIAPATIT

Glavna referenca za postavitev je osnovana na merjenih podatkih iz članka Wang in sod. (2021). Eksperiment se ukvarja s gojenjem biofilma genetsko spremenjene E.coli in vpliva svetlobe na produkcijo biofilma z vsebnostjo amiloida in hidroksiapatita. Med eksperimentom so uspeli tvoriti kompozite, ki se jih lahko prostorsko regulira. Trdijo, da je izločanje in tvorba ekstracelularnega matriksa lahko kontrolirana s svetlobo in na ta način lahko vplivamo na tvorjenje biofilma v prostoru in času na način, da omogoča naknadno tvorbo kompozitov.
Začeli so s testiranjem indukcije kontrole biofilma s pomočjo projektorja modre svetlobe, ki je projiciral barvne vzorce prirejene v programu za obdelavo slik. Projiciramo ga na tekoče bakterijske kulture v polistirenskih (PS) petrijevkah. Barvanje je nakazalo, da je projiciran vzorec svetlobe pravilno reperezentiran kot bakterijski biofilmi, ki rastejo v vzorcih. Preko noči je bil medij kulture biofilma nadomeščen s 1,5 x SBF za naknadno mineralizacijo z hidroksiapatitom. Po 7 dnevni mineralizaciji so generirani kompoziti ohranili originalni vzorec. Detajlna morfološka karakterizacija s scanning elektronskim mikroskopom je nakazala da so površine vzorčastih biofilmov prekrite z letvam podobni mineralizirani HA (hidroksi apatit) strukturi.
Kot referenco sem vzela štiri intenzitete svetlobe, ki smo jih izbrali glede na referenco v Wang in sod. (2021). Uporabila bom dva različna pogleda. Enega, kjer so vse štiri spremenljivke skupaj. Nosi jih krožna oblika, ki je reprezentirana in projeciirana preko Teraherčnega vira, ki je nameščen nad manjšo krožno obliko v steklenem obroču. V manjši postavitvi so svetlobni vzorci pretvorjeni v zvok, ki ga lahko gledalec doživi. Gledalcu hočem omogočiti, da doživi izkušnjo zvoka in svetlobe skupaj, saj se lahko pretvarjata eden v drugega v območju teraherčnega valovanja. Prej sintetični pogled bo razdeljen na štiri različne lastnosti (presevnosti svetlobe) in bo še vedno povezan z eno, ki določa hipotezo v katerega so ti deli potopljeni, sedaj pa bodo odprti k gledalcu in k neskončnosti.
Uporabila bom steklen obroč, ki omogoča delno prepusten pogled na rast bakterijskega biofilma, hkrati pa omogoča usmerjanje Led luči na bakterije, ki so na eni strani odprti k tlom in nosijo strukturo rasti biofilma, ki je povezana z rastjo vzorcev narejenih v illustratorju. Na eni strani omogočajo rast biofilma v obliki vzorca. Na drugi strani pa je ta vzorec projeciran kot senca. Na drugi strani steklenega obroča pa bo gledalec lahko doživel svetlobne vzorce in različne debeline biofilma kot zvok. Prav tako bo možno vplivati na zvok preko pretvorbe s teraherčno frekvenco, ki bo prav tako vplivala na zvok kar bo mogoče videti kot majhne spremembe v projeciranih vzorcih svetlobe.
Izdelujemo konstrukcijo živega biofilma. Izolacija bakterij iz okolja ustvari pogoje za konstrukcijo. Rada bi, da gledalec zazna, da izolacija organizmov iz okolja omogoči konstruiran pogled na svet – nekakšen umeten pogled na organizem. Na eni strani je nesmrten, na drugi strani pa izmerjen, vpisan v čas. Izolacija po eni strani pomeni smrt, ker ni več živeč v okolju. Če se organizem izvzame iz okolja je nekako kastriran, saj ni več povezan s svojim izvornim okoljem. Rada bi, da gledalec omogoči povezavo med življenjem in rastjo, saj so bakterije sedaj postavljene znotraj biofilma, ki je zmožen rasti in mineralizacije (preko hidroksi apatita) Tako lahko tvori strukture, ki so na eni strani žive na drugi strani pa trdne in stabilne. Prav tako skušam ohraniti znanstveno potrjena dejstva Wanga in sod. (2021) in uporabiti te podatke, ki so vertikalno povezani z neskončnostjo preko Thz pretvornika, ki omogoča povezavo svetlobe in zvoka in horizontalno poveže gledalca s samim sabo in z okolico na drugi strani. Instalacija si prav tako zastavlja vprašanje kje se rast in dekompozicija sklopita in kje se povežeta z neskončnostjo. Kdo ima nadzor nad to točko, ki ne more biti definirana in je lahko eno ali drugo. Je točka možnosti, da si lahko eno ali drugo (kvantna superpozicija – telo je umrljivo in neumrljivo hkrati). Če je ta točka definirana lahko govorimo samo o prehodnosti, totalni definiranosti in dokumentaciji. Ideja gre do osnovne plošče preživetja, reproduktivnosti in povezave z življenjem samim. Pokaže nam gradnjo pozicij moči preko jemanja energije izvora življenja, kajti za nadzor nad to točko moramo nadzirati samo osnovo nastanka življenja. Kje je ta energija uporabljena za nastanek novega življenja in kje za ohranjanje pozicij moči. Kaj če ta točka ni več direktna – je izmerjena kot je to narejeno v znanosti in preko analitičnega pogleda. Ali je lahko znanstveni pogled ideološki (čeprav naj nebi bil povezan z gledalcem) Glede na Van Fraasna (2008) meritev ni mimetična ampak postavi organizem v točno določen logični prostor.
Prav tako drži, da je pred meritvijo in določitvijo pozicije objekta ta v vseh možnih stanjih hkrati (kvantna superpozicija). Instalacija hoče odpreti fiksno mesto do neskončnosti – presežnosti vseh možnih stanj in iti izven meritve v Thz regijo, ki to odprtje v neskončnost in svobodo lahko omogoči.
Povezava Snaillovega zakona odboja in odseva s pogledom gledalca omogoči vplivati na zvok, ki je projiciran iz Thz vira, ki modro svetlobo projicirano na biofilm prevaja v zvok. Gledalec lahko tako posredno vpliva na rast in produkcijo biofilma. Rada bi točko, kjer se odboj in odsev srečata – sovpadata povezala s pogledom gledalca – in teorijo meritve – tukaj bi se povezala vidno in nevidno (Thz in Led emitirana svetloba). Zapisi Thz pa bi se pretvorili v zvok. Hkrati se podoba rasti biofilma projecira skozi večji stekeleni obroč. Točka vstopa gledalca je povezana s problemom meritve in kvantno fiziko, kjer je svetloba hkrati delec in val – dokler ne pogledamo – takrat potem potem odboj in odsev prehajata eden v drugega. Podoba biofilma – video pa se pretvarja v zvok.

The main reference for the setup is based on the measured data from the article Wang et al. (2021). The experiment deals with the cultivation of a biofilm of genetically modified E. coli and the effect of light on the production of a biofilm containing amyloid and hydroxyapatite. During the experiment, they managed to form composites that can be spatially regulated. They claim that the secretion and formation of extracellular matrix can be controlled by light and in this way we can influence the formation of biofilm in space and time in a way that allows the subsequent formation of composites.
They started by testing the induction of biofilm control using a blue light projector that projected color patterns adjusted in an image processing program. It is projected onto liquid bacterial cultures in polystyrene (PS) petri dishes. The coloring indicated that the projected light pattern correctly represented the bacterial biofilms growing in the samples. Overnight, the biofilm culture medium was replaced with 1.5 x SBF for subsequent mineralization with hydroxyapatite. After 7 days of mineralization, the generated composites retained the original pattern. Detailed morphological characterization with a scanning electron microscope indicated that the surfaces of the patterned biofilms are covered with a lath-like mineralized HA (hydroxyapatite) structure.
As a reference, I took four light intensities, which we chose according to the reference in Wang et al. (2021). I will use two different views. One, where all four variables are together. They are carried by a circular shape, which is represented and projected via a Terahertz source, which is placed above a smaller circular shape in a glass ring. In the smaller setup, the light patterns are converted into sound, which the viewer can experience. I want to allow the viewer to experience sound and light together, as they can transform into each other in the terahertz wave range. The previously synthetic view will be divided into four different properties (light translucencies) and will still be connected to one that determines the hypothesis in which these parts are immersed, but now they will be open to the viewer and to infinity.
I will use a glass ring that allows a partially permeable view of the growth of the bacterial biofilm, while at the same time allowing the LED light to be directed at the bacteria, which are on one side open to the ground and carry the structure of the biofilm growth, which is related to the growth of the patterns made in Illustrator. On the one hand, they allow the growth of the biofilm in the form of a pattern. On the other side, this pattern is projected as a shadow. On the other side of the glass ring, the viewer will be able to experience the light patterns and different thicknesses of the biofilm as sound. It will also be possible to influence the sound through conversion with a terahertz frequency, which will also affect the sound, which will be seen as small changes in the projected light patterns.
We are making a construction of a living biofilm. The isolation of the bacteria from the environment creates the conditions for the construction. I would like the viewer to perceive that the isolation of organisms from the environment enables a constructed view of the world – a kind of artificial view of the organism. On the one hand, it is immortal, and on the other hand, it is measured, inscribed in time. On the one hand, isolation means death, because it is no longer living in the environment. If an organism is removed from the environment, it is somehow castrated, because it is no longer connected to its original environment. I would like the viewer to enable the connection between life and growth, because the bacteria are now placed within a biofilm that is capable of growth and mineralization (via hydroxyapatite). Thus, it can form structures that are, on the one hand, alive, and on the other hand, solid and stable. I also try to preserve the scientifically confirmed facts of Wang et al. (2021) and use this data, which is vertically connected to infinity through the Thz converter, which allows the connection of light and sound and horizontally connects the viewer with himself and with the surroundings on the other hand. The installation also asks the question of where growth and decomposition meet and where they connect to infinity. Who has control over this point that cannot be defined and can be either. It is a point of possibility that one can be either (quantum superposition – the body is mortal and immortal at the same time). If this point is defined, we can only talk about transience, total definition and documentation. The idea goes to the basic board of survival, reproducibility and connection with life itself. It shows us the construction of positions of power by taking the energy of the origin of life, because to control this point we must control the very basis of the emergence of life. Where is this energy used for the emergence of new life and where for the maintenance of positions of power. What if this point is no longer direct – it is measured as it is done in science and through an analytical view. Can the scientific view be ideological (although it should not be connected to the viewer) According to Van Fraasen (2008), measurement is not mimetic but places the organism in a precisely defined logical space.
It is also true that before the object’s position is measured and determined, it is in all possible states simultaneously (quantum superposition). The installation wants to open i fixed place to infinity – the excess of all possible states and go beyond measurement into the Thz region, which can enable this opening to infinity and freedom.
The connection of Snail’s law of reflection and reflection with the viewer’s gaze allows to influence the sound that is projected from the Thz source, which translates the blue light projected onto the biofilm into sound. The viewer can thus indirectly influence the growth and production of the biofilm. I would like to connect the point where the reflection and reflection meet – coincide with the viewer’s gaze – and the theory of measurement – here the visible and invisible would be connected (Thz and Led emitted light). The Thz records would be converted into sound. At the same time, the image of the biofilm growth is projected through a larger glass ring. The viewer’s entry point is connected to the problem of measurement and quantum physics, where light is both a particle and a wave – until we look – then then the reflection and reflection pass into each other. The image of the biofilm – the video is converted into sound.

March 30, 2025

PRIHODNJI PROJEKT

HLADILNI STOLP

Iz materialov porcelan, kevlar, bakterijski biofilm in lateks bi izdelala nekakšno konstrukcijo, ki služi kot neke vrste muzej za diagnoze – kot nekakšna simulacija arhiva brisov z rakavimi in predrakavimi brisi, kjer se živo dokumentira, arhivira in shranjuje. Bolj v obliki slik in diagnoz, saj je direktno ohranjanje živega v tem primeru težavno.

Je simulacija arhiva brisov materničnega vratu, je nekakšno skladišče, ki kopiči in zadržuje pred propadom. Brisi se dejansko jemljejo z vhoda – materničnega vratu, kjer je eno od mest, kjer lahko pride do oploditve. Se pravi bi celotna oblika shrambe spominjala na maternico, hkrati pa bi bil v njej stolp, kjer se stopnjujejo diagnoze od blažjih do predrakavih in rakavih sprememb višje stopnje. Celotna konstrukcija bi bila iz več materialov – bila bi iz lateksa (ki je material, ki preprečuje oploditev) in moje poročne obleke, ki ne služi več svojemu namenu, je le simulacija, spomin na nekaj, kar ne obstaja več tako v realnosti, kot v družbenem kontekstu. Instalacija je kot nekakšno orjaško skladišče, nekaj kar omogoča življenje hkrati pa postane skladišče za točke odvzete v času. Zanima me kako je kodiran sistem. Sistem, ki je vzpostavljen je družbeno in politično določen. Vse ženske, ki so zajete so zajete zato, ker obstaja nekaj neko pravilo, nekaj nad, ki pogojuje vzorec.

Nekakšna sluzasta pregrada, kjer gledalec vstopa v maternični vrat kot simulacijo oploditve oziroma v izvor prehoda; vstopa v smrt ali v rojstvo. Ko vstopa v prostore spomina nekakšne sluzaste pregrade med časom in nečasom, med telesom in ničem, med kodiranimi rezultti in svetlobo, med tkivom in sluzjo.

Z instalacijo s sprašujem kako simulirati povezavo, da bo hkrati oboje. Kje je izvor bolečine – v oddaljenosti od pristnosti. Ko si v nečasu bolečine ni, ko vstopaš v čas si si telo, ki je minljivo in s tem odmiranjem nosiš bolečino smrti, odmiranja in bivanja. Kako ponazoriti to težo? Delo je hkrati objektivno in subjektivno. Znotraj je stolp eliptične oblike iz večjih stekelnih plošč, kjer so s pomočjo postopka fuzije stekla in aplikacije posameznih slik rakavih in predrakavih sprememb predstavljene stopnje od blagih do hudih predrakavih sprememb. Le te plošče so prekrite z bakterijskim biofilmom bakterije E. Coli, ki je bila spremenjena, tako, da tvori biofilm različnih debelin odvisno s kakšno svetlobo je osvetljena. Na vrhu tega stolpa je Thz vir (Thz svetloba se lahko uporablja za diagnostiko med rakavimi in predrakavimi spremembami, vendar še ni uvedena v splošno prakso). Drugače je to nekakšna izvorna svetloba. Pridobljena pa je s pomočjo Thz generatorja. Stolp iz plošče rakavih in predrakavih sprememb po obliki in funkciji asociira na obliko hladilnega stopla v Šostanju, ki ga je projektiral moj dedek. Citat navajam zato, ker je to neke vrste družinska identifikacije – pri gradnji je sodeloval moj dedek, ki je zato izumil obliko stolpa – za kar se potrebuje manj betona, hkrati pa je tudi lepši in bolj funkcionalen. Da je omogočil gradnjo stolpa pa je izumil še neke vrste premični opaž, ki je omogočal lažjo in in funkcionalnejšo gradnjo, saj ni bilo potrebno graditi gradbenih odrov od tal do vrha, ampak je enonadstropni gradbeni oder potoval od enega nadstropja do drugega. Citiram in izrabljam obliko, ker menim, da gre pri procesu ustavitve, zamrznitve in dokumentacije življenja za podobno povezanost ali nepovezanost med prej in sedaj. Ne potrebuješ več podstati spodaj, da drži tvojo sedanjost ampak samostojiš na neki »ideji« znotraj časa in v tem trenutku. Da gre za hladilni stolp ni naključje, saj si znotraj časa, hkrati pa si zamrznjen v času na kar asociira sama funkcija stolpa. Sedaj ne bo šlo za gradnjo ampak za proces, kjer se dogaja ravno obratno. Že dokončan in zamrznjen proces bo bo prek posega na voljo gledalcu za »odmrznitev«. Vstop v nekaj, kar se je že zgodilo bo možen tako prek delov nepovezanih s celoto – kot samostojen delček v času, ali pa prek odprtja vseh odprtin kot celota. Hkrati bo okrog stolpa narejen nekakšen šotor iz tkanine simulacije moje poročne obleke, kevlarja in porcelanastih plošč naparjenih s Tollensovim testom, ki tvori zrcalo. Da lahko vstopaš v zgodovino potrebuješ podatke in nek okvir skozi katerega gledaš.

Stolp kot bližanje vrhu – izvoru svetlobe, kjer so na dnu težje diagnoze, proti vrhu pa se dogaja nekakšno zdravljenje – selekcija brisov, enih, da gredo v življenje, drugih pa v zdravljenje rakavih ali predrakavih sprememb.

Hladilni stolp je del zgodovine, kjer je del zgodovine zamrznjen, del pa pretočen in odprt v času, kjer s svojim delovanjem »živiš« kot telo. Ko vstopaš v čas si telo, ki je minljivo, hkrati nosiš tudi bolečino odmiranja, bivanja. Kako ponazoriti to težo? Da ko se utelesiš si smrten in s tem nosiš bolečino minevanja. Kako ponazoriti in zakodirati prisotnost telesa, hkrati pa nočeš prikazati le njegove lupine, le nekaj kar telo določa, ga umešča in določuje. In telo umestiti v določujoče pozicije zbirk, vzorcev, celic, arhiv… Nekaj mojega osebnega povezati s kolektivnim – z zbirko. Brise žensk – predstavlejene bodo slike predrakavih in rakavih sprememb hkrati z označenimi diagnozami bodo na steklenih ploščah, te pa bodo prekrite z biofilmom bakterije E. Coli, ki v času s pomočjo vzbujanja z modro LED svetlobo in v različnih gojiščih tvori biofilm iz amiloida in hidroksi apatita. To sta sestavini, ki nekako asociirata na biofilm, ki zamegljuje pogled na dejansko stanje, ki okosteni ali želatinizira življenje še dodatno. Amiloid kot beljakovina, ki drugače nastaja v telesu kot produkt patološkega procesa, ki se ponavadi konča s smrtjo in hidroksiapatit kot produkt školj klapavic (ki pa ga sedaj dela bakterija) in asociira enako na okostenelost in nekakšen solni steber (primer Lotova žena iz stare zaveze, ki se spremeni v solni steber, ko se ozre nazaj). Ta biofilm asociira na družbene vzorce, na vsajene kode gledanja, ki so nam dani kot taki in v njih ne dvomimo, kot neka dogma, ki zamegljuje pogled in moti jasnost zaznave.

Skušam povezati različna področja, ki pa se vsa povezujejo, ko gre za identiteto mene in kolektivnega, objektivnega in subjektivnega. En del bo res predstavljen kot dokument – slike brisov predstavljene na steklu s pomočjo tiska in fuzije, na njih pa biofilm, ki je hkrati »živ«, saj je tvorba bakterij, ki v njem živijo, hkrati pa snov taka kot je onemogoča jasen pogled, onemogoča določiti in videti jasno kje je živo in kje gre za vstop v smrt. Kot nekakšen družbeni motilec, kot luskine, ki nam omogočajo videti jasno in »odmrzniti« zgodovino in izstopiti iz smrti.

Sama oblika asociira tako na maternico – lateks, kupola, kevlar, porcelan, hkrati pa ima spodaj odprtino – maternični vrat, ki omogoča oploditev in prepoznavo (zrcalo v Tollensovem testu) in lateksa, ki je prepredena z dvojnim kodom – dostop do materničnega vratu, ki omogoča oploditev ali pa jo preprečuje, po drugi strani pa preprečuje okužbo s HPV virusom, ki je virus, ki dokazano povzroča raka materničnega vratu. Obilka je zmes – nekakšen svod preko katerega dojemamo neskončnost in segamo preko nje preko bolečine do življenja. Na vrhu je svod odprt v nebo in spodaj bi lahko nosil špice, tako kot v mišnici, sedaj pa je na vrhu Thz vir, ki presvetljuje plošče spodaj in nekako omogoča prepoznavo stopnje predrakavih in rakavih sprememb, hkrati pa spominja na kvatni paradoks, saj v Thz viru lahko beremo stvari hkrati – odvisno od tega kako se prikazujejo – kot podobo (svetlobo) ali kot zvok. V Thz svetlobi sta zvok in svetloba povezana in prehajata eden v drugega, hkrati pa ohranjata svojo identiteto.

Vhod je mogoč spodaj in spominja na matenični vrat, ki je odprtina, kjer se zgodi oploditev ali pa pride do okužbe s HPV virusom in do raka materničnega vratu. HPV virus se vgradi v gen, pri teh pa potem odpovedo mehanizmi popravljanja in omogočajo nemoteno deljenje celic, kar potem vodi do rakavih in predrakavih sprememb. Tako je oznaka za nastanek življenja združena z oznako za njegov konec, hkrati pa se srečujeta v paradoksu kjer neskončnost telesa oziroma celice pomeni smrt, končnost oziroma utelešenje neskončnosti v končnost pa šele omogoča življenje. Celotna postavitev ima po površini razporejena kukala podobna mikroskopskemu pogledu, ki omogoča pogled znotraj, vendar omogoča distanco.

FUTURE PROJECT – COOLING TOWER

From the materials porcelain, kevlar, bacterial biofilm and latex I would make a kind of construction that serves as a kind of museum for diagnoses – as a kind of simulation of a smear archive with cancerous and precancerous smears, where the living is documented, archived and stored. More in the form of images and diagnoses, since directly preserving the living is difficult in this case.

It is a simulation of a cervical smear archive, it is a kind of warehouse that accumulates and keeps it from decay. The swabs are actually taken from the entrance – the cervix, where one of the places where fertilization can occur. That is, the entire shape of the warehouse would resemble the uterus, but at the same time there would be a tower in it, where diagnoses are graded from mild to precancerous and higher-grade cancerous changes. The entire construction would be made of several materials – it would be made of latex (which is a material that prevents fertilization) and my wedding dress, which no longer serves its purpose, is just a simulation, a memory of something that no longer exists in reality or in the social context. The installation is like a kind of giant warehouse, something that enables life and at the same time becomes a warehouse for points taken in time. I am interested in how the system is coded. The system that is established is socially and politically determined. All women who are captured are captured because there is some rule, something above, which conditions the pattern.

A kind of mucous barrier, where the viewer enters the cervix as a simulation of fertilization or the source of transition; enters death or birth. When he enters the spaces of memory, a kind of mucous barrier between time and timelessness, between the body and nothingness, between coded results and light, between tissue and mucus.

With the installation I ask how to simulate the connection so that it is both at the same time. Where is the origin of pain – in the distance from authenticity. When you are in timelessness, there is no pain, when you enter time, you are a body that is fleeting and with this dying you carry the pain of death, dying and being. How to illustrate this weight? The work is both objective and subjective. Inside is an elliptical tower made of larger glass panels, where the stages of precancerous changes from mild to severe are presented using the glass fusion process and the application of individual images of cancerous and precancerous changes. Only these panels are covered with a bacterial biofilm of the E. Coli bacteria, which has been modified so that it forms a biofilm of different thicknesses depending on the light it is illuminated with. At the top of this tower is a Thz source (Thz light can be used for diagnostics between cancerous and precancerous changes, but has not yet been introduced into general practice). Otherwise, it is a kind of source light. It is obtained using a Thz generator. The tower made of a slab of cancerous and precancerous changes, in its form and function, is reminiscent of the shape of the cooling tower in Šostanj, which was designed by my grandfather. I quote this because it is a kind of family identification – my grandfather participated in the construction, who therefore invented the shape of the tower – which requires less concrete, but is also more beautiful and functional. To enable the construction of the tower, he also invented a kind of movable formwork, which enabled easier and more functional construction, since it was not necessary to build scaffolding from the ground to the top, but a single-story scaffolding traveled from one floor to the next. I quote and use the shape because I believe that the process of stopping, freezing and documenting life involves a similar connection or disconnection between the past and the present. You no longer need a foundation below to hold your present, but you stand independently on some “idea” within time and in this moment. It is no coincidence that it is a cooling tower, because you are within time, and at the same time you are frozen in time, which is associated with the very function of the tower. Now it will not be about construction, but about a process where the opposite happens. An already completed and frozen process will be available to the viewer for “thawing” through the intervention. Entry into something that has already happened will be possible both through parts unrelated to the whole – as an independent particle in time, or through the opening of all openings as a whole. At the same time, a kind of tent will be made around the tower from a fabric simulation of my wedding dress, Kevlar and porcelain plates steamed with Tollens’ test, which forms a mirror. In order to enter history, you need data and a frame through which to look.

The tower as approaching the top – the source of light, where at the bottom there are more difficult diagnoses, and towards the top a kind of treatment is taking place – the selection of swabs, some to go into life, and others to treat cancerous or precancerous changes.

The cooling tower is a part of history, where part of history is frozen, and part is fluid and open in time, where you “live” as a body through your actions. When you enter time, you are a body that is fleeting, and at the same time you also carry the pain of dying, of being. How to illustrate this weight? That when you incarnate, you are mortal and thus carry the pain of passing away. How to illustrate and encode the presence of the body, while at the same time not wanting to show only its shell, only something that the body determines, places and determines. And to place the body in the defining positions of collections, samples,cells, archive… Something of my personal to connect with the collective – with the collection. Smears of women – images of precancerous and cancerous changes will be presented, along with marked diagnoses, they will be on glass plates, and these will be covered with a biofilm of the E. Coli bacteria, which over time, with the help of excitation with blue LED light and in various culture media, forms a biofilm of amyloid and hydroxyapatite. These are two components that somehow associate with a biofilm that blurs the view of the actual situation, which ossifies or gelatinizes life even further. Amyloid as a protein, which is otherwise produced in the body as a product of a pathological process that usually ends in death, and hydroxyapatite as a product of mussel shells (which is now made by bacteria) and associates the same with ossification and a kind of pillar of salt (the example of Lot’s wife from the Old Testament, who turns into a pillar of salt when she looks back). This biofilm associates with social patterns, with implanted codes of seeing, which are given to us as such and we do not question them, like some kind of dogma that blurs the view and disrupts the clarity of perception.

I am trying to connect different areas, but they are all interconnected when it comes to the identity of myself and the collective, objective and subjective. One part will indeed be presented as a document – images of smears presented on glass using printing and fusion, and on them is a biofilm that is at the same time “alive”, because the formation of bacteria that live in it, and at the same time the substance as it is, prevents a clear view, prevents us from determining and seeing clearly where is alive and where it is about entering death. As a kind of social disruptor, like scales that allow us to see clearly and “unfreeze” history and emerge from death.

The shape itself is associated with the uterus – latex, dome, Kevlar, porcelain, but at the same time it has an opening at the bottom – the cervix, which allows fertilization and recognition (the mirror in the Tollens test) and latex, which is interwoven with a double code – access to the cervix, which allows fertilization or prevents it, and on the other hand prevents infection with the HPV virus, which is a virus that has been proven to cause cervical cancer. The shape is a mixture – a kind of vault through which we perceive infinity and reach beyond it through pain to life. At the top, the vault is open to the sky and below it could carry spikes, just like in a mousetrap, but now at the top there is a Thz source that illuminates the panels below and somehow allows recognition of the degree of precancerous and cancerous changes, while at the same time it is reminiscent of a quantum paradox, because in the Thz source we can read things at the same time – depending on how they are displayed – as an image (light) or as sound. In Thz light, sound and light are connected and pass into each other, while maintaining their identity.

The entrance is possible from below and resembles the cervix, which is the opening where fertilization occurs or HPV infection and cervical cancer occur. The HPV virus is integrated into the gene, and in these cases the repair mechanisms fail and allow for unhindered cell division, which then leads to cancerous and precancerous changes. Thus, the sign for the origin of life is combined with the sign for its end, and at the same time they meet in a paradox where the infinity of the body or cell means death, while the finitude or the embodiment of infinity into finitude only enables life. The entire installation has peepholes arranged on the surface similar to a microscopic view, which allows a look inside, but allows for distance.

Anatomija Beline: MAJDA GREGORIČ, NINA KOŽELJ, JAN OUTRATA, MOJCA ZALOŽNIK
Galerija Prečna Kamnik: 9.9.2023 – 21. 10 2023

Koncept se ukvarja s sestavo porcelana in njegovim filtriranjem. Velikost delcev porcelana, ki ga ločujejo od gline, je manjša in znaša približno od 0,002 mm do 0,0001 mm. Uporabljeni filtri se gibljejo od 100 mikrometrov do 30 mikrometrov. Osnovna ideja je spoznati material, ki prehaja skozi filtre velikih sita različnih velikosti, ki prepuščajo vedno manjše delce. Ti filtri se običajno uporabljajo za filtriranje celic. Te sem spustila preko filtra na papir. Te koščke porcelana sem nato žgala v peči. Trije večji obroči vsebujejo mrežico velikosti 100 mikronov. Porcelan želim ujeti v njegovi materialnosti, hkrati pa ga redčiti, dokler material ne izgine – neke vrste dematerializacija.

Spodaj so porcelanske oblike, ustvarjene po ulivanju iz kalupa. Začetni material je 12 litrov tekočega porcelana. Logika sledi zgornjemu, vendar zdaj ne gre za redčenje materiala do točke izginotja, temveč za izginotje ulite oblike. Vsaka naslednja je manjša za natančno velikost oblike, ki jo prejšnja oblika prevzame iz osnovnega volumna. Na koncu materiala zmanjka in končna oblika je zelo majhna.
Želela sem doseči sočasno logiko dematerializacije materiala skozi sita z dovolj majhnim filtrom, po drugi strani pa redčenje in izginotje oblike. Gre za isto načelo, vendar v obeh primerih ne moremo prikazati neskončnosti, lahko jo le sklepamo iz linearne logike dematerializacije porcelana in izginotja oblike. Zaporedju v isti linearni logiki sledi naslednja faza, ki kaže, da je smer limite neskončnost. Oko zaznava tudi vmesne korake, vendar naše zaznave ne morejo zaznati neskončnega, neizmerljivega in izmuzljivega, kar poskušam prikazati z materialom, tako da ga redčim, ostane najmanjši delček porcelana. Tudi oblika izgine, ker vedno ostane manjši del volumna porcelana za ulivanje.

Anatomy of White: MAJDA GREGORIČ, NINA KOŽELJ, JAN OUTRATA, MOJCA ZALOŽNIK
Prečna Gallery Kamnik: 9.9.2023 – 21. 10. 2023

The concept deals with the composition of porcelain and its filtering. The size of porcelain particles, which separates it from clay is smaller and is approximately 0.002 mm to 0,0001 mm. The filters used range from 100 micrometers to 30 micrometers. The basic idea is to get to know the material that passes through filters of large sieves of different sizes, which let smaller and smaller particles through. These filters are normally used for filtering cells. I let these pass onto paper, These blops of porcelain were then fired in a kiln. The three bigger rings contain a mesh of 100 microns. I want to capture porcelain in its materiality, while at the same time diluting it until the material disappears – a kind of dematerialization.
Below are the porcelain forms created after casting from a mold. The starting material is 12 liters of liquid porcelain. The logic follows the above, but now it is not about dilluting the material to the point of disappearance, but about the disappearance of the cast form. Each subsequent one is smaller by the exact size of the form that the previous form takes from the basic volume. In the end, the material runs out and the final form is very small.
I wanted to achieve the simultaneous logic of dematerialization of the material through sieves with a sufficiently small filter, and on the other hand, the thinning and disappearance of the form. It is the same principle, but in both cases we cannot show infinity, we can only infer it from the linear logic of dematerialization of porcelain and disappearance of the form. The sequence in the same linear logic is followed by the next phase that shows that the direction of the limit is infinity. The eye also perceives the steps in between, but our perceptions cannot percieve the infinite, immeasurable and elusive, which I try to show with the material, by dilluting it until even the smallest particle of porcelain disappears. Also form disappears, because there is always a smaller part of the porcelain volume left for casting.

NESKONČNA VMESNOST 2017

GALERIJA KAPELICA; 2018 ; Linz Ars Eletronica https://m.youtube.com/watch?v=p3FCq3odGu0

V projektu ‘Neskončna vmesnost’ avtorica problematizira vmesno polje med objektivizirano medicinsko diagnozo in anomalijami, ki se tej vsiljeni objektivnosti izmikajo. Gledalec opazuje kulturo rakavih in sopostavljenih avtoričinih celic v inkubatorjih, ki jih običajna diagnostična praksa raziskuje s

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standardiziranimi postopki, ki so določeni z znanstvenim jezikom. Na podlagi določenih vrednosti se poda ocena o agresivnosti rakavih celic v vzorcu pacienta ali pa v primeru avtoričinih celic analizira vzorec s pomočjo pretočnega citometra. V testnem okolju umetniškega projekta opazovanje celičnih kultur poteka intuitivno s pomočjo zvoka in usmerjenih svetlobnih žarkov, ki naredijo zaznavno nekaj, kar je sicer nemerljivo / neulovljivo. V kvantni mehaniki velja, da je meritev tista, ki ‘nekaj naredi’ objektu merjenja. V znanstvenem poskusu ‘double-split experiment’ so znanstveniki potrdili, da se atom vede drugače, če ga opazujemo. Če atom ni opazovan, se vede kot val, sicer pa kot delec. Ta kvantni paradoks poznamo tudi v kvantni biologiji, od koder Založnik črpa navdih za umetniško postavitev, v kateri obiskovalec s svojo prisotnostjo / zaznavanjem vpliva na dogajanje v celični kulturi. Roger Penrose v knjigi ‘Emperor new mind: Concerning Computers, Minds and The Laws of Physics’ (1989) predlaga, da je odločitev o kolapsu valovne funkcije, ob izvedbi meritve in sklopitvi sistema na samo eno možno stanje, povezana z zavestjo in procesi, ki so neizračunljivi, ter da so s tem povezani tudi mikrotubuli v možganih. V testnem okolju instalacije ‘Neskončna vmesnost’ je tako obiskovalec tisti, ki povzroči sklopitev ali dekoherenco iz ponujene avdiovizualne superpozicije stanj (sistem obstaja v več stanjih hkrati) na eno samo možno stanje in tako sam fiksira določen sistem. Situacija je na moč podobna tehnikam za prilagajanje pogleda kot jih poznamo iz likovnih teorij videza, kjer se anamorfotični madeži v gledalčevem recepcijskem sistemu sestavijo v smiselne podobe.Renovation and restoration

INFINITE INBETWEEN 2017

GALERIJA KAPELICA; 2018 ; Linz Ars Eletronica https://m.youtube.com/watch?v=p3FCq3odGu0

In the project ‘Infinite Inbetweenness’ the author problematizes the intermediate field between objectified medical diagnosis and anomalies that evade this imposed objectivity. The viewer observes the culture of cancer and the author’s cells placed side by side in incubators, which conventional diagnostic practice investigates with
standardized procedures defined by scientific language. Based on certain values, an assessment of the aggressiveness of cancer cells in a patient sample is given or, in the case of the author’s cells, the sample is analyzed using a flow cytometer. In the test environment of the art project, the observation of cell cultures is carried out intuitively with the help of sound and directed light beams, which make something that is otherwise unmeasurable/uncatchable perceptible. In quantum mechanics, it is the measurement that ‘does something’ to the object of measurement. In the scientific experiment ‘double-split experiment’, scientists confirmed that an atom behaves differently if it is observed. If the atom is not observed, it behaves as a wave, but otherwise as a particle. This quantum paradox is also known in quantum biology, from which Založnik draws inspiration for an artistic installation in which the visitor influences the events in a cell culture with his presence / perception. Roger Penrose in his book ‘Emperor new mind: Concerning Computers, Minds and The Laws of Physics’ (1989) suggests that the decision to collapse the wave function when performing a measurement and coupling the system to only one possible state is related to consciousness and processes that are incomputable, and that microtubules in the brain are also related to this. In the test environment of the installation ‘Infinite Intermittency’, the visitor is the one who causes the coupling or decoherence from the offered audiovisual superposition of states (the system exists in several states simultaneously) to a single possible state and thus fixes a certain system. The situation is very similar to the techniques for adjusting the gaze as we know from visual theories of appearance, where anamorphic spots in the viewer’s reception system are assembled into meaningful images.

MOJCA ZALOŽNIK in GREGOR KRPIČ: MEJNA NEDOLOČENOST

2019

https://m.youtube.com/watch?v=h313SacRwlw

Zvočni inštrument Mojce Založnik in Gregorja Krpiča je zasnovan tako, da lahko celično kulturo opazujemo posredno in s tem zaznavamo submolekularne spremembe, ne da bi z meritvami posegali vanje. Skozi mikrofluidni kanal se s pomočjo zvočne pincete premika celica mišjega melanoma nad

teraherčni senzor, ki deluje kot nekakšen mikroskop za posamezne celice. Zaznana celica odda svoj zvočni odtis, ki ga posebej za to sestavljen modulator signala spremeni v vibracijo, ki udarja ob viseči zvon. V inkubatorju medij s celicami mišjega melanoma s pomočjo 100 MHz črpalke pripeljemo nad teraherčni senzor. V tem trenutku lahko z zvočno pinceto, ki deluje s pomočjo zvočnega generatorja SAW (Surface Acustic Waves), premikamo celice bolj natančno. Zvočna pinceta je prekrita z litijevim niobadom, na katerega so naparjene zlate diode, med katerimi je mogoče premikati celice tako, da jih vodimo natančno čez en kvadratni milimeter. Vsakič, ko celica zdrsne nad THz senzor, se njen spekterski odtis pojača in prevede v signal s pomočjo modularnega sintetizatorja, ki pošlje informacijo v zvočniško enoto. Ta s svojo membrano namesto običajne tkanine ali papirja uporablja steno keramičnega zvona, obešenega ob inkubatorju. Z zvenenjem zvona dobi informacija o celici bolj materialen zvok, ki ni zgolj preprosta sonifikacija materiala. Poskus, da bi s tem inštrumentom vzpostavili možnost posrednega opazovanja mutiranih celic (melanom), izhaja iz metafizičnega interesa avtorjev, ki poskušata ustvariti priložnost za dojemanje življenskih procesov na subcelični ravni, kjer se spremembe dogajajo na kvantni način. Inštrument, ki je na sledi mejni nedoločenosti, mora ostati inštrument, ki omogoča zaznavanje te nedoločenosti brez merjenja – tako kot nas uči kvantna biologija, to je, da se kvantnega dogodka ne da meriti s konvencionalnimi znanstvenimi inštrumenti. Umetniški inštrument avtorjev je potemtakem naprava, ki morebitno kvantno premeno zaznava v teraherčnem, elektro-optičnem spektru, kjer se materialnost zvoka in valovanje svetlobe prevajata eden v drugega. Zvočni odtis kot vso glasbo sprejemamo pretežno emotivno, kar je morebitni način dojemanja kvantnih paradoksov.

MOJCA ZALOŽNIK IN GREGOR KRPIČ LIMINAL INDETERMINANCY

2019

Maribor MRFU, Galerija Kapelica, 2019

https://m.youtube.com/watch?v=h313SacRwlw

The sound instrument by Mojca Založnik and Gregor Krpič is designed to allow us to observe cell culture indirectly and thus detect submolecular changes without interfering with the measurements. Through a microfluidic channel, a mouse melanoma cell is moved with the help of acoustic tweezers over a
17 terahertz sensor, which acts as a kind of microscope for individual cells. The detected cell emits its sound imprint, which a specially designed signal modulator converts into a vibration that strikes a hanging bell. In the incubator, the medium with mouse melanoma cells is brought over the terahertz sensor using a 100 MHz pump. At this point, the cells can be moved more precisely with the acoustic tweezers, which operate with the help of a SAW (Surface Acustic Waves) sound generator. The acoustic tweezers are covered with lithium niobate, on which gold diodes are vapor-deposited, between which cells can be moved so that they are guided precisely over one square millimeter. Each time a cell slides over the THz sensor, its spectral footprint is amplified and converted into a signal by means of a modular synthesizer, which sends information to the speaker unit. Instead of the usual fabric or paper, this uses the wall of a ceramic bell hung next to the incubator as its membrane. By ringing the bell, the information about the cell takes on a more material sound, which is not just a simple sonification of the material. The attempt to establish the possibility of indirect observation of mutated cells (melanoma) with this instrument stems from the metaphysical interest of the authors, who are trying to create an opportunity to perceive life processes at the subcellular level, where changes occur in a quantum manner. An instrument that traces the borderline indeterminacy must remain an instrument that enables the perception of this indeterminacy without measurement – just as quantum biology teaches us, that is, a quantum event cannot be measured with conventional scientific instruments. The authors’ artistic instrument is therefore a device that detects a possible quantum transformation in the terahertz, electro-optical spectrum, where the materiality of sound and the wave of light translate into each other. We perceive the sound imprint, like all music, predominantly emotionally, which is a possible way of perceiving quantum paradoxes. INFINITE INBETWEEN: INFINITE INBETWEEN 2017; GALERIJA KAPELICA; 2018; Linz Ars Eletronica https://m.youtube.com/watch?v=p3FCq3odGu0 In the project ‘Infinite Inbetweenness’, the author problematizes the intermediate field between objectified medical diagnosis and anomalies that evade this imposed objectivity. The viewer observes a culture of cancer and the author’s cells placed side by side in incubators, which in conventional diagnostic practice are investigated with
16
standardized procedures defined in scientific language. Based on certain values, an assessment is made of the aggressiveness of the cancer cells in the patient’s sample, or in the case of the author’s cells, the sample is analyzed using a flow cytometer. In the test environment of the art project, the observation of cell cultures is carried out intuitively with the help of sound and directed light beams, which make something perceptible that is otherwise unmeasurable/uncatchable. In quantum mechanics, it is said that the measurement is what ‘does something’ to the object of measurement. In the scientific experiment ‘double-split experiment’, scientists confirmed that an atom behaves differently if it is observed. If the atom is not observed, it behaves like a wave, otherwise it behaves like a particle. This quantum paradox is also known in quantum biology, from which Založnik draws inspiration for an artistic installation in which the visitor influences the events in the cell culture with his presence/perception. Roger Penrose in his book ‘Emperor new mind: Concerning Computers, Minds and The Laws of Physics’ (1989) suggests that the decision to collapse the wave function, when performing a measurement and coupling the system to only one possible state, is related to consciousness and processes that are incomputable, and that microtubules in the brain are also related to this. In the test environment of the installation ‘Infinite Betweenness’, the visitor is the one who causes coupling or decoherence from the offered audiovisual superposition of states (the system exists in several states simultaneously) to a single possible state and thus fixes a certain system. The situation is very similar to the techniques for adjusting the gaze as we know them from artistic theories of appearance, where anamorphic spots are assembled into meaningful images in the viewer’s reception system.

MOJCA ZALOŽNIK, GREGOR KRPIČ: DVOLOMNOST

2020

https://www.youtube.com/watch?v=mQ5WA6HzcNI

V umetniški instalaciji, ki se je razvila v samostojno umetniško-raziskovalno enoto, avtorja razvijata sistem za detekcijo celic v teraherčnem spektru in posredno opazujeta kvantno podcelično dinamiko. V ta namen so postavili zvočno pinceto za vodenje celic nad teraherčnim senzorjem in zvončasto zvočno napravo, ki oddaja zvočni odtis celice.

In the art installation, which has developed into an independent art-research unit, the authors are developing a system for detecting cells in the terahertz spectrum and indirectly observing quantum sub-cell dynamics. For this purpose, they have set up sonic tweezers to lead the cells above the terahertz sensor and a bell-shaped sound instrument, which emits the sound imprint of the cell. www.kersnikova.org

Expert collaboration and development: Dr. Aleksander Sešek, Dr. Andrej Švigelj, Tadej Krmac, Dr. Borut Pečar, Matic Potočnik | Video: Hana Jošić | Acknowledgements: Prof. Janez Trontelj, Laboratory of Microelectronics and Dr. Danilo Vrtačnik, Laboratory of Microsensor Structures and Electronics at the Faculty of Electrical Engineering, Dr. Marc Dusseiller, Dr. Philippe Marmottant, Laboratoire Interdisciplinaire de Physique (LIPhy), CNRS et Université de Grenoble Alpes

Mojca Založnik PANELI

2022

Dimenzije: 175 cm – dolžina Višina : 160 cm- cca
Širina 30 cm

V postavitivi bom uporabila 5 steklenih plošč na katerih so vgravirane linije dveh žarkov, ki po eni strani prehajata skozi stekelno prizmo, pa drugi strani pa sta pod Thz virom. Na sredini je točka, kjer sta žarka povezana in se v perspektivičnem pogledu bližata neskončnosti. Ta točka, pa je simbolično presvetljena tudi s Thz virom in senzorjem, ki zaznava spekter svetlobe, ki pade izven vidnega.

In the installation I will use 5 glass plates on which are engraved the lines of two rays, which on one side pass through a glass prism, and on the other side are under a Thz source. In the middle is a point where the two rays connect and in perspective approach infinity. This point is also symbolically illuminated by a Thz source and a sensor that detects the spectrum of light that falls outside the visible.

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March 30, 2025

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Mojca Založnik (1978, Ljubljana) je vzporedno ob študiju mikrobiologije diplomirala iz likovne pedagogike na Pedagoški fakulteti v Ljubljani. Magistrirala je iz biologije na Biotehniški fakulteti v Ljubljani ter iz slikarstva na Akademiji za likovno umetnost in oblikovanje (ALUO) v Ljubljani. Leta 2010/2011 je končala šolo za kustose in kuratorje sodobne umetnosti pri SCCA. Ukvarja se z načinom, kako znanost pristopa do realnosti in s problemi, ki nastanejo, ker se z neizmerljivim in neskončnim ne more ukvarjati na tak način, kot se lahko umetnost. Njene instalacije, pogosto izdelane iz porcelana in povezane s tehnologijo ter mikrobiologijo, so bile predstavljene na različnih razstaviščih, med drugim v Galeriji Kapelica v Ljubljani, v okviru Čipk v Muzeju sodobne umetnosti Metelkova (MSUM) v Ljubljani, na Mednarodnem festivalu računalniške umetnosti (MFRU) v Mariboru in na festivalu Ars Electronica v Linzu.

Mojca Založnik (1978, Ljubljana) graduated in art pedagogy from the Faculty of Education in Ljubljana while studying microbiology. She holds a master’s degree in biology from the Biotechnical Faculty in Ljubljana and a master’s degree in painting from the Academy of Fine Arts and Design (ALUO) in Ljubljana. In 2010/2011, she graduated from the School for Curators of Contemporary Art at SCCA. She is interested in the way science approaches reality and the problems that arise because it cannot deal with the immeasurable and infinite in the same way that art can. Her installations, often made of porcelain and related to technology and microbiology, have been presented at various exhibition venues, including the Kapelica Gallery in Ljubljana, as part of Lace at the Museum of Contemporary Art Metelkova (MSUM) in Ljubljana, at the International Festival of Computer Art (MFRU) in Maribor, and at the Ars Electronica Festival in Linz.

RAZGLASITEV TREH IZBRANIH PROJEKTOV JAVNEGA POZIVA ZA UMETNIŠKO-ARHITEKTURNE INTERVENCIJE NA RAČJEM DVORU – Mojca Zaloznik – posebna oemba žirije; UGM, marec 2025; https://drive.google.com/file/d/14n6u9xukKWuG-e1qlspGnpviX67grY0A/view
ANATOMIJA BELINE. Majda Gregorič, Nina Koželj, Jana Outrata in Mojca Založnik. 9.9. -21-10. 2023 Galerija Prečna, Kamnik.
SPREGLEDANO. Študentje ALUO, Smer Unikatno oblikovanje/steklo in keramika. Maribor. Media Nox. 24.5. 7.6.2023
PRE-TOK. Študentje ALUO, Smer Unikatno oblikovanje/steklo in keramika in dijakov ŠCRS [Salon Rogaška Slatina], LJUBLJANA, SLOVENIJA, 09.03.2023 • 24.03.2023 [zloženka]
MOJCA ZALOŽNIK in GREGOR KRPIČ: Birefringencet.Biotehna (LIKOZARJEVA 1), LJUBLJANA, SLOVENIJA, 24.12.2019 • 30.1.2020 – spletna predstavitev
MOJCA ZALOŽNIK in GREGOR KRPIČ: Mejna nedoločnost, GALERIJA KAPELICA (LIKOZARJEVA 1), LJUBLJANA, SLOVENIJA, 24.10.2019 • 30.11.2019
25. festival računalniške umetnosti MFRU / 25th International Festival of Computer Arts IFCA, MARIBOR, SLOVENIJA, 11.10.2019 • 18.10.2019 [katalog]
MOJCA ZALOŽNIK. Zvezna sočasnost, LABORATORIJ BIO TEHNA, LJUBLJANA, SLOVENIJA, 20.12.2018 • 2019
MESTA TRAJNOSTI. PAVILJONI, MANIFESTI IN KRIPTE / Cities of Sustainability. Pavilions, Manifestos and Crypts, MUZEJ SODOBNE UMETNOSTI METELKOVA, LJUBLJANA, SLOVENIJA, 15.11.2018 • 17.02.2019
ARS ELECTRONICA 2018. ERROR. The Art of Imperfection, ARS ELECTRONICA QUARTER, LINZ, AVSTRIJA /AUSTRIA, 06.09.2018 • 10.09.2018 [katalog]
MOJCA ZALOŽNIK: Neskončna vmesnost, GALERIJA KAPELICA (LIKOZARJEVA 1), LJUBLJANA, SLOVENIJA, 25.04.2017 • 2017
HAIP Park 2015 (Rampa in Biotehna). Štrene, GALERIJA KAPELICA (LIKOZARJEVA 1), LJUBLJANA, SLOVENIJA, 11.12.2015 • 11.01.2016
MESTO ŽENSK 2015. CIK CAK ZIG ZAG, GALERIJA ŠKUC, LJUBLJANA, SLOVENIJA, 05.10.2015 • 25.10.2015 [zloženka]
FRUCTUS IGNIS: MOJCA ZALOŽNIK, GALERIJA MEDUZA II, PIRAN, SLOVENIJA, 11.09.2008 • 09.10.2008
MOJCA ZALOŽNIK, MLADINSKI CENTER KOTLOVNICA, KAMNIK, SLOVENIJA, 28.05.2008 • 2008
MOJCA ZALOŽNIK, GALERIJA PEF/PEDAGOŠKE FAKULT., LJUBLJANA, SLOVENIJA, 04.04.2008 • 18.04.2008
1 + 2 / PROFESORJI IN ŠTUDENTI, PEDAGOŠKA AKADEMIJA/FAKULTETA LJ, LJUBLJANA, SLOVENIJA, 2007 • 28.09.2007
ŠTUDENTSKE POLETNE PREMIERE 2007. MOJCA ZALOŽNIK, GALERIJA SODOBNE UMETNOSTI, CELJE, SLOVENIJA, 03.07.2007 • 15.07.2007 [zloženka]
F18 INSTITUTE: STEFAN DOEPNER. REALITY LOG/ENVIRONMENTAL SCAN, GALERIJA PRUŠNIKOVA 74, LJUBLJANA, SLOVENIJA, 21.11.2006 • 01.12.2006
4. MEDNARDONI FESTIVAL METAMORFOZE, PARK TIVOLI, LJUBLJANA, SLOVENIJA, 01.07.2006 • 17.09.2006

ANNOUNCEMENT OF THREE SELECTED PROJECTS OF THE PUBLIC CALL FOR ARTISTIC-ARCHITECTURAL INTERVENTIONS AT RAČJI DVOR – Mojca Založnik – special jury award; UGM, March 2025; https://drive.google.com/file/d/14n6u9xukKWuG-e1qlspGnpviX67grY0A/view

ANATOMY OF WHITE. Majda Gregorič, Nina Koželj, Jana Outrata and Mojca Založnik. 9.9. -21-10. 2023 Prečna Gallery, Kamnik.

Students of ALUO, Department of Unique Design/Glass and Ceramics and students of ŠCRS [Salon Rogaška Slatina], LJUBLJANA, SLOVENIA, 09.03.2023 • 24.03.2023 [leaflet]

MOJCA ZALOŽNIK and GREGOR KRPIČ: Birefringence.Biotehna (LIKOZARJEVA 1), LJUBLJANA, SLOVENIA, 24.12.2019 • 30.1.2020 – online presentation

MOJCA ZALOŽNIK and GREGOR KRPIČ: Boundary Indeterminacy, GALERIJA KAPELICA (LIKOZARJEVA 1), LJUBLJANA, SLOVENIA, 24.10.2019 • 30.11.2019

25th International Festival of Computer Arts IFCA, MARIBOR, SLOVENIA, 11.10.2019 • 18.10.2019 [catalog]

MOJCA ZALOŽNIK. Federal Contemporaneity, BIO TEHNA LABORATORY, LJUBLJANA, SLOVENIA, 20.12.2018 • 2019

CITIES OF SUSTAINABILITY. PAVILIONS, Manifestos and Crypts, METELKOV MUSEUM OF CONTEMPORARY ART, LJUBLJANA, SLOVENIA, 15.11.2018 • 17.02.2019

ARS ELECTRONICA 2018. ERROR. The Art of Imperfection, ARS ELECTRONICA QUARTER, LINZ, AUSTRIA, 06.09.2018 • 10.09.2018 [catalog]

MOJCA ZALOŽNIK: Infinite In-Betweenn, GALERIJA KAPELICA (LIKOZARJEVA 1), LJUBLJANA, SLOVENIA, 25.04.2017 • 2017

HAIP Park 2015 (Rampa and Biotehna). Štrene, GALLERY KAPELICA (LIKOZARJEVA 1), LJUBLJANA, SLOVENIA, 11.12.2015 • 11.01.2016

CITY OF WOMEN 2015. CIK CAK ZIG ZAG, GALLERY ŠKUC, LJUBLJANA, SLOVENIA, 05.10.2015 • 25.10.2015 [brochure]

FRUCTUS IGNIS: MOJCA ZALOŽNIK, GALLERY MEDUZA II, PIRAN, SLOVENIA, 11.09.2008 • 09.10.2008

MOJCA ZALOŽNIK, YOUTH CENTER KOTLOVNICA, KANMIK, SLOVENIA, 28.05.2008 • 2008

MOJCA ZALOŽNIK, GALLERY PEF/FACULTY OF EDUCATION, LJUBLJANA, SLOVENIA, 04.04.2008 • 18.04.2008

1 + 2 / PROFESSORS AND STUDENTS, PEDAGOGICAL ACADEMY/FACULTY OF LJ, LJUBLJANA, SLOVENIA, 2007 • 28.09.2007

STUDENT SUMMER PREMIERES 2007. MOJCA PUBLISHER, GALLERY OF CONTEMPORARY ART, CELJE, SLOVENIA, 03.07.2007 • 15.07.2007 [brochure]

F18 INSTITUTE: STEFAN DOEPNER. REALITY LOG/ENVIRONMENTAL SCAN, GALERIJA PRUŠNIKOVA 74, LJUBLJANA, SLOVENIA, 21.11.2006 • 01.12.2006

4TH INTERNATIONAL FESTIVAL OF METAMORPHOSE, PARK TIVOLI, LJUBLJANA, SLOVENIA, 01.07.2006 • 17.09.2006

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GALERIJA KAPELICA; 2018 ; Linz Ars Eletronica https://m.youtube.com/watch?v=p3FCq3odGu0

MOJCA ZALOŽNIK in GREGOR KRPIČ: MEJNA NEDOLOČENOST

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