Sašo Sedlaček SUPERTRASH

Sašo Sedlaček
SUPERTRASH
2
Sašo Sedlaček
Supertrash
Aksioma – Zavod za sodobne umetnosti, Ljubljana,
Koroška galerija likovnih umetnosti, Slovenj Gradec, 2011
Aksioma – Institute for Contemporary Art, Ljubljana,
Koroška Gallery of Fine Arts, Slovenj Gradec, 2011
CIP - Kataložni zapis o publikaciji
Narodna in univerzitetna knjižnica, Ljubljana
7.038.54(497.4):929Sedlaček S.
SEDLAČEK, Sašo, 1974Supertrash : [11. november - 10. december 2011, Koroška galerija
likovnih umetnosti, Slovenj Gradec, 27. marec - 13. maj 2012,
Galerija Jakopič, Muzej in galerije mesta Ljubljana, Ljubljana] /
Sašo Sedlaček ; [besedila Luka Omladič, Petja Grafenauer ; prevod
Polona Petek]. - Ljubljana : Aksioma - Zavod za sodobne umetnosti ;
Slovenj Gradec : Koroška galerija likovnih umetnosti, 2011
ISBN 978-961-92192-2-5 (Aksioma)
259151616
Kazalo
Contents
Luka Omladič
Piknik na smetišču
Picnic on a Dump
Petja Grafenauer
Velika prostovoljna čistilna akcija: Sašo Sedlaček!
The Great Voluntary Cleaning Action:
Sašo Sedlaček!
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DELA WORKS
Živeti v reklami Living in a Media Hype
Just do it!
Zanka Loop
No Lego
Toilets – Made in India
Piknik na deponiji Picnic on a Dump
Žicar Beggar
Vesoljske smeti Space Junk Spotting
Urban
Infokalipsa zdaj! Manifest
Infocalypse Now! Manifesto
Bivši The Ex
Grelnik globus Globe Heaters
AcDcWc
Salami Condoms
Veliki izklop The Big Switch Off
iSmoke 2
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Luka Omladič
PIKNIK NA SMETIŠČU
V Platonovem dialogu Parmenid najdemo slavni del, kjer
mladi Sokrat razlaga učitelju Parmenidu prve zasnutke svoje
teorije idej. Stvari okoli nas, ki se jih dotikamo z rokami, na
primer kamenje ali les, so številne. A vendar obstaja, trdi
Sokrat, ena sama ideja stvari, ena ideja človeka za vse mnoštvo ljudi, ena ideja ognja za vse ognje, ki gorijo na svetu. Ta
ideja obstaja ločena od otipljivega sveta, v katerem odseva,
popolna in paradigmatska. Še preden Sokrat do konca razvije svojo teorijo, ga stari mojster Parmenid spravi v veliko
zadrego:
»Si v zadregi tudi glede tehle stvari, Sokrat, ki so lahko
videti smešne, kot so dlaka, blato ali iztrebek, ali česa drugega nadvse nečastnega in ničvrednega – namreč v zadregi,
ali je treba reči, da tudi za sleherno od tega obstaja posebej
ideja, ki je drugo od stvari, katerih se dotikamo z rokami.«
… »Nikakor,« je odgovoril Sokrat … »Včasih me je sicer
vznemirila misel, ali ni nekaj istega v vseh teh stvareh. Toda
ko pridem do tega stališča, se umaknem in odidem, ker se
ustrašim, da ne bi kdaj padel v kakšno brezno blebetanja in
se pogubil.« … »Mlad si še, Sokrat,« je rekel Parmenid, »in
ni te še zagrabila filozofija, kot te po mojem mnenju še bo, ko
ne boš omalovaževal nobene od omenjenih stvari.«1
Ali imajo tudi dlake, umazanija, iztrebki, vse te »nečastne in ničvredne« stvari, svojo idejo? Kaj storiti z vsemi temi
nelepimi in odpadnimi stvarmi – smetmi? Kako bi jih le mogli
obravnavati enako? To je Sokratovo brezno, pravzaprav jama
s smetmi, od katere odvrača pogled in bi jo najraje pustil pri
miru tam, kjer je. A ne gre, ga opomni Parmenid. Modrost se
1 Platon, Zbrana dela I., Mohorjeva družba, Celje 2006, 401, prevedel Gorazd
Kocijančič in Platon, Parmenid, Založba ZRC, Ljubana 2001, 15 in 17. [Zaradi
smiselnega poudarka v besedilu je avtor uporabil oba prevoda, op. ur.]
Luka Omladič
PICNIC ON A DUMP
In Plato’s dialogue the Parmenides, there is a famous
section in which the young Socrates explains to the teacher
Parmenides the rudiments of his theory of ideas. There are
numerous things around us, which we touch with our hands
– things like stones or wood, for example. And yet, Socrates
claims, there exists a single idea of things, a single idea of
man for the entire multitude of people, a single idea of fire for
all the fires burning around the world. This idea exists separately, apart from the tangible world in which it is reflected,
perfect and paradigmatic. But even before Socrates manages
to develop his theory in full, the venerable master Parmenides
puts him in a quandary:
»And would you feel equally undecided, Socrates, about
things of which the mention may provoke a smile? – I mean
such things as hair, mud, dirt, or anything else which is vile
and paltry; would you suppose that each of these has an idea
distinct from the actual objects with which we come into contact, or not?«
»Certainly not,« said Socrates. »Visible things like these are
such as they appear to us, and I am afraid that there would be
an absurdity in assuming any idea of them, although I sometimes get disturbed, and begin to think that there is nothing
without an idea; but then again, when I have taken up this
position, I run away, because I am afraid that I may fall into a
bottomless pit of nonsense, and perish; and so I return to the
ideas of which I was just now speaking, and occupy myself
with them.«
»Yes, Socrates,« said Parmenides. »That is because you
are still young; the time will come, if I am not mistaken, when
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v nekem smislu prične prav pri teh preostankih, Sokrat bo
filozofsko dozorel, ko bo zmogel misliti smeti.
Metafizična jama odpadkov je za idealizem še nevarnejša,
kot se zdi na prvi pogled. Gilles Deleuze je v svojem branju
Platona kot ključno izpostavil razliko – ne med Idejo in njenim
posnetkom, temveč med posnetkom in posnetkom posnetka,
med legitimnim posnetkom in »lažnim pretendentom«, ki ga je
imenoval simulaker. V skorajda vsakem Platonovem dialogu
nastopi točka, ko iskanje paradigmatskega naleti na takšno
oviro (Deleuze: »V Politiku naletimo na neko izhodiščno definicijo, ki pravi, da je politik pastir ljudi. Toda pojavi se cela
vrsta rivalov, zdravnik, trgovec, rokodelec, vsi pravijo: ‘Jaz
sem pastir ljudi’. V Faidrosu iščemo definicijo zamaknjenosti,
točneje, to, kar odlikuje zamaknjenost ali pravo ljubezen. Tudi
tam se pojavijo pretendenti, ki pravijo: ‘Jaz sem zamaknjen,
jaz ljubim.’«2) Najslavnejši lažni pretendent je sofist, ki ga Platon opisuje kot čudodeja in posnemovalca resničnih stvari,
nato pisava kot neke vrste slika živega govora, ki ne proizvaja
resnične modrosti, temveč le njen videz, in nazadnje umetnost,
ki prav tako ne proizvaja posnetkov resnične narave stvari,
ampak njen videz.
Smeti iz Parmenida prav tako iščejo svojo paradigmo,
svojo idejo, a so kot simulakri paradigmatske ravno v tem,
da je ne najdejo. Za platonistični idealizem so neulovljive kot
posnemajoča umetnost; umetnost in smeti so si nelagodno
blizu v svoji paradigmatski neumestljivosti.
Naj nas iz metafizičnih meditacij predrami materialnost.
Na Platonovem smetišču se nekaj dogaja. Iz kupov smeti
vstajajo oživljene forme. Ko je leta 2004 Sašo Sedlaček s
prijatelji organiziral piknik na deponiji odpadkov, so očitno
začutili, da odpadki niso mrtvi in neaktivni, ampak – v dobrem
in slabem, ali bolje rečeno, nevarnem – živi, aktivni in, zakaj
ne, kreativni. Tako je nastalo poročilo o odkritju:
»Povabil sem nekaj prijateljev, v glavnem ljudi, ki se ukvarjajo z umetnostjo, na piknik, ki je bil na mestnem smetišču.
Zdelo se mi je, da bo druženje v tako ekstremnem okolju zanimiva in potencialno kreativna izkušnja. Kljub neformalnemu
2
Gilles Deleuze, Logika smisla, Založba Krtina, Ljubljana 1998, 237-238.
philosophy will have a firmer grasp of you, and then you will
not despise even the meanest things.«1
Do hairs, dirt, excrement, all these »vile and paltry« things,
have an idea of their own? What to do with all these unseemly
and rejected things – with all this waste? How could we possibly treat them equally? This is Socrates’ abyss, a refuse pit,
in fact, from which he diverts his gaze and which he would
prefer to leave alone exactly where it is. But this is impossible,
Parmenides reminds him. In some sense, wisdom begins precisely with waste; Socrates will have matured philosophically
once he is able to reflect upon waste.
A metaphysical refuse pit is even more dangerous for idealism than it seems at first sight. In his reading of Plato, Gilles
Deleuze insists that the key difference is not between the Idea
and its copy, but rather between a copy and a copy of a copy
– that is, between a legitimate copy and a »false pretender«,
which Deleuze dubs the simulacrum. In almost every one of
Plato’s dialogues, there is a point at which the search for the
paradigmatic runs into an obstacle (Deleuze: »In the Statesman, a preliminary definition is attained according to which
the statesman is the shepherd of men. But all sorts of rivals
spring up, the doctor, the merchant, the laborer, and say: ‘I
am the shepherd of men.’ Again, in the Phaedrus, the question is about the definition of delirium and, more precisely,
about the discernment of the well-founded delirium or true
love. Once again, many pretenders rise up to say, ‘I am the
inspired one, the lover.’«2) The most famous false pretender
is the sophist (whom Plato describes as a thaumaturge and
an imitator of true things), followed by writing (as an image
of live speech, which does not produce true wisdom, only its
likeness) and finally art (which also does not produce copies
of the real nature of things, but only its likeness).
The waste in the Parmenides is also looking for its paradigm, its idea; yet, as simulacrum, waste is paradigmatic pre1 Plato, Parmenides, 130c–130e, in: Plato in Twelve Volumes, Vol. 9,
trans. H. N. Fowler. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd., 1925.
2 Gilles Deleuze, The Logic of Sense, trans. M. Lester with C. Stivale. London
and New York, Continuum, 2004, p. 292.
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značaju srečanja je celotni piknik prerasel v pravo umetniško
akcijo, najbrž zaradi odurnega smradu, ki ga povzroča uhajajoči metan, ki nastaja ob razpadanju smeti. Vsi povabljeni
so začeli raziskovati smetišče in njegove kreativne potenciale, predvsem zato, da bi se zamotili pred smradom, ki se
širi po deponiji. Navkljub nevzdržnemu smradu, na katerega
se s časom celo navadiš, pa lahko rečem, da je Ljubljanska
deponija pravzaprav prav prijetna izletniška točka na obrobju
mesta, od koder se razprostira pogled na celotno kotlino in
okoliške hribe.«3
Kreativna ironija se giblje na nevarnem robu: navsezadnje
veliko najrevnejših prebivalcev našega planeta dejansko živi
na smetiščih. Zato umetnost, ki si drzne reflektirati to situacijo,
enostavno mora biti aktivistična, če naj bo kaj vredna. Kdor
za element vzame smeti, mora biti subverziven, če hoče biti
zvest materialu. Smeti namreč nimajo nobene skrite agende,
so popolnoma transparentne in za njimi ni nobene metafizične
ideje – so čista in neodmisljiva resnica produkcije, proletarci
med objekti, kot je Sedlačkov robot Žicar proletarec med avtonomnimi stroji.
Za trenutek dajmo besedo smetem: kakšno je zares življenje smeti danes? Je med smetjo in odpadkom razlika? Morda:
smet nas moti, je tam, kjer ne bi smela biti. Kot tujek izstopa
iz okolice in me zoprno opozarja, da je ni odpihnil veter ali
odplaknil dež. Nazadnje bom verjetno popustil in jo pobral.
Smeti so odpadki, niso pa vsi odpadki smeti. Vsaj ne v smislu,
da bi nas prav močno motili: številni, recimo plinasti izpusti,
prav diskretno zapustijo rojstno izpušno cev avtomobila in
svobodno migrirajo v atmosfero. Vse očiščevalne akcije bi
zato najbrž moral spremljati slogan »All waste are equal« ali
»Enakost za vse odpadke!« ...
V resnici lahko rečemo, da prav problem migracije odpadkov povzroča realno največje skrito onesnaženje, in to največkrat daleč od razvitih držav, kjer so odpadki proizvedeni. V
nekem smislu včasih celotne države tretjega sveta postajajo
naša »divja odlagališča« stran od oči, dostikrat nevede ali
proti svoji volji.
3 http://www.sasosedlacek.com/shranjeno/projects_ picniconadump.html,
ogledano 13. 10. 2011.
cisely in that it cannot find it. Like imitative art, waste cannot be
pinned down by Platonic idealism; art and waste are uncomfortably close as regards their paradigmatic slipperiness.
Let’s let materiality yank us out of this metaphysical meditation. Something is happening at Plato’s rubbish dump. Live
forms are emerging from piles of rubbish. When, in 2004,
Sašo Sedlaček and his friends organised a picnic at a rubbish dump, they obviously realised that waste was not dead
or inactive, but rather – in a good as well as bad or, more
precisely, dangerous sense – alive, active and (why not?)
creative. This is the report on the discovery:
I invited some friends, mostly artists, on a picnic that held
place on a rubbish dump. I thought that socialising in such an
extreme environment would be a nice experience and potentially creative. Despite the informal character of the meeting,
the whole picnic turned into a hyper active public art action.
Probably because of the nasty smells that are caused by
decaying trash and the methane that derives from it. Everyone
started going around doing something, just to divert him or
herself from the stink. Despite the nasty smells of the location, the dump turned out to be actually quite a nice spot, just
outside the capital city, from where you can see the whole
valley and the surrounding hills.3
Creative irony treads on dangerous ground here, for, after
all, many of the poorest people on Earth actually live in rubbish
dumps. This is why art that dares to reflect upon this situation
simply must be activist. Whoever uses waste as their subject
matter must be subversive if they want to remain true to their
material. For waste has no hidden agenda, it is completely transparent, and there is no metaphysical idea beneath. Waste is the
pure truth of production, which cannot be brushed aside; waste
is the proletariat in the world of objects, just like Sedlaček’s
robot Beggar is a proletarian among autonomous machines.
Let’s allow waste to speak for a moment. What is the true
life of waste like nowadays? Is there a difference between
waste and litter? Perhaps. Litter annoys us; it is where it
should not be. It stands out from the environment like an
3 http://www.sasosedlacek.com/anglesko/projects_ picniconadumpeng.html,
last accessed 13 October 2011.
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Primer, ki je bil v zadnjem času deležen največje pozornosti, je nedavno novinarsko razkritje, da je naftna družbe
Trafigura dobro vedela za toksičnost odpadkov, ki jih je leta
2006 izvozila v Slonokoščeno obalo. Se še spomnimo, da je
šlo za največje dokazano onesnaženje po Bhopalski katastrofi? Petsto ton v Evropi natovorjenih odpadnih snovi, ki jih
je Trafigura prek lokalnih posrednikov odvrgla na različnih
krajih okoli glavnega mesta Abidžan, je povzročilo smrt vsaj
sedemnajstih ljudi, več deset tisoč pa jih je zaradi opeklin
poiskalo zdravniško pomoč. Britanski Guardian, ki je zgodbo
o blefu Trafigure razkril, je v analizi po dogodku opozoril,
da pravzaprav ne gre za izjemen dogodek, ampak pravilo.
Razlog, da v javnost pride dokaj malo primerov, je deloma
naša nezainteresiranost, saj odpadke raje držimo stran od
oči, deloma pa aktivno prizadevanje onesnaževalcev – prav
v primeru Trafigure je denimo družbi uspelo, da je (vsaj začasno) dosegla popolno prepoved objave zgodbe o prikrivanju
... V nedavni Greenpeaceovi raziskavi je s skrivnim satelitskim sledilnikom opremljen odslužen televizijski sprejemnik,
ki so ga odložili v reciklažnem centru v Britaniji, kjer naj bi
njegove strupene komponente ustrezno odstranili in deponirali, v resnici kmalu končal na ulični tržnici v Lagosu. Somalijska obala je še vedno polna izredno nevarnih odpadkov,
tudi radioaktivnih, ki jih je tja leta 2004 naplavil veliki cunami.
Ustrezna obravnava medicinskih odpadkov lahko v Evropi
stane okoli 1000 evrov na tono; če jih odvržejo v morje, je
cena le okoli 2,5 evra. Raziskovalni novinarji so dokazali,
da so med ladjami, ki jih pred somalijskimi pirati ščitijo naše
zavezniške mornarice, zanesljivo ladje iz umazanega posla,
ki mednarodne vode Adenskega zaliva spreminja v največje
divje odlagališče Evrope.
Nas morda bolj zanima bližnji primer? Poznam vsaj eno
podjetje pri nas – in kolikor mi je uspelo ugotoviti, niti ne
gre za izjemno prakso – ki odkupuje rabljene avtomobilske
pnevmatike in jih izvaža v eno izmed afriških držav. Vzorec je
univerzalno evropski. V Evropski uniji imamo dovolj ostro in
razdelano zakonodajo o tem, kako ravnati z odpadki, posebno
potencialno nevarnimi. A po drugi strani ostri regulaciji doma
ni uspelo preprečiti izvoza v tujino, ki je lahko v določenih
alien and it reminds me that it has not been washed or blown
away by wind or rain. Eventually, I will probably give in and
pick it up. Litter is waste, but not all waste is litter. At least
not in the sense of being too annoying. Numerous gases, for
instance, are fairly discreetly emitted from their birthplace in
the exhaust pipe of a car and freely migrate into the atmosphere. Therefore, all cleaning actions should probably be
accompanied by the slogan »All waste is equal«…
We can realistically maintain that waste migration is the greatest hidden cause of pollution, usually transpiring far away from
the developed world where the waste is produced. In a sense,
entire countries in the third world are becoming – often unknowingly or against their will – our wild »dumping sites«, out of sight.
A case in point, which has recently attracted a lot of media
attention, is the oil company Trafigura. News media have
revealed that Trafigura knew perfectly well that the waste they
had exported to Côte d’Ivoire in 2006 was toxic. Do you recall
that this was the worst proven case of pollution after the Bhopal disaster? Five hundred tons of waste, loaded in Europe and
dumped by Trafigura with the assistance of local middlemen in
various places around the capital Abidjan, caused the death
of at least seventeen people, while tens of thousands sought
medical treatment because of burns. In its subsequent analysis
of the incident, the British newspaper The Guardian, which first
published the story of the Trafigura cover-up, pointed out that
this kind of handling of waste was in fact the rule rather than
the exception. One reason that relatively few cases become
known in public is our lack of interest, for we prefer to keep
waste out of sight; another reason are the vigorous efforts of
those who cause pollution to keep things hushed up – in the
case of Trafigura, for instance, the company succeeded (at
least temporarily) in a total ban on publishing the story of the
cover-up… A recent investigation conducted by Greenpeace
revealed that an old TV set – which was equipped with a
hidden satellite tracking device and which was disposed of
at a recycling centre in Great Britain, where its toxic components were meant to be properly removed and deposited – in
fact soon ended up in a street market in Lagos. The coast of
Somalia is still full of extremely dangerous waste, including
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primerih povsem zakonit, kakor pri omenjenih afriških gumah.
Zgolj nasmehnemo se lahko ob vprašanju, ali bodo naše
rabljene gume, ko bodo v Afriki oddelale drugo izmeno, uničene ali reciklirane v skladu s pravili, ki jih imamo v Evropi.
Odpadek je tako dosti bolj izmuzljiv kot smet. Vpenja nas
v globalno mrežo in postavlja pred temeljni izziv: ne smemo
čistiti svojih smeti z izvažanjem odpadkov drugim. Ne pozabimo še nečesa. Tisto, kar nas navdaja z nelagodjem, torej
smeti okoli nas, je neizogibna resničnosti za številne prebivalce t. i. smetiščnih slumov, naselij pod gorami odpadkov,
ki so hkrati vir preživetja in vzrok smrti tamkajšnjih revnih
prebivalcev. Če so to naše smeti – in v številnih primerih
dokazano so – je to za nas politični in moralni problem vsaj
tolikšne velikosti kot problem divjih odlagališč pri nas doma.
Nedavno je veliko pozornost vzbudila državljanska pobuda
Očistimo Slovenijo v enem dnevu – več tisoč državljanov
je na dogovorjeni dan čistilo svojo okolico in pospravljalo
smeti. Ob vsej pozitivni aktivnosti, ki se je ob tem sprožila,
pa moramo še bolj opozarjati na globalno naravo onesnaževanja. Ali povedano drugače, če geslo Očistimo Slovenijo
implicira kontrast čistega in onesnaženega okolja, je treba
zavzeti jasno načelno stališče, da je koncept zgolj »čiste Slovenije« v principu napačen. Dokler je onesnaženo globalno
okolje, je govoriti o čisti Sloveniji v najboljšem primeru iluzija,
v najslabšem pa lahko zapade konceptu globalnega ekološkega geta, kjer tisti, ki si to lahko privoščijo – bogati –, uživajo v čistem okolju, ostali pa ne. A nazadnje je tudi to iluzija;
planet je eden in na koncu bomo živeli ali životarili skupaj.
Pri tem ne gre samo za vprašanje, kje bodo končali
odpadki, ki smo jih danes zbrali, saj so številne oblike polucije
globalne po svoji naravi. Na prvi pogled ne moremo primerjati
slovenskih plinskih izpustov z izvažanjem toksičnih odpadkov
v Slonokoščeno obalo. A pomislimo na nekatera dejstva: izpusti ogljikovega dioksida (ki večinoma nastanejo kot odpadek
pri proizvodnji energije iz fosilnih goriv) v Sloveniji znašajo
več kot sedem ton na prebivalca letno, v Slonokoščeni obali
pa manj kot 0,4 tone na prebivalca – mimogrede, po številu je
Ivoirianov desetkrat več kot Slovencev, kar pomeni, da je tudi
absolutno naš prispevek k onesnaževanju atmosfere večji od
radioactive waste, which was washed ashore in 2004 by the
huge tsunami. Proper handling of medical waste in Europe
can cost about €1,000 per ton; if they dump it into the ocean
instead, it only costs approximately €2.5. Investigative reporters have proven beyond a doubt that among the vessels that
our allied marine forces protect from Somali pirates there are
ships that make dirty money by dumping waste illegally into
the international waters of the Gulf of Aden, thus turning it into
the largest European wild dumping site.
Yet perhaps we are interested in a case much closer to
home. I know of at least one company in Slovenia – and as far
as I can see from my research, this is not an exception – that
buys used car tyres and exports them to a country in Africa.
The pattern is universally European. In the European Union,
the waste management legislation is sufficiently strict and
detailed (particularly as regards potentially dangerous waste).
However, strict domestic regulation has not managed to prevent waste from being exported overseas; in some cases, this
exportation may even be perfectly legal, as in the case of the
just mentioned »African« tyres. We can merely smile a bitter
smile if someone asks whether our used tyres, once they have
completed their second shift in Africa, will be destroyed or
recycled in compliance with European regulations.
Waste is much more slippery than litter. It implicates us
in a global network and it confronts us with a fundamental
challenge: we cannot get rid of our litter by exporting waste
elsewhere. And let’s not forget something else. The litter that
surrounds us and makes us feel uncomfortable constitutes
the inevitable reality for numerous inhabitants of the so-called
dumping-site slums, settlements under piles of rubbish, which
can be a source of survival as well as a cause of death for the
poor people who live there. If this is our litter – and in many
cases, it has been proven so – then this is our political and
moral problem, a problem that is as immense as the problem
of wild dumping sites in Slovenia. Recently, the citizens’ initiative Let’s Clean Slovenia in a Day! attracted a lot of attention
– several thousands of citizens embarked on a cleaning action
on the agreed day. Notwithstanding all the positive activity that
this initiative triggered, we must further emphasise the global
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te afriške države. Poleg tega bodo vsaj zaradi razlike v življenjskem standardu podnebne spremembe prizadele povprečnega prebivalca Slonokoščene obale bolj kot prebivalca Slovenije. Če bomo morda čistili okolico Šoštanja, morda razmislek
o tem ni povsem neumesten, čeprav priznam, da malo presega smiselni okvir celo največje čistilne akcije.
Vprašanje odpadkov ima, k temu se vselej vračamo,
svojo tako rekoč metafizično plat. Če parafraziramo Marxa,
je preprost odpadek zelo kočljiva stvar, polna vseh mogočih
metafizičnih in teoloških muh. Odkar človek obstaja, proizvaja
odpadke: arheologije najbrž ne bi bilo brez tisočletnih plasti kosti in črepinj, ki jih puščamo za sabo kot sled svojega
obstoja. Odpadki od vselej pričajo o nas in govorijo, kdo smo.
Ampak v kapitalistično-potrošniškem načinu proizvodnje se je
nekaj spremenilo. Smeti so bile včasih preostanek, danes pa
jih velikokrat proizvajamo zavestno. To je lahko mišljeno metaforično ali dobesedno, oba vidika pa se na koncu ponavadi
ujemata. Izdelek, ki ste ga kupili, je po kvaliteti in uporabnosti
takšna smet, da v smeteh tudi hitro konča ter naredi prostor
za nov izdelek. To je z vidika ekonomije seveda dobro, saj
veča proizvodnjo in potrošnjo in s tem viša gospodarsko rast.
Moderno gospodarstvo torej obvladuje »načelo odpadkov«,
kar je hkrati razlog, da smo ujeti v nekakšno dialektiko smetenja in čiščenja.
Eden izmed močnih alternativnih predlogov je ideja »Zero
waste« oziroma »brez odpadka«. Pojem ima historični izvor
v japonskem industrijskem konceptu popolne kontrole kvalitete (»Total Quality Management«), proizvodnje z najmanjšim
možnim deležem odpadnih proizvodov, ki so ga aplicirali na
področje obdelave komunalnih odpadkov, torej legendarne
japonske učinkovite reciklaže. V študiji, ki jo je leta 2002
za Greenpeace pripravil ekonomist Robin Murray4, je avtor
postavil ključno tezo, da gre pri ideji za bistveno več kot le
učinkovito tehnologijo reciklaže. Blago živi v nekakšnem
kastnem sistemu, pravi Murray, kjer je odpadkom dodeljena
najnižja kasta nedotakljivih. Ideja, da so odpadki uporabni,
pa sega onstran tehničnega vprašanja, kakšna bi bila možna
4 http://www.greenpeace.org.uk/media/reports/the-environmental-trust-zerowaste, ogledano 15. 10. 2011.
nature of pollution. To put it differently, if the slogan »Let’s
Clean Slovenia« implies a contrast between a clean and a
polluted environment, we must maintain that the concept of
a »clean Slovenia« is, as a matter of principle, misguided. As
long as the global environment is polluted, a clean Slovenia is,
at best, an illusion; and at worst, it can fall prey to the concept
of the global ecological ghetto, in which only those who can
afford it – the rich – may enjoy a clean environment. But this,
too, is an illusion, as there is only one planet and eventually
we will all live well or miserably together.
This is not just about the question of where the waste that
we collected today will end up tomorrow. Numerous forms of
pollution are global by nature. At first glance, it seems impossible to compare gas emissions in Slovenia with the export of
toxic waste to Côte d’Ivoire. But let’s reflect upon some facts:
the annual carbon dioxide emission (carbon dioxide is usually
produced as waste during the production of energy from fossil
fuels) in Slovenia is more than seven tons per capita, whereas
in Côte d’Ivoire it is less than 0.4 tons per capita – by the way,
the population of Côte d’Ivoire is ten times the population of
Slovenia, which means that our contribution to the pollution of
the atmosphere is also absolutely bigger than that of this African
country. Furthermore, due to different standards of living, the
effects of climate change will be much worse for the average
inhabitant of Côte d’Ivoire than for the average Slovenian. If we
happen to clean the area around Šoštanj, perhaps it is not completely beside the point to think about this – although, I admit,
it does exceed the scope of even the biggest cleaning action.
The question of waste – and this is what we always return
to – has its metaphysical side, so to speak. To paraphrase
Marx, plain waste is a very delicate thing, full of all sorts of
metaphysical and theological whims. Ever since humans have
existed, they have been producing waste; without age-old layers of bones and shards that we leave behind as traces of our
existence, there would probably be no archaeology. Since the
beginning of time, waste has borne witness to our existence and
identity. However, something has changed with the capitalistconsumerist mode of production. Waste used to be what was
left over, whereas now we often produce it consciously. This
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reciklaža tega ali onega odpadka. Je izziv celotnemu načinu,
kako ljudje razmišljamo o stvareh in njihovi uporabi, kako
s tem, kaj obdržimo in kaj odvržemo, pravzaprav definiramo
sami sebe in svoj status.
Toda za vsaj delno transparentnimi odpadki, ki jih srečujemo v vsakdanjem življenju, se skriva gora neznanih in nezaznanih. Okvirni podatki so približno takšni: komunalni odpadki,
torej odpadki gospodinjstev, predstavljajo okoli 35 odstotkov
ali dobro tretjino vseh, ki nastanejo v proizvodnji, trgovini in
gospodinjstvih. Velika večina vseh odpadkov nastane v gradbeništvu, rudarstvu, metalurgiji in energetiki: če upoštevamo
celotno globalno proizvodnjo, znašajo komunalni odpadki le
nekaj manj kot tri odstotke celotne mase odpadkov. In znotraj komunalnih odpadkov je plastičnih vrečk, tega slavnega
predstavnika odpadkov v dobrem in slabem, spet le okoli tri
odstotke mase. Seveda sta pri oceni bistveni tudi vrsta in
toksičnost odpadka; primerjava po masi je gotovo nekoliko
omejena. A številka treh odstotkov je vendarle pomenljiva.
Večina truda, ki ga kot posamezniki vlagamo v recikliranje in
ločevanje, se giblje zgolj v tej kategoriji.
Nazadnje gre torej za to, da razmislimo o samih sebi in
našem odnosu do stvari, ki gredo čez naše roke: kot smeti,
kot odpadki, kot dobrine. Klasifikacija ni samoumevna, prav
tako ne obravnava. Škotski pisatelj Andrew O’Hagan je svojo
osebno izkušnjo z recikliranjem opisal tako:
»Navajeni smo bili, da cigareto ugasnemo v pepelnik in
nikoli več ne pomislimo na ogorek. Zdaj razmišljamo: kje
bo končal filter, kje pepel in kje papir? Vzgojeni smo bili
s predstavo, da smeti odnesejo drugam, dokler se nismo
zavedeli, da nekaj takšnega, kot je ‘drugam’, ne obstaja.
Stranski proizvodi naših poželenj so skriti v zemlji ali zažgani in spremenjeni v strupen šotor nad nami: tega se sedaj
zavedamo in ta zavest je za nas postala nekakšen motor
osebne regeneracije. V nekem smislu ne recikliramo zato,
da bi rešili planet, ampak da bi osvobodili tisti del sebe, ki je
zasužnjen s potrošniškimi dobrinami.«5
5 Andrew O’Hagan, The Things We Throw Away, London Review of Books,
Vol. 29 No. 10, 24. maj 2007, tudi na: http://www.lrb.co.uk/v29/n10/andrew-ohagan/the-things-we-throw-away, ogledano 15. 10. 2011.
can be understood metaphorically or literally, but eventually
both views usually coincide. The product that you have bought
is qualitatively and functionally such a piece of rubbish that it
soon ends up in the rubbish bin and thus makes room for a
new product. From an economic point of view, this is good, of
course, for it increases production and consumption and thus
strengthens economic growth. Modern economy is thus dominated by the »principle of waste«, which is also the reason for
us being caught in a sort of dialectics of littering and cleaning.
A compelling alternative is the idea of »Zero Waste«.
Historically, the notion derives from the Japanese industrial
concept of »Total Quality Management«, production with the
smallest possible share of waste products, which has been
applied to the field of communal waste management, that is,
to Japanese recycling, whose effectiveness is legendary. In
a 2002 analysis prepared for Greenpeace, the author, economist Robin Murray, argues that this concept entails much more
than just effective recycling technology.4 According to Murray,
commodities exist in a caste system of sorts, in which waste
belongs to the lowest, the untouchable caste. The idea that
waste is useful thus goes far beyond the technical question
of how to recycle this or that piece of rubbish. It challenges
the whole way of thinking about things and their uses, thinking about how we in fact define ourselves and our status by
deciding which things we keep and which ones we throw away.
However, the waste that we encounter in everyday life,
and which is at least partially transparent, conceals tons of
unknown and undetected waste. Roughly, the situation is as
follows: communal waste, that is, household waste, comprises
approximately 35%, or a bit over a third, of all waste generated
in production, by trade and at home. The majority of all waste
is produced in construction, mining, metallurgy and energetics.
If we take into account the entire global production, communal
waste represents less than 3% of all waste. Within communal
waste, plastic bags – the most (in)famous representative of
waste – represent only about 3%. Of course, with estimates
like this, it is extremely important to take into account the type
4 http://www.greenpeace.org.uk/media/reports/the-environmental-trust-zerowaste, last accessed 15 October 2011.
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20
Vrnimo se na Sedlačkov piknik na smetišču, na ljubljansko deponijo leta 2004. Ugibajmo, bolje, zamislimo si, da je
družba mladih umetnikov tistega sončnega dne, ko se je z
vzpetine odpadkov odpiral čudovit pogled na zelene griče
okoli Ljubljane, doživela določeno spoznanje. Smrad naj nas
pri tem ne moti. Smrad smeti je pravzaprav koncentrirana
esenca naših življenj, odloženega in še enkrat odloženega
preostanka tistega, kar smo in kar počnemo. Vonj in ostri
robovi odpadkov nas osredotočijo in povzdignejo koncentracijo. Morda iz teh preostankov izhaja Sedlačkova umetniška
produkcija, ki prepoznava funkcijo odpadka kot materiala in
elementa. Kar nas predvsem zanima, je ekološka estetika,
oblika stvari, ki prihajajo in ki jih ne poznamo, njihovo življenje
in interakcija z okoljem. Umetnost je tu eksperiment.
and toxicity of waste as well; mass comparison is certainly, to
some extent, limited. Nevertheless, 3% is a significant piece
of information. The majority of efforts that we, as individuals,
put into recycling and waste separation, fall into this category.
Eventually, this is about us thinking about ourselves and
our relationship to things that pass through our hands: as litter,
waste or goods. Their classification is not self-evident, and
neither is their handling. The Scottish writer Andrew O’Hagan
describes his personal experience with recycling as follows:
We used to stub a cigarette out in an ashtray and never
think of it again. Now we think, where will the stub end up, the
ash and the foam and the paper? We grew up imagining that
rubbish was taken away, only to find there is no such place
as »away«. The by-products of our desires are hidden in the
earth or burned to make a toxic canopy over our heads: we
are aware of that now, and that awareness has grown to feed
a spirit of personal regeneration. At some level we recycle
not to save the planet, but to free the part of ourselves that
is enslaved to the world’s goods and the body’s functions.5
Let’s go back to Sedlaček’s picnic on a dump in Ljubljana in
2004. Let’s speculate, or rather, let’s imagine that on that beautiful sunny day, when standing on top of those piles of rubbish
and watching the green hills surrounding Ljubljana, the group of
young artists experienced an enlightenment of sorts. We should
not be distracted by stench. The bad odour of waste is in fact
the thick essence of our lives, the essence of the rejected (and
rejected again) remains of what we are and what we do. The
smell and the jagged edges of waste make us focus and they
heighten our concentration. Perhaps Sedlaček’s artistic production derives from these remains, for it recognises the function
of waste as material and element. What we are interested in,
above all, is ecological aesthetics, the shape of things that are
coming and that are as yet unknown to us, their life and their
interaction with the environment. Art is an experiment here.
5 Andrew O’Hagan, »The Things We Throw Away«, London Review of Books
[online] Vol. 29, No. 10, pp. 3–8. Available from http://www.lrb.co.uk/v29/n10/
andrew-ohagan/the-things-we-throw-away, last accessed 15 October 2011.
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Petja Grafenauer
VELIKA PROSTOVOLJNA ČISTILNA
AKCIJA: SAŠO SEDLAČEK!
Zdi se, kot da je recikliranje vstopilo v Ljubljano skozi
glavna vrata, ko je ekspeditivni župan po centru zgradil tiste
koše, ki zasedajo že tako primanjkujoče parkirne prostore.
Pa ni čisto tako. Tudi pri nas se reciklira že od nekdaj, toda
do prav pred kratkim smo reciklirali, ker ni bilo dovolj, zdaj
pa moramo, ker je preveč, nekateri pa tudi zato, ker se jim
splača. Predindustrijska družba je reciklirala zato, ker dobrin
ni bilo moč dobiti hitro in poceni, in skorajda vsakdo je nekako
recikliral. Ko pa je bilo dobrine mogoče pridobiti (in kupiti),
hkrati pa si je to človek lahko tudi finančno privoščil, se je
kmalu zdelo bolj ekonomično stvari preprosto pometati stran
in kupovati nove in nove. Ta kultura potrošnih dobrin pa je kaj
kmalu pričela povzročati številne težave, med njimi tudi tiste,
povezane z varovanjem okolja. Moderni koncept recikliranja
je tako v sedemdesetih letih prerasel v družbeno gibanje.
Toda že prej, pred drugo svetovno vojno, med njo in po
njej, sta recikliranje in shranjevanje postala pomemben del
družbene aktivnosti. Pomanjkanje je reciklažo privzdignilo
med eno od preživetvenih početij, saj si mnogi sploh niso
mogli privoščiti artiklov, če jih je bilo že mogoče dobiti. V štiridesetih letih so pričeli v ZDA celo industrijsko reciklirati najlon, gumo in nekatere kovine. Povojni gospodarski razvoj je
recikliranje začasno potisnil v pozabo, vse dokler niso glasu
dvignili varuhi okolja. Ko je prvi dan Zemlje leta 1970 podprl
Unesco, je recikliranje znova postalo mainstream.
Saša Sedlačka so odpadki prevzeli, še preden so nam
v supermarketih vzeli zastonjkarske plastične vrečke in nam
v roke pomolili lepo oblikovane papirne, tkane ali pa biorazgradljive, s katerimi trgovske verige zaslužijo še dodaten
evro, še preden je tudi v Sloveniji reciklaža postala zani-
Petja Grafenauer
THE GREAT VOLUNTARY CLEANING
ACTION: SAŠO SEDLAČEK!
It seems as though recycling first entered the front gates
of Ljubljana when the expeditious mayor crammed the city
centre with all those bins that now take up even more of the
already lacking parking space. Yet, this is not precisely the
case. We have always – including throughout all of Slovenia
– practised recycling; however, up until recently, we had done
so because of shortages, whereas now we have to recycle
because of overabundance, because there is too much stuff
and, for some people, because recycling pays. Pre-industrial
societies practised recycling because goods were not readily
available and/or cheap, and nearly everybody recycled something in one way or another. However, once goods became
available (to have and to buy) and one could also afford them,
it seemed more economical to throw stuff away and buy ever
new products. Yet this culture of nondurable goods soon created numerous problems, including those concerning environmental protection. Hence, in the seventies, the modern
concept of recycling became a social movement.
Yet, recycling and storage had already become an important aspect of social activity during, after and even before
the Second World War. Poverty turned recycling into one
of the survival strategies; for many goods, even when they
were available, were simply too expensive. In the 1940s,
a whole industry emerged in the USA for the recycling of
nylon, rubber and certain metals. The post-war economic
development then pushed recycling into oblivion – for a while,
that is – until the environmentalists began to raise their voices.
When UNESCO backed the first Earth Day in 1970, recycling
once again became part of the mainstream.
23
24
miva za trg in se mnogi že
sprašujejo, kdo ima od ločenih odpadkov večjo korist,
narava ali Snaga6. Ampak da
bi se to zgodilo, je bilo treba
Javna skladišča7 spremeniti v BTC City. Sedlaček in
kipar Boštjan Kavčič sta že
leta 2002 razmišljala o ideji,
kako bi velikanske oglasne
table, ki so tam zrasle, izkoristila za bivalne namene,
saj imajo nekatere od njih poleg tretje dimenzije za svoje
potrebe napeljano celo električno energijo. Rodil se je projekt
Živeti v reklami, ki pa ni pridobil vlagatelja, da bi lahko zaživel
v realnem slovenskem vsakdanu. Za takšne velike projekte
je umetnik potreboval producentsko podporo.
Takrat so nas vsi na novo vseljeni trgovski centri pričeli
zasipati z letaki o najcenejših, najboljših, najbolj akcijskih in
sploh naj naj naj izdelkih. Količina papirja v naših nabiralnikih je prerasla spodobno mejo in na drug papir so na Pošti
natisnili plačljive nalepke, s katerimi smo poštarja opozorili,
da ne želimo prejemati reklam.
Toda zakaj si ne bi želeli brezplačne surovine, ko pa je
danes vse tako drago? Sašo Sedlaček je potrošnikom pokazal, kaj storiti. V produkciji Galerije Kapelica je nastal projekt
Just do it! (2003). Tiskane reklame iz nabiralnikov je umetnik
namočil, zmlel v papirnato kašo in iz njih napravil papirnate
zidake. Kar sedemsto jih je nastalo, v javni akciji pa je z njimi
ob pomoči sodelavcev zgovorno zaprl vhode v tri največja
ljubljanska nakupovalna središča. V galeriji je bil projekt
postavljen v obliki materialnih ostankov – papirnih zidakov in
videa, v naslednjem letu pa ga je nadgradil z imenom Zanka
(2004), ko je v BTC mestu ob njihovi kvadrasti reklami To je
6 Javno podjetje Snaga že več kot osemdeset let skrbi za čistočo Ljubljane in
njenih okoliških občin.
7 Leta 1975 je podjetje postalo največji blagovno-transportni center v bivši
Jugoslaviji in tega leta so se Javna skladišča preimenovala v Blagovno-transportni center Ljubljana (BTC).
Živeti v reklami,
2002
Living in Media
Hype, 2002
Sašo Sedlaček had already become fascinated with
waste before those free plastic bags disappeared from the
supermarkets and we began being offered those beautifully
designed bags made of paper, fabric or some other biodegradable material with which chain stores earn yet more
money. Sašo Sedlaček had also become interested in waste
before recycling in Slovenia began attracting attention on
the market and many people started wondering who benefits
more from waste separation – nature or the public company
Snaga6? For this to happen, however, Javna skladišča7 had
to become BTC City first. As early as 2002, Sedlaček and
sculptor Boštjan Kavčič considered the idea of using jumbo
billboards, which appeared in BTC City, for housing purposes,
as some of them are not only three-dimensional but also supplied with electrical power. Thus, the project Living in Media
Hype (Živeti v reklami) was born; however, it did not attract the
investors it would need to enable it to materialise in the reality
of Slovenian everyday life. For such large-scale projects, the
artist needed the support of producers, which he was offered
the following year for a limited time by the Kapelica Gallery.
This was the time when all of the new shopping centres
started plying us with leaflets advertising the cheapest and
in general the best products at the most reduced prices. The
amount of paper in our letterboxes exceeded all levels of
decency; and the post office used yet even more paper to
print purchasable stickers that one could put on their letterbox
to inform the postman that they did not want to receive any
advertising material.
But why would one not want raw material free of charge,
especially at a time when everything was becoming so dear?
Sašo Sedlaček showed the consumers what to do – in the
project Just Do It! (2003), which was produced by the Kapelica Gallery (producers are a necessary link in the chain of
Sedlaček’s often rather substantial projects). The artist soaked
6 The public company Snaga has been cleaning Ljubljana and its surrounding
municipalities for more than eighty years.
7 In 1975, the company became the largest goods and transport centre in
former Yugoslavia. In the same year, Javna skladišča changed its name to
Blagovno Transportni Center Ljubljana (Ljubljana Goods and Transport Centre,
BTC).
25
26
moje mesto iz zidakov zgradil objekt in se
naselil vsaj ob reklamo, če že ni mogel
prebivati v njej. Objekt je parazitiral na
obstoječih konstrukcijah, bil je mobilen
in vsakič ga je bilo mogoče postaviti v
drugačni obliki. Napajala ga je sončna
energija, za kritino pa so služile plastične
nakupovalne vrečke. V njem je obiskovalec lahko zvokom svojega mesta tudi
prisluhnil, saj so bile v zidake vgrajene
radioamaterske komponente, tako da
je zaslišal telefonske pogovore someščanov, policije, taksistov, reševalcev in
radioamaterjev.
Istega leta je umetnik popotoval po
Indiji z umetnico in partnerico Lado Cerar
in rezultat njunega popotovanja je bil projekt Toilets/Made
in India (2004). Pet okroglih ročno tkanih gobelinov je nosilo
podobe raznolikih straniščnih školjk. Iz tega, kakšen je odnos
naroda do odplakovanja dreka, če obnovimo eno od Žižkovih
domislic, lahko razberemo ne le narodni odnos do dreka,
ampak tudi do življenja nasploh. Umetnika sta trem znanim
tipom (anglosaškemu, nemškemu in francoskemu) dodala
še dva nova: »indijski 'čučavac' in evro-indijski tip školjke«8,
podobe in opise stranišč pa je za njun projekt v gobeline
stkala tuja, indijska delovna sila. Video, ki je prikazoval izdelavo umetniškega objekta izpod njenih rok, je nastal kot del
projekta in je razstavljen skupaj z gobelini z napisi. O indijskem stranišču preberemo: »Indijsko stranišče je preprosto,
enostavno in naravno po svoji obliki in načinu uporabe.«
(»Indian squat toilet is basic, simple and natural by its form
and its way of usage.«) 9
Objekti dajejo vtis, kot da je kdo s kredence, sodobne,
srednjemu sloju prilagojene različice nekdanjih »Wunderkammern«, postavil pred nas enega izmed razstavljenih spominkov. In to pravzaprav je spominek. Čeprav z netipično podobo,
8 http://www.sasosedlacek.com/shranjeno/projects_wc.html,
ogledano 22. 9. 2011.
9
Ibid.
Zanka, 2004
Loop, 2004
the printed advertising material in water, ground it into pulp
and then used it to make paper bricks. There were no less
than seven hundred of them; in a telltale public action, the artist and his collaborators used the bricks to close the entrances
to three of the largest shopping centres in Ljubljana. At the
gallery, the project was on display in the form of material
remains – paper bricks and video footage; whereas, in the
following year, the artist developed this idea further in a new
project, Loop (Zanka, 2004), in which he used paper bricks
to construct an object next to BTC City’s squarish advertisement This Is My City (To je moje mesto); thus, even though
it was not possible for him to inhabit the advertisement itself,
he was at least able to inhabit the space adjacent to it. The
object existed parasitically; that is, it latched onto other constructions, it was mobile and it could be reassembled in ever
new ways. It was fuelled by solar energy and covered with
plastic shopping bags. It could also be used for listening to the
sounds of the city, as amateur radio equipment was installed
inside the paper bricks themselves, which enabled the visitors to hear telephone conversations of their fellow citizens,
the police, taxi drivers, rescue teams and radio amateurs.
The same year, the artist and his partner, artist Lada
Cerar, travelled around India and the result of their trip was the
project Toilets/Made in India (2004). Five handmade roundshaped needlework sketches displayed the images of various
lavatories. To reiterate one of Žižek’s ideas, a nation’s attitude
to shit disposal gives us an insight into that nation’s relationship not only to shit but also to life in general. To the three
already familiar types of lavatories (Anglo-Saxon, German
and French), the artists added two new ones – »Indian squat
toilet and Euro Indian lavatory«8 – whereas the images and
the descriptions of the lavatories were produced by foreign,
Indian labour. The making of video footage showing the manufacture of these art objects was part of the project and it is
on display together with the needlework sketches. The Indian
8 http://www.sasosedlacek.com/anglesko/projects_wceng.html, last accessed
7 October 2011.
27
28
je to gobelin, ki so ga stkali
podplačani delavci v daljni
deželi. Podoba na njem pa
Indiji ni daleč. Diskretna
odprava dreka je pravzaprav
eden izmed dosežkov starodavne civilizacije, ki je pred
tisočletji živela v dolini reke
Ind, zdaj pa popularnemu
filozofu služi za definiranje
zahodnega sveta. Tisti, ki
danes živijo ob Indu in uporabljajo najpreprostejša stranišča, tkejo izdelke, ki jih kupujejo
v državah obilja, katerih prebivalstvo trenutno išče odrešitev
v vračanju k preprostosti.
Katero stranišče bo odplaknilo ta drek ali pa ga bo v prihodnje moč celo prodati? Celo drek je namreč lahko odpadek, in ne zgolj smet, kot nam bo Sašo Sedlaček pokazal
v enem izmed kasnejših projektov. Še prej pa je nastalo do
Žicarja najbolj znano Sedlačkovo delo, ki sprva sploh ni imelo
umetnostnih intenc in je morda prav zato eno izmed njegovih
najbolj večplastnih del. V želji po raziskovanju kreativnega
potenciala, tema katerega so bili že dlje efemerni objekti
naše civilizacije, je umetnik na ljubljanskem smetišču priredil
neformalno druženje prijateljev, povečini umetnikov.10 Leta
2004 organizirani Piknik na deponiji je danes moč videti kot
videozapis, ki ga je umetnik šele kasneje določil za umetniško delo. Priča o neki civilizaciji in tistem, kar ostaja za
njo, o kreativnosti, ki se razvije v neznanem in potenciala
polnem okolju, hkrati pa je privatni dokumentarni zapis
o intimi prijateljskega kroga umetnikov.
Kljub v tem času še občasnim skokom na področji dreka
in smeti se je umetnik še vedno najčvrsteje držal papirnatega
zidaka, ki se je znova pojavil v projektu No Lego (2005), tokrat
v različici, primerni za domači DIY (do it yourself – naredi
sam). Na skladovnici iz papirnatih zidakov je v galeriji počival mini reciklažni laboratorij, ki ga je za publiko ustvaril
10 Na pikniku so avtorsko sodelovali: Vesna Bukovec, Jure Breceljnik,
Lada Cerar, Matjaž Rebec, Marjan Stanić, Željko Stevanić in Jernej Trampuš.
Toilets/Made
in India, 2004
Piknik na
deponiji, 2004
Picninc on
a Dump, 2004
lavatory is described as follows: »Indian squat toilet is
basic, simple and natural by
his [sic] form and the way of
usage.«9
The objects give the
impression that someone
has taken some of the
exhibited souvenirs from
the dresser, the more recent
middle-class version of the
bygone Wunderkabinett,
and placed them in front of us. And in fact, this is a souvenir. It does show an uncharacteristic image; however, this is
needlework made by cheap labour in a far away land. And
the image displayed is rather familiar in India. The discreet
disposal of shit was in fact one of the achievements of the
ancient civilisation that lived in the Indus River valley thousands of years ago, whereas today it has become a popular
philosopher’s tool for defining the Western world. The people
who live by the Indus River today and use the simplest of
lavatories manufacture products that are purchased in the
lands of plenty, whose inhabitants are currently looking for
redemption in a return to simplicity.
Which of these lavatories will dispose of this shit – or will
it too even be sold in the future? For even shit can be waste
and not just litter, as Sašo Sedlaček demonstrated in one of
his later projects. But before he did this, Sedlaček had created his best known work prior to Beggar (Žicar). Initially, this
project had no artistic intentions; and perhaps this is precisely
the reason for it being one of his most multi-faceted works.
Wishing to explore creative potential – and he had long been
interested primarily in the ephemeral objects of our civilisation – the artist organised an informal gathering of friends,
mostly artists, at the Ljubljana rubbish dump.10 Picnic on a
Dump (Piknik na deponiji), which was organised in 2004, can
9
Ibid.
10 Creative participants at this picnic were: Vesna Bukovec, Jure Breceljnik,
Lada Cerar, Matjaž Rebec, Marjan Stanić, Željko Stevanić and Jernej Trampuš.
29
30
kipar. Potencialno bi vsakdo lahko postal
izdelovalec papirnatih zidakov, narejenih iz neželene pošte, tudi brez nakupa
Sedlačkovega dela, saj je bil tudi laboratorij sam v celoti sestavljen iz recikliranih
odpadkov in ga je bilo prav tako mogoče
napraviti doma.
Besedna igra iz naslova je merila na
popularno antiglobalistično uspešnico
in hkrati na znanega proizvajalca že
narejenih igralnih kock. Za Sedlačkove
zidake se je bilo treba potruditi malo bolj,
vendar je materialni vir zanje vsaj navidezno neizčrpen, njihovo izdelovanje pa
je v trendu s potrošniško logiko domače
reciklaže.
Trendovski in retro je videti tudi odlični Žicar, za katerega je umetnik prejel več nagrad v tujini pa tudi slovensko
nagrado OHO11. Robot za žicanje in pomoč socialno ogroženim je nastal v produkciji Galerije Kapelica. Kot številni
Sedlačkovi projekti je tudi Žicar iz odpadne tehnologije. Kipar
je zbral stare tri-osem-šestke, črno-beli zaslon, nekaj žic in
dva delujoča cd-predvajalnika in jih sestavil v prisrčnega
robota. A še preden je Žicar našel svoj prvi dom v Galeriji
Kapelica, se je za nekaj dni nastanil na bleščavih hodnikih
Cityparka. V polomljeni slovenščini, ki jo je zanj sintetiziral
Jure Leskovec, je mimoidoče prosil za denar. Akcija, v kateri
je svetleče tehnološko Žicarjevo telo nadomestilo zgrbljena in
na pogled žalostna telesa klošarjev, je bila uspešna. Robot
se je izkazal in na uro nabral tudi več od takratnega dobrega
jurja. Mimogrede je še dokazal, da je tehnološki vmesnik
več kot primeren za prosjačenje. Ko prosjači prisrčni robot,
se okrog njega takoj zbere kopica mamic z otroki, ko pa to
počne pijan in mnogokrat tudi ne preveč dišeč klošar, mamic
z otroki ni na spregled. Funkcija zbiranja denarja seveda
ostane ista. Zakaj denar iz potrošniškega žepa raje skoči
11 Nagrada OHO je lokalna verzija YVAA – Young Visual Artist Awards ameriške fundacije The Foundation for a Civil Society, ki skrbi za države centralne
Evrope in Balkana. Več na www.yvaa.net. 22
No Lego, 2005
now be seen as a video record, which the author only later
designated as an art work. It bears witness to a civilisation
and what this civilisation leaves behind; it bears witness to
creativity that develops in an unfamiliar environment that is
full of potential. At the same time, it is also a private record
documenting the closeness of a circle of artist friends.
Notwithstanding the occasional forays into the sphere of
shit and rubbish, the artist has been most consistent in his
use of paper bricks, which appeared again in the project No
Lego (2005), this time in a version suitable for DIY. A miniature
recycling laboratory, created for the public by the artist, was
placed on a stack of paper bricks at the gallery. Potentially,
anybody could become a manufacturer of paper bricks made
of unwanted mail even without purchasing Sedlaček’s work,
for the laboratory itself was made entirely of recycled waste
and could also be assembled at home.
The pun in the title was aimed at the popular anti-globalist best-seller and at the famous producer of toy bricks.
Sedlaček’s bricks require a bit more effort; however, the material resources for them seem inexhaustible and their manufacture is in line with the consumer logic of domestic recycling.
Beggar (Žicar) also appears trendy and retro. For this
work, the artist received several international awards and
the Slovenian OHO Award.11 The robot designed for begging and helping the materially deprived was produced by the
Kapelica Gallery. Like many of Sedlaček’s other projects, the
Beggar is made of discarded technology. The sculptor collected old 386s, a black-and-white monitor, some wires and
two functioning CD players and used them to assemble an
amicable robot. However, even before the robot found its first
home at the Kapelica Gallery, it had spent a few days roaming
the shiny halls of BTC City. In broken Slovene, synthesised
for the Beggar by Jure Leskovec, it begged passersby for
money. The action, in which the shiny technological body
of the Beggar replaced the stooped, sad-looking bodies of
11 The OHO Award is a local version of the YVAA – Young Visual Artist
Awards administered by the American Foundation for a Civil Society (FCS) with
affiliates in several countries in central Europe and the Balkans. More at www.
yvaa.net.
31
32
v roko iz integriranih vezij kakor pa v toplo človeško dlan?
Robotu plačamo. Plačamo mu za zabavo, za užitek, ki nam
ga ponuja njegova tehnologizirana človeškost. Revščina in
beda ostajata daleč stran od našega sveta. Povsem drugače
je, če se pred nami znajde realnost. Žicar je vmesnik na enak
način kakor televizijski zaslon. Obvaruje nas pred grozečo
resničnostjo. Naše skakljanje po razprodajah poteka nemoteno. Ne sramujemo se lastne razsipnosti, saj je drugi, revni
konec družbe daleč stran. Sašo Sedlaček je nažicani denar
namenil za to, da so se azilanti lahko odpravili na izlet. »Leta
2007 je projekt še nadgradil (Rent a Žicar) in Žicarja posodil
ljubljanskim brezdomcem za 'žicanje' v prostorih BTC, kamor
sami sicer nimajo vstopa in kjer jim ni dovoljena niti prodaja
lastnega časopisa Kralji ulic, ki je bil ustanovljen ravno kot
alternativa neposrednemu 'žicanju'.«12
Od žicanja se je umetnik znova vrnil k smetem, vendar
tokrat na veliko večjem poligonu. Natančno evidentirane
smeti, ki jih je človeštvo izstrelilo v vesolje, so postale središče projekta Vesoljske smeti. Spočet je bil na rezidenci
IAMAS (Institute and Academy for Advanced Media Art and
Science) na Japonskem, dokončan pa kot razvojni projekt za
U3, trienale slovenske sodobne umetnosti, v produkciji Galerije Kapelica. Njegov namen je tematizirati »stopnjo onesnaženosti v uporabnih orbitah okoli Zemlje, lastništvo grozečih
odpadkov in posledično odgovornost zanje ter možnosti njihovega recikliranja. Registriranih je več javnih in zasebnih
iniciativ za ponovno uporabo teh odpadkov, ki pa vedno
znova trčijo ob problem lastništva posameznih kosov. Tako
se na vesoljski ravni srečujemo s paradoksom, ko se lastniki
odpadnega materiala enkrat otepajo odgovornosti zanj in
drugič uveljavljajo pravico do lastništva, s tem pa onemogočajo reševanje odprtega vprašanja recikliranja materiala,
utirjenega v krožnicah okoli Zemlje. Vedeti moramo, da je do
zdaj evidentiranih 38 milijonov kosov odpadkov v velikosti od
nekaj milimetrov do največjih – glavnih rezervoarjev nosilne
rakete za 'space shuttle', ki merijo v dolžino neverjetnih 47
12 Polona Tratnik, »Brkljanje, ki sproti rešuje probleme. Pogovor s Sašem
Sedlačkom«, Maska, Strategije proti zankam nadzora – nekaj ljudi in trenutkov
taktične resničnosti, XXIV, 119–120, zima 2009, 18.
Žicar, 2006
Beggar, 2006
homeless people, was a success. The
robot excelled and collected more than a
grand per hour. Incidentally, it also proved
that a technological interface is more than
suitable for begging. When an amicable
robot does the begging, it is immediately
surrounded by a bunch of mothers with
young children, whereas when a drunk
and often smelly homeless person does it,
this kind of audience is nowhere in sight.
The function of collecting money, however, remains the same. Why does the
money from the consumer’s pocket pass
more easily into the hand made of integrated circuits than into a warm human
hand? We give money to the robot. We
pay the robot for entertainment, the pleasure afforded by its
technologised humanity. Poverty and misery remain far away
from our world. It is totally different when we are faced with
reality. The Beggar is an interface akin to a TV monitor. It
protects us from threatening reality. Our sales shopping spree
can continue undisturbed. We are not ashamed of our own
squandering, for the other, poor part of society is far away.
Sašo Sedlaček used the money thus collected to send
asylum seekers on a trip. In 2007, he developed the project
further (Rent a Beggar) by lending the Beggar to the homeless people of Ljubljana to use for begging on the premises
of BTC City, where they are otherwise not permitted to enter
and where they are not even allowed to sell their own magazine Kings of the Street (Kralji ulice), which was established
precisely as an alternative to straight begging.12
After this exercise in begging, the artist returned to waste;
however, this time, on a broader scale. The carefully documented waste that humankind has discharged into space
became the centre of the project Space Junk Spotting
(Vesoljske smeti). It was conceived during a residency at
12 Polona Tratnik, »Bricolage that saves problems along the way: A conversation with Sašo Sedlaček«, Maska, Strategies Against Control Loops – Some
People and Moments of Tactical Reality, Vol. XXIV, Nos. 119–120, Winter 2009.
33
34
metrov in imajo premer šest
metrov. Predpostavka, da
vesolje pripada vsem, ne le
vesoljskim velesilam, vedno
znova vzpostavlja dilemo
lastništva, privilegijev in
odgovornosti ter ne nazadnje tudi primernih vsebin,
za katere ni nikjer napisano,
da morajo biti le v zvezi z
vojaškimi nameni in znanstvenimi projekti. Telekomunikacije in opazovanja našega planeta različnih resolucij so
se že prerinili med privilegirane in po našem mnenju je zdaj
čas tudi za kreativnost. Od tod naprej pa je potrebno imeti
že izoblikovan odgovor na vprašanje, ki meri na vsebine in
dimenzije človeškega duha.«13
Po dolgotrajnem projektu je sledila samostojna razstava
v Miklovi hiši v Ribnici, kraju, ki je znan predvsem kot center
slovenske etnološke posebnosti, suhe robe14, ki jo v pesmih
in vicih prodaja Ribn’čan Urban. Po Žicarju je bil Urban –
avtomat za suho robo že drugi do ljudi prijazni in nadvse
uporabni Sedlačkov avtomat. Kot ostali samopostrežni avtomati za napitke, hrano, kondome, zobne ščetke je bil še pred
mlekom in mlečnimi izdelki, ki so postali stalnica slovenske
potrošniške folklore, Urban prvi prodajni avtomat, ki je prodajal slovensko posebnost tako, kot Amerika ponuja kokakolo.
Seveda se je to zgodilo v manjšem merilu in nakladi ter pred
manjšimi nakupovalnimi središči. Z Urbanom se je potrdila
13 http://www.sasosedlacek.com/shranjeno/projects_spacejunk_slo.htm,
ogledano 23. 9. 2011.
14 »Izdelovanje suhe robe predstavlja vrsto lesnih rokodelskih in obrtniških opravil: žličarstvo in kuhalničarstvo, posodarstvo, obodarstvo, strugarstvo, pletarstvo,
rešetarstvo, sodarstvo, zobotrebčarstvo, izdelovanje igrač, (turističnih) spominkov,
daril in okrasnih predmetov iz lesa itd. Domovina suhe robe je ribniško-kočevsko
območje Slovenije, izdelovali pa so jo tudi na Črnem Vrhu nad Idrijo, delno na
Trnovski planoti, v Bohinju, na Pohorju, v Poljanski in Selški dolini, na Idrijskem
in Cerkljanskem. Cesar Friderik III. je 1492. izdal odlok, po katerem so lahko
kmetje na kočevskem in ribniškem območju trgovali tudi z lesnimi izdelki lastne,
hišne izdelave. Leta 2002 so v Ribnici zaščitili geografsko poreklo suhe robe in
izdelali Pravilnik o označbi porekla blaga 'Ribniška suha roba'.« http://www.suharoba.si/?page_id=9, ogledano 23. 9. 2011.
Vesoljske smeti, 2007
Space Junk
Spotting, 2007
IAMAS (Institute and Academy for Advanced Media Art and
Science) in Japan and completed as a developmental project
for U3 – Triennial of Contemporary Slovenian Art, produced
by the Kapelica Gallery. Its aim was to thematise »the extent
of the pollution in the usable orbits around Earth, the ownership of the threatening waste and, consequently, the responsibility for it, and the possibilities of recycling it. There are
already a number of registered public and private initiatives
for reusing this debris, but they always come up against the
question of who owns the individual pieces of junk. Thus,
on the level of space, we encounter a paradox in which the
owners of the waste material first shirk their responsibility
for it and then enforce their ownership rights, thus making
it impossible to resolve the open question of how to recycle
all the junk circling the Earth in fixed orbits. It is important to
know, too, that so far, some 38 million pieces of waste material
have been documented, ranging in size from those of a few
millimeters to the biggest – the main tanks of space shuttle
launch vehicles, which measure an incredible 47 meters in
length and six meters in diameter. The presupposition that
space belongs to everyone, and not just the space superpowers, creates endless dilemmas of ownership, privilege, and
responsibility, and also raises the important question of what
constitutes suitable content; for nowhere is it written that it
must be linked only to military purposes or scientific projects.
Telecommunications and the observation of our planet at
various resolutions have already pushed their way into the
privileged categories, and we believe it is high time for artistic
creativity to join them. Once this happens, it is essential to
have an already formulated answer to the question that aims
at the content and dimensions of the human spirit.«13
The long-lasting project was followed by an independent
exhibition at the gallery Miklova hiša in Ribnica, the town
known primarily as the centre of a Slovenian ethnological
peculiarity, woodenware (suha roba),14 which, in songs and
13 http://www.sasosedlacek.com/anglesko/projects_Spacejunk_eng.htm, last
accessed 7 October 2011.
14 »Woodenware production encompasses a series of activities related to the
trades and crafts of wood cultivation: the manufacture of wooden spoons, ladles
35
36
teza, da Sedlačkova dela
velikokrat presegajo meje
sveta umetnosti: že od prvih
projektov so mnogokrat v
resnici le prototip. Sedlaček
ga ponuja podjetnim DIYustvarjalcem in vsem tistim,
ki si želijo boljšega sveta.
Simona Vidmar je v spremnem besedilu k razstavi
označila »mašino« Urbana
za »kopijo, posnetek uspešne forme in prepoznano prednost izbrane skupnosti, ki
jo s pomočjo modernizacije in tehnologije (paradoksalno)
prenaša v sodobni kontekst, oblikuje orodje za preseganje
vase zaprte situacije ter odpiranje lokalnega in avtohtonega
sodobnemu svetu in novim pogojem. Sedlaček je z Urbanom ponovno ustvaril 'doma narejeno' strategijo upora in
izdelal dostopen prototip, odprt za nadaljnjo nadgradnjo in
razmnoževanje.«15
Leta 2007 je Sedlaček pri produkciji
svojih projektov pričel sodelovati z Aksiomo, produkcijsko hišo pod vodstvom
umetnika Janeza Janše. Nastala sta projekta Infokalipsa zdaj! in Manifest, ki sta
pravzaprav le različici iste problematike.
Vesoljske smeti so se spraševale tudi,
kdo je lastnik materiala, ki bi ga bilo moč
reciklirati in s tem morda celo uspešno
tržiti, v Infokalipsi – besedni igri na znano
filmsko adaptacijo romana Srce teme –
pa je tematika znova postala lokalna.
Med pripravo prehoda na digitalne frekvence, ki se je končal v letošnjem letu,
si je Sedlaček zastavil vprašanje, ki si
ga je tedaj zastavljal le malokdo. Kdo bo
15 Simona Vidmar, Japonci slutijo božanstvo v vsakem industrijskem objektu,
Sašo Sedlaček, Urban – avtomat za suho robo, Galerija Miklova hiša, Ribnica
2007.
Urban – avtomat
za suho robo, 2007
Urban –
Woodenware
Vending Machine,
2007
Infokalipsa zdaj!,
2007
Infocalypse Now!,
2007
jokes, is sold by Urban, a man from Ribnica. After Beggar,
Urban – Woodenware Vending Machine (Urban – Avtomat
za suho robo) was Sedlaček’s second people-friendly and
very useful automaton. Functioning like other self-service
machines selling beverages, food, condoms or toothbrushes,
and appearing even before the so-called mlekomat (milkvending machine), which has become a regular feature of
Slovenian consumer folklore, Urban was the first vending
machine to sell this Slovenian national peculiarity, in the same
way that America sells Coca-Cola. Of course, this happened
on a smaller scale in front of smaller shopping centres.
Urban was a confirmation of the thesis that Sedlaček’s
work often transcends the boundaries of the world of art;
ever since the very first projects, his works have often been
just prototypes, which Sedlaček offers to enterprising DIY
creators and everyone else who desires a better world. In
her introduction to the exhibition, Simona Vidmar described
the Urban machine as »a copy, an imitation of a successful
form and a recognised advantage of a chosen community,
which [the artist] transposes into the contemporary context
(paradoxically) by means of modernisation and technology,
creating the tools for transcending a closed situation and for
opening up the local and the autochthonous to the contemporary world and new conditions. With Urban, Sedlaček has
again created a ‘homemade’ strategy of resistance and produced an accessible prototype open to further development
and reproduction.«15
and kitchenware, wood turning, wickerwork, sieve-making, cooper’s trade, the
production of toothpicks, the manufacture of wooden toys, (tourist) souvenirs,
gifts and decorative objects, etc. The homeland of woodenware is the area
around Ribnica and Kočevje in Slovenia; however, it was also produced in Črni
Vrh nad Idrijo, Trnovska planota, Bohinj, Pohorje, the Poljanska and Selška valleys, Cerkljansko and Idrijsko. In 1492, the emperor Frederick III issued a decree
which allowed peasants in the area around Kočevje and Ribnica to sell homemade wooden products. In 2002, the geographical origin of woodenware was
protected in Ribnica and the regulation about designating the origin of goods as
‘Woodenware from Ribnica’ was adopted.« http://www.suharoba.si/?page_id=9,
last accessed 8 October 2011.
15 Simona Vidmar, »Japonci slutijo božanstvo v vsakem industrijskem objektu«, Sašo Sedlaček, Urban – avtomat za suho robo, Galerija Miklova hiša,
Ribnica, 2007.
37
38
novi lastnik in uporabnik velikega dela spektra, ki je tako
kot voda, zrak ali zdravstvo še vedno del javnih dobrin. Te
frekvence so, podobno kakor analogna tehnologija, z digitalizacijo postale neke vrste odpad, vendar pa je to odpad,
ki ga je moč uporabljati in zasesti, še preden si ga prilasti
kapital: »Večja dostopnost do 700 MHz spektra – izredno
uporabnega nizkofrekvenčnega pasu – bi poleg ponudbe
nekomercialnih televizijskih vsebin in neodvisne produkcije spodbudila razvoj inovacij na področju brezžičnega
interneta, izboljšala lokalno komunikacijsko omrežje, pripomogla k razvoju malega podjetništva in ne nazadnje zagotovila, da gospodinjstva, posamezniki in skupine z nizkimi
dohodki ne zaostanejo za razvojem, medtem ko tehnologija
napreduje.«16
Namera Sedlačkovega projekta je bila znova jasna: ponudil je spodbudo, ki bi jo lahko izkoristil vsakdo. V Galeriji
Kapelica je leta 2007 med razstavo deloval tudi »gverilski
studio«, v katerem je Sandra Bašić Hrvatin spregovorila
o raziskovani problematiki, hkrati pa je Sedlaček ponudil
uporabnikom navodila, kako
sami ustvarijo mobilni televizijski oddajnik. Za razstavo
je nastal tudi poetični video
Rekviem za umirajoči medij,
slovo od analogne televizije
s končnim zasedanjem gorskega vrha s televizijskim
oddajnikom.
Interes za tehnološke
odpadke je Sedlačka vodil v
The Ex, izdelavo dveh reklamnih panojev, ki ju je leta
2010 produciral za novi U3 v Moderni galeriji. Takratnega je
kuriral Charles Esche in je bil posvečen realizmom v slovenski umetnosti. Sedlaček je pokazal realnost in njeno zahodno
podobo. Panoja sta združila podobi »tretjega sveta«, kjer
revni sloj prebivalstva reciklira naše tehnološke odpadke
16 http://www.sasosedlacek.com/shranjeno/projects_infokalipsa.htm,
ogledano 23. 9. 2011.
Bivši, 2010
The Ex, 2010
Since 2007, Sedlaček has been producing his projects in
collaboration with Aksioma, the production house under the
direction of the artist Janez Janša. Two projects have been
created thus far – Infocalypse Now! (Infokalipsa zdaj!) and
Manifesto (Manifest) – which are, in fact, merely variations
on the same theme. While Space Junk Spotting raised the
question of ownership in regard to the material that could be
recycled and could thus perhaps become profitable, in Infocalypse Now! – the title is a pun alluding to the famous cinematic
adaptation of the novel The Heart of Darkness (Srce teme)
– the subject matter is again local. During the preparations
for the transition to digital frequencies, which was completed
this year, Sedlaček raised a question that only a handful of
people had thought about at the time. Namely, who is going
to own and use the major part of the spectrum, which is still
part of the common good, like water, air or health care? Similar to what happened to analogue technology, digitalisation
has made these frequencies a sort of waste; however, this is
the kind of waste that can be used and appropriated before
capital seizes it: »A greater accessibility of the 700 MHz spectrum – a very useful low-frequency band – would, besides
offering non-commercial television contents and independent
production, stimulate the development of innovations in the
field of wireless Internet, improve the local communication
network, contribute to the development of small enterprise
and, last but not least, prevent households, individuals and
groups with low incomes from lagging behind development
while technology advances.«16
The aim of Sedlaček’s project was again very clear: he
provided an incentive that could be taken up by anyone.
The exhibition at the Kapelica Gallery in 2007 also included
a »guerrilla studio«, in which Sandra Bašić Hrvatin spoke
about research topics, while Sedlaček instructed the users
how to assemble a home-made mobile television transmitter.
A poetic video entitled Requiem for a Dying Medium (Rekviem
za umirajoči medij) was also created for the exhibition; it
bade farewell to analogue television as the mountain peak
16 http://www.sasosedlacek.com/anglesko/projects_infocalypse.htm,
last accessed 9 October 2011.
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40
s starima logotipoma proizvodov največjih računalniških podjetij (Apple Computer in Windows '98), ki pa sta že odslužila
rok uporabe in so ju, kakor stare računalnike na naših mizah,
že zamenjali novejši in lepši znaki.
Ob ponoreli uporabi novih mobilnikov, dlančnikov, namiznih in prenosnih računalnikov, digitalnih fotoaparatov, prenosnih pomnilnikov in še in še, ki jih menjujemo skorajda na
mesečni ravni, nas preprosti Sedlačkovi reklami opomnita, da
odslužene tehnološke igračke pristanejo daleč od »razvitega
sveta«, kjer nudijo material, ki omogoča ponovno izkoriščanje
človeka po človeku.
Sedlačkovi projekti so raznoliki, čeprav gre tematsko
in sporočilno za ponavljanje povezljivih idej. Včasih so le
podoba ali objekt, ki gledalca nagovarja s sporočilom, drugič mu nudijo prototipe, ki ponujajo konkretne možnosti za
akcijo, tretjič pa lahko vključujejo kar akcijo samo in takrat iz
galerije vstopijo v realni svet. Skorajda praviloma združujejo
estetsko-kiparsko in praktično raven in vedno so zabeljeni
s kancem humorja.
Sedlaček prilagodi vsebine, ki jih raziskuje, okviru, v katerem se znajde kot umetnik. Za razstavo v MGLC sta tako
nastala dva objekta, ki sta se s svetom znova ukvarjala na
globalni ravni, hkrati pa sta bila povezana s tiskom in tiskarnami. Grelnik globus (2010) je resnični grelec in obenem
globus, pri katerem, ko ga priklopimo na električno energijo, toplota in svetloba pronicata skozi luknje, ustvarjene na
mestih, ki najbolj segrevajo modri planet. Globus je hkrati
taktilni potiskani in naluknjani kiparski objekt, funkcionalna
naprava, ki v eno združi ogrevanje in poučevanje, ter del
informacijskega okoljevarstvenega boja.
Drugi objekt, Svet zemljevidov po Buckminster Fullerju,
nas pouči, da je prav izbrani objekt – globus – pravzaprav
tudi sam orodje v rokah premožnejših, saj so njihova ozemlja
upodobljena manj popačeno kakor drugi teritoriji sveta. Prvi
globus je leta 1492 izdelal nemški geograf Georg Behaim,
bolj znan pa je Mercatorjev iz leta 1541, na katerem so
Evropejcem bolj znani deli sveta gosto popisani z imeni,
medtem ko so ostali severnejši in južnejši »še neraziskani
deli sveta« večinoma prazni in potisnjeni na manj vidne
Grelnik globus,
2010
Globe Heaters,
2010
was at last conquered by the television
transmitter.
His interest in technological waste
led Sedlaček to The Ex, the production
of two billboards, which he produced in
2010 for the new U3 at the Museum of
Modern Art (Moderna galerija). The 2010
U3 was curated by Charles Esche and it
was dedicated to realisms in Slovenian
art. Sedlaček showed reality and its Western incarnation. The billboards combined
the images of the »Third World«, where
the poor recycle our technological waste,
with the old logos of products made by
the biggest computer companies (Apple
Computer and Windows ’98) – the logos
that have reached their expiration date and have been, like
the old computers on our desks, replaced by newer and nicer
logotypes. Given the frenzied use of new mobiles, PDAs, PCs
and laptops, digital cameras, portable storage devices, etc.,
which we change almost every month, Sedlaček’s simple
ads remind us that technological toys end up far from the
»developed world«, where they become material that enables
renewed human exploitation.
Sedlaček’s projects are diverse despite the fact that they
reiterate ideas that could be linked in terms of themes and
messages. Sometimes they are merely an image or an object
that addresses the viewer with a message; at other times,
they furnish the viewer with prototypes that offer concrete
possibilities for action; at yet other times, they encompass the
action itself and, in this case, they leave the gallery and enter
the real world. Almost as a rule, they combine an aestheticsculptural aspect and a practical one, and they are always
spiced with a dash of wit.
Sedlaček adapts the content that he explores to the framework in which he happens to be as an artist. For the exhibition at the International Centre of Graphic Arts (Mednarodni
grafični likovni center), he thus produced two objects that dealt
with the world on a global level while at the same time were
41
42
dele globusa. S to težavo
se je spoprijel Buckminster
Fuller in leta 1946 ponudil
karto Dymaxion, poliedrično
obliko, ki jo sestavlja dvajset trikotnikov. Na njegovem zemljevidu je površina
sveta predstavljena veliko
bolj pravično kot na Mercatorjevem, zemljevid pa je iz
poliedra moč sestaviti tudi v
dvodimenzionalno površino.
Zdi se, kot da je interes za nečisto, umazano in odvrženo,
za izločanje in možnost odplakovanja dreka ena od stalnic
v opusu Saša Sedlačka. AcDcWc, ki je nastal v produkciji Aksiome v lanskem letu, je realistična demonstracija
možnosti energetske predelave človeških izločkov v električno energijo, v Sedlačkovih kipih največkrat takšno, ki
nas bo zabavala na tronu. To je lahko premikajoči se psiček
igračka, ki ga poganja otrokovo blato, ali pa nam kakanje
več družinskih članov osvetli domačo kopalnico. Ne gre pa
seveda pozabiti na javni prostor in javni mobilni WC, ki zaradi
večjih količin dreka razsvetli celoten okoliš.
Ko poskrbimo za samooskrbno energijo, sledi zabava.
Vendar od osemdesetih in Rocka Hudsona prav vsi vemo,
da mora biti tudi zabava varna. In zakaj si je ne bi zagotovili
z reciklažo? Kondomi, izdelani iz raznih ovitkov Poli, Ave in
Pivka, morda niso najnežnejši na tržišču, so pa doma pridelani, brezplačni in, vsaj na prvi pogled, zelo varni. Salami
Condoms (2010) spomni na otroštvo, ko smo se razposajeno nasmihali ob vsaki malici, ki je vključevala hrenovko,
in vsaki lučki, v katero je katera od nas preveč navdušeno
zagrizla. Hudomušna interpretacija DIY-strategij postane
bolj prepričljiva, če se spomnimo še na doma sešite vložke
in plenice, ki jih v delo ponuja že vsaka progresivna začetna
vadnica šivanja. Kdo ve, morda pa je velikost Ave, Pivka ali
Poli pravšnja prav za vašega.
AcDcWc, 2010
related to print and printing houses. Globe Heaters (Grelnik
globus, 2010) is a genuine heater and at the same time a globe
in which, when the globe is plugged in, heat and light seep
through the holes created in spaces where the blue planet is
experiencing the most intense warming. The globe is simultaneously a printed tactile and punctured sculptural object as
well as a functional device that brings together heating, teaching and a part of the informational environmental struggle.
The second object, The World of Maps According to
Buckminster Fuller (Svet zemljevidov po Buckminster Fullerju), informs us that the chosen object – the globe – is itself
a tool in the hands of the rich, for their territories are depicted
in a less distorted manner than the rest of the world. The
first globe was made in 1492 by the German geographer
Georg Behaim; however, Mercator’s globe from 1541 is more
famous; the latter depicts in detail those parts of the world that
were then familiar to the Europeans, whereas the »uncharted
territories of the world« in the North and the South are left
blank and buried in the less visible parts of the globe. This
was the problem tackled by Buckminster Fuller, who in 1946
produced the Dymaxion map, a polyhedral form which consists of 20 triangles. In Fuller’s map, the surface of the world is
depicted more impartially than in the Mercator projection, and
the map can be unfolded and flattened into two dimensions.
It seems that the interest in the impure, the unclean and
the rejected, the interest in excretion and the possibility of
shit disposal, is a regular feature of Sašo Sedlaček’s oeuvre.
AcDcWc, which was produced by Aksioma last year, is a realistic demonstration of the possibilities of transforming human
excrement into electrical power – in Sedlaček’s statues, this
is most often electrical power of the kind that entertains us
on a throne. For instance, a mobile toy dog is fuelled by
a child’s faeces, or the lighting for a bathroom is produced
from the excrement of the older family members. And, of
course, we should not forget the public space and the public
mobile toilet, which can light up an entire district due to the
larger quantities of shit at its disposal.
Once energy self-supply is secured, fun follows. However,
ever since the eighties and Rock Hudson, we have known that
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44
In za konec. Ves svet je
še vedno doma na televiziji.
Tisti, ki smo morali pred
kratkim zavreči staro zaradi
prehoda na digitalni signal,
bi lahko sodelovali v najnovejšem Sedlačkovem projektu, ki ga je producirala
Aksioma. To je Veliki izklop
iz letošnjega leta. Večina
nas je zamudila javni poziv
k skupinskemu razbijanju
starih analognih televizij,
ki smo jih Slovenci letos
množično vozili na odpad.
Kam gredo naše televizije,
ko jih ne potrebujemo več?
Nekam izginejo, za nas jih
proti plačilu varno skrijejo
kot vse druge odpadke, ki
jih proizvedemo. Morda je
prav moj TV odpotoval na
zadnjo pot v dežele tretjega sveta na reciklažo.
Toda kako bi bilo videti, če bi, kakor v srednjem veku, svoje
odpadke preprosto zmetali skozi okno? V odlično zmontiranem potencirajočem ritmu stanovalci bloka mečejo skozi
okna vse več televizijskih sprejemnikov. Kar na cesto jih
vržejo in tam se spreminjajo v kup smeti. Niso več odpadki,
neuporabni so. V koščkih. Razbiti. Smeti, ki se po reciklaži
kopičijo v tretjem svetu, so kar naenkrat spet tu. Pred domačim pragom.
Zelo jasno je, kaj zanima umetniška dela Saša Sedlačka.
Reciklaža. Uporaba zavrženega. Izboljšanje sveta in opozorilo, da na Zahodu živeči nismo edini, ki tlačimo ta planet.
Njegovi projekti nihajo med lokalno in globalno problematiko odpadkov. Umetnika zanimajo aktualne teme, ki sodijo
v kategorijo tisočletnega prizadevanja za izboljšanje življenja človeka. Te problematike se na srečo ne loteva naivno,
Veliki izklop, 2011
The Big Switch Off,
2011
Salami
Condoms, 2011
fun, too, must be safe. And why not secure safety through
recycling? Condoms made of Poli, AVE or Pivka wrappers
may not be the most delicate on the market, yet they are
home-made, free and, at least at first sight, very safe. Salami
Condoms (2010) remind us of childhood, when every brunch
including sausages and every ice cream or lollipop that one
of us licked a bit too enthusiastically brought mischievous
smiles to our lips. The roguish interpretation of DIY strategies becomes even more compelling if we remember the
home-made sanitary towels and diapers whose making is now
described in every progressive sewing textbook for beginners.
Who knows? Perhaps the size of AVE, Pivka or Poli is perfect
for your member.
To conclude. The entire world is still at home on television.
Those of us who were forced to reject the old technology
due to the transition to the digital signal could participate in
Sedlaček’s latest project, The Big Switch Off (Veliki izklop),
produced this year by Aksioma. Most of us missed the public call for mass destruction of the old analogue television
sets, which Slovenians drove to rubbish dumps en masse this
year. Where do our TV sets end up once we no longer need
them? They disappear somewhere; for a suitable fee, they
are safely stowed away and concealed like all other waste
that we produce. Perhaps it was precisely my TV set that
embarked on its final trip, to the Third World, to be recycled
there. However, what would it look like if we simply threw our
waste out through the window, as they did in the Middle Ages?
In a superbly edited escalating rhythm, the residents of an
apartment block throw more and more TV sets through their
windows. They simply throw them out and there, in the street,
they become a pile of rubbish. They are no longer waste, they
have become useless. They are in pieces. Shattered. The
litter that accumulates in the Third World after having been
recycled is suddenly here again. On our own doorstep.
It is very clear where the interest of Sašo Sedlaček’s art
works lies. Recycling. (Re)use of the rejected. The improvement of the world and a warning that people in the West
are not the only inhabitants of this planet. His projects shift
between local and global problems of waste. The artist is
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46
pobožnjakarsko ali moralizatorsko, temveč s humorjem in
ponudbo. Njegove domislice so duhovite, kreativne in predvsem uporabne. Kako da v Ribnici še ne proizvajajo Urbana,
se vprašam. Bolj jasno mi je, zakaj brezdomci še niso naredili cele vrste Žicarjev, ki bi jih krvavo potrebovali. Čisto nič
čudno se mi ne bo zdelo, če bom čez nekaj let pohajkovala
po BTC – takrat bo morda Ljubljana le še njegov okraj – in
se globoko zamislila nad ceno stranišča s samopridelovalno
razsvetljavo.
interested in topical themes that fall into the category of ageold efforts to improve human life. Fortunately, he does not
tackle these issues in a naïve, bigoted or moralistic manner,
but rather with humour and incentive. His ideas are witty,
creative and, above all, useful. I wonder why Ribnica has not
yet started producing Urban. It is, of course, less inexplicable
why homeless people have not yet assembled a whole series
of Beggars, which they could use so badly. I shall not be
surprised at all if, in a few years, while strolling around BTC
City – Ljubljana may well be just one of its districts by then – I
happen upon a pricey lavatory that produces its own lighting.
47
Dela
Works
Živeti v reklami
Living in
a Media Hype
Naslednji dve strani:
Živeti v reklami
2002/2006
FOTO: Sašo Sedlaček
Zasnova projekta je
iz leta 2002, ko sva z
Boštjanom Kavčičem
začela razmišljati,
kako bi parazitirala
eno od reklamnih
tabel. Na sliki je
naseljeni reklamni
pano v Queensu,
New York, 2006.
Next two pages:
Living in a Media
Hype
2002/2006
PHOTO: Sašo Sedlaček
The project was first
conceptualised in
2002, when Boštjan
Kavčič and I started
thinking about exploiting parasitically
one of the exhisting
billboards. The photo
shows an inhabited
billboard in Queens,
New York, 2006.
51
Just do it!
Just do it!
2003
FOTO: Sašo Sedlaček
Just do it!
2003
PHOTO: Sašo Sedlaček
Reciklirani papirnati
zidaki iz reklamnih
tiskovin, ki nam jih
na dom pošiljajo nakupovalna središča.
Recycled paper
bricks made of
printed propaganda
materials sent to our
homes by big shopping malls.
Produkcija: Galerija Kapelica, Ljubljana
Production: Kapelica Gallery, Ljubljana
55
Levo:
Just do it!
2003
FOTO: Jure Breceljnik
Prva faza projekta.
Dvotedensko recikliranje reklamnih sporočil in izdelovanje
papirnatih zidakov
v galeriji.
Naslednji dve strani:
Just do it!
2003
FOTO: Luka Dekleva
Druga faza. Zapiranje
vhodov v ljubljanska
nakupovalna središča
s papirnatimi zidaki.
Left:
Just do it!
2003
PHOTO: Jure Brecelnik
The first phase of
the project. The twoweek recycling of
propaganda materials
and the manufacture
of paper bricks at
the gallery.
Next two pages:
Just do it!
2003
PHOTO: Luka Dekleva
The second phase.
The closing of the
entrances to shopping
malls in Ljubljana
using paper bricks.
Zanka
Loop
Zanka
2004
FOTO: Sašo Sedlaček
Loop
2004
Parazitski paviljon
iz papirnatih opek in
drugega recikliranega
materiala na reklamnem panoju To je
moje mesto pri vhodu
v največje slovensko
nakupovalno središče.
The parasitic pavilion
made of paper bricks
and other recycled
materials on the billboard This is My City
at the entrance to
the biggest shopping
centre in Slovenia.
PHOTO:
Sašo Sedlaček
Produkcija: Galerija Kapelica, Ljubljana
Production: Kapelica Gallery, Ljubljana
61
Levo:
Zanka
2004
FOTO: Sašo Sedlaček
Zgoraj:
Zanka
2004
FOTO: Sašo Sedlaček
Left:
Loop
2004
Pogostitev ob odprtju
paviljona (zgoraj) in
piknik (spodaj) v nakupovalnem središču,
kjer so obiskovalci ob
vstopu lahko prisluhnili elektronskemu
hrupu mesta.
V papirnate zidake
vgrajen skener
frekvenc je omogočal
prisluškovanje
pogovorom policije,
taksistov, gasilcev, stacionarnim
telefonom in drugim
napravam, ki delujejo
na določenem frekvenčnem pasu.
Reception at the
opening of the
pavilion (above) and
the picnic (below) in
the shopping centre,
during which the
visitors could listen
to the electronic noise
of the city.
PHOTO:
Above:
Loop
2004
Sašo Sedlaček
PHOTO:
Sašo Sedlaček
Frequency scanner
installed inside the
paper bricks enabled
eavesdropping on
the conversations
of the police, taxi
drivers, fire brigades,
landlines and other
devices that operate
within a certain
frequency band.
Zanka
2004
FOTO: Lada Cerar
Loop
2004
Jutro po odprtju
v nakupovalnem središču, ki mu je sledil
popoldanski piknik
z žarom.
The morning after
the opening at the
shopping centre,
which was followed
by an afternoon
barbecue party.
PHOTO:
Lada Cerar
No Lego
Levo:
No Lego
2005
FOTO: Sašo Sedlaček
Left:
No Lego
2005
PHOTO: Sašo Sedlaček
Postavitev instalacije
v galeriji: kovček
No Lego na podstavku iz papirnatih opek
in z navodili.
Setting up the installation at the gallery:
the No Lego suitcase
on a paper brick pedestal and instructions.
Naslednje štiri strani:
No Lego
2005
FOTO: Sašo Sedlaček
Next four pages:
No Lego
2005
PHOTO: Sašo Sedlaček
Izdelovanje papirnatih zidakov
s kovčkom No Lego
je primerno za vsako
gospodinjstvo.
The manufacture
of paper bricks with
the No Lego suitcase
is suitable for every
household.
Z dovoljenjem galerije Hilger contemporary,
Dunaj, Avstrija.
Courtesy of: Hilger Contemporary gallery,
Vienna, Austria
67
Toilets
Made in India
Toilets
Made in India
2004
FOTO: izsek iz videa
Cenena delovna sila
izdeluje gobeline
v Mumbaju, Indija.
Toilets
Made in India
2004
PHOTO: still from
video footage
Cheap labour producing needlework
sketches in Mumbai,
India.
Avtorja: Sašo Sedlaček in Lada Cerar
Z dovoljenjem Koroške galerije likovnih umetnosti,
Slovenj Gradec.
Authors: Sašo Sedlaček and Lada Cerar
Courtesy of: Koroška Gallery of Fine Arts,
Slovenj Gradec
73
Toilets
Made in India
2004
FOTO: Sašo Sedlaček,
Lada Cerar, Tomo
Jeseničnik
Gobelini različnih
tipov evropskih in
anglosaških stranišč,
ki so po Žižku
oblikovani glede na
nacionalni karakter.
Z dodanim indoevropskim in indijskim straniščem.
Toilets
Made in India
2004
PHOTO: Sašo Sedlaček
and Lada Cerar and
Tomo Jeseničnik
Needlework sketches
of different types
of European and
Anglo-Saxon lavatories, which, as Žižek
maintains, are shaped
according to national
character. With added Indian and Euro
Indian lavatories.
Piknik
na deponiji
Picnic
on a Dump
Piknik na deponiji
2004
FOTO: Željko Stevanić
Picnic on a Dump
2004
PHOTO: Željko Stevanić
Obiskovalce je na
smetišču pričakala
pogostitev, sendviči
in šampanjec.
Refreshments,
sandwiches and
champagne awaited
the visitors at the rubbish dump.
Avtorsko sodelovali:
Vesna Bukovec, Jure Breceljnik, Lada Cerar,
Matjaž Rebec, Marjan Stanić, Željko Stevanić
in Jernej Trampuš.
Collaborating authors:
Vesna Bukovec, Jure Brecelnik, Lada Cerar,
Matjaž Rebec, Marjan Stanić, Željko Stevanić,
and Jernej Trampuš.
77
Piknik na deponiji
2004
FOTO: izsek iz videa
Obiskovalci so se
poleg hranjenja
zamotili z različnimi dejavnostmi:
nogometom, bobnanjem, umivanjem
zob, razgaljanjem,
brskanjem po smeteh, postavljanjem
instalacij, verjetno
zaradi neznosnega
smradu, ki se je širil
po smetišču.
Picnic on a Dump
2004
PHOTO: still from
video footage
In addition to food,
the visitors were busy
performing various
activities: football,
drumming, brushing
their teeth, stripping,
rummaging through
litter, setting up installations, probably
due to the unbearable
stench that spread
through the rubbish
dump.
Piknik na deponiji
2004
Željko Stevanić,
Matjaž Rebec
Picnic on a Dump
2004
PHOTO:
Željko Stevanić,
Matjaž Rebec
Zadnja večerja.
Last supper.
FOTO:
Žicar
Beggar Robot
Žicar 1.0
2006
FOTO: Sašo Sedlaček
Beggar 1.0
2006
PHOTO: Sašo Sedlaček
Žicar, postavljen
v galeriji z videom
nadzornih kamer
iz nakupovalnega
središča v ozadju.
The Beggar at the
gallery with video
footage from surveillance cameras in the
shopping centre in the
background.
Produkcija:
v. 1. 0, Galerija Kapelica, 2006
v. 2.0, IAMAS – Institute for Advanced Media
Art and Science, Ogaki, Japonska, 2006
v. 1.01, Taipei Fine Art Museum, Tajvan, 2008
Z dovoljenjem:
KD Group, Ljubljana
Muzej savremene umjetnosti Republike Srpske,
Banja Luka, BIH
Production:
v. 1. 0, Kapelica Gallery, 2006
v. 2.0, IAMAS – Institute for Advanced Media
Art and Science, Ogaki, Japan, 2006
v. 1.01, Taipei Fine Art Museum, Taiwan, 2008
Courtesy of:
KD Group, Ljubljana
Museum of Contemporary Art Republic of Srpska,
Banja Luka, Bosnia and Herzegovina
83
Levo zgoraj:
Žicar 1.01
2008
FOTO: Sašo Sedlaček
Left, above:
Beggar 1.01
2008
PHOTO: Sašo Sedlaček
Del prosto dostopnih
navodil, kako robota
iz odpadne in poceni
elektronike sestaviti
sam.
A part of the freely
available instructions
on how to assemble
a robot on your own
using discarded and
cheap electronics.
Levo spodaj:
Žicar 2.0
2006
FOTO: Yu Fukui
Izdelovanje druge,
na Linuxu temelječe
verzije Žicarja na Japonskem, ki je imel
zaradi dodatnih senzorjev tudi nekatere
dodatne funkcije,
kot je zahvala ob
prejemu denarja.
Desno:
Žicar 1.01
2008
FOTO: Olga Chang
Tretja internacionalizirana verzija robota
je bila prilagojena
vsem svetovnim
električnim standardom.
Left, below:
Beggar 2.0
2006
PHOTO: Yu Fukui
The production of the
second, Linux-based
version of Beggar
in Japan; thanks to
additional sponsors,
this robot had some
extra functions, such
as expressing gratitude upon receiving
money.
Right:
Beggar 1.01
2008
PHOTO: Olga Chang
The third, internationalised version
of the robot was
adjusted to all global
electric standards.
86
Strani 86 in 87:
Strani 90 in 91:
Strani 92 in 93:
Levo zgoraj:
Žicar 1.01
2008
FOTO: Sašo Sedlaček
Levo zgoraj:
Žicar 1.01
2008
FOTO: izsek iz videa
Levo zgoraj:
Žicar 2.0
2006
FOTO: Sašo Sedlaček
Del prosto dostopnih
navodil, kako robota iz
odpadne in poceni elektronike sestaviti sam.
Video prikazuje situacijo iz centra Tajpeja, kjer
je bil Žicar postavljen
poleg berača, ki jih
sicer policija preganja
iz mestnega središča.
Ob prihodu policista
je moral berač oditi,
medtem ko je robot
po fotografiranju
lahko ostal.
Otroci so Žicarjeva
najboljša stranka.
Levo spodaj:
Žicar 2.0
2006
FOTO: Yu Fukui
Izdelovanje druge,
na Linuxu temelječe
verzije Žicarja na Japonskem, ki je imel zaradi dodatnih senzorjev
tudi nekatere dodatne
funkcije, kot je zahvala
ob prejemu denarja.
Desno:
Žicar 1.01
2008
FOTO: Olga Chang
Tretja internacionalizirana verzija robota je
bila prilagojena vsem
svetovnim električnim
standardom.
Levo spodaj:
Žicar 2.0
2006
FOTO: Sašo Sedlaček
Premierna predstavitev
Žicarja 2.0 ob dnevu
odprtih vrat na IAMAS,
kjer je nastal.
Desno zgoraj:
Žicar 2.0
2006
FOTO:
Levo spodaj:
Robottino mendicante/Žicar/Beggar
Robot
2010
FOTO: Bert Theis &
Mariette Schiltz
Učenci milanske srednje
šole Rosa Govone so
po navodilih izdelali
svojega robota in ga
predstavili na ulicah
Milana.
Desno zgoraj:
Žicar 1.01
2008
FOTO: Olga Chang
Na vročih tajpejskih
ulicah.
Hiromitsu Murakami
Žicar v družbi najrazličnejših avtomatov.
Desno spodaj:
Žicar 2.0
2006
FOTO:
Hiromitsu Murakami
Žicar na ulicah Tokia.
Desno spodaj:
Žicar Kasparja
Königa
2011
FOTO: Kaspar König,
Nienke Deutz
Kaspar König iz
Luksemburga sestavi
svojega Žicarja.
pp. 86 and 87:
pp. 90 and 91:
pp. 92 and 93:
Left, above:
Beggar 1.01
2008
PHOTO: Sašo Sedlaček
Left, above:
Beggar 1.01
2008
PHOTO: still from video
footage
Left, above:
Beggar 2.0
2006
PHOTO: Sašo Sedlaček
A part of the freely
available instructions
on how to assemble a
robot on your own using discarded and cheap
electronics.
Left, below:
Beggar 2.0
2006
PHOTO: Yu Fukui
The production of the
second, Linux-based
version of Beggar in
Japan; thanks to additional sponsors, this
robot had some extra
functions, such as expressing gratitude upon
receiving money.
Right:
Beggar 1.01
2008
PHOTO: Olga Chang
The third, internationalised version of
the robot was adjusted
to all global electric
standards.
Video footage shows
a situation from the
centre of Taipei, where
the Beggar (robot) was
placed next to a beggar
(human); the latter are
otherwise banned from
the city centre. When
a policeman arrived,
the beggar had to leave,
whereas the robot – after
photos had been taken –
could stay.
Left, below:
Beggar 2.0
2006
PHOTO: Sašo Sedlaček
The first showing of
Beggar 2.0 on the occasion of Open Day at
IAMAS, where the robot
was created.
Children are the Beggar’s best customers.
Left, below:
Robottino mendicante
/ Žicar / Beggar Robot
2010
PHOTO: Bert Theis &
Mariette Schiltz
Following the instructions, the students at
the Rosa Govone high
school in Milan assembled their own robot
and presented it in the
streets of Milan.
Right, above:
Beggar 1.01
2008
PHOTO: Olga Chang
In the hot streets of
Taipei.
Right, above:
Beggar 2.0
2006
PHOTO:
Hiromitsu Murakami
The Beggar in the
company of various
automata.
Right, below:
Kaspar König’s
Beggar
2011
PHOTO: Kaspar König,
Nienke Deutz
Kaspar König from
Luxembourg assembles
his own Beggar.
Right, below:
Beggar 2.0
2006
PHOTO:
Hiromitsu Murakami
The Beggar in the
streets of Tokyo.
87
Vesoljske smeti
Space Junk
Spotting
Vesoljske smeti
2007
Kunstlerhaus,
Gradec, Avstrija
FOTO: Sašo Sedlaček
Vesoljske smeti
v programu Google
Earth.
Space Junk
Spotting
2007
Kunstlerhaus, Graz,
Austria
PHOTO: Sašo Sedlaček
Space junk in the
programme Google
Earth.
Produkcija:
IAMAS – Institute for Advanced Media Art
and Science, Ogaki, Japonska, 2006
Galerija Kapelica, Ljubljana, 2007
Production:
IAMAS – Institute for Advanced Media Art
and Science, Ogaki, Japan, 2006
Kapelica Gallery, Ljubljana, 2007
93
Zgoraj:
Vesoljske smeti
2006
FOTO: Sašo Sedlaček
Predelana kamera
za opazovanje vesoljskih smeti na kupu
pločevink.
Spodaj in desno:
Vesoljske smeti
2006
Ogaki House,
Ogaki, Japonska
FOTO: Sašo Sedlaček
Skozi kukalo z računalnikom povezane
in predelane kamere
je mogoče opazovati
vesoljske smeti, ki v
tistem trenutku letijo
nad našimi glavami.
Above:
Space Junk
Spotting
2006
PHOTO: Sašo Sedlaček
A remodelled camera
for space junk spotting on top of a pile
of cans.
Below, and right:
Space Junk
Spotting
2006
Ogaki House,
Ogaki, Japan
PHOTO: Sašo Sedlaček
Through the visor
of a remodelled
camera connected to
a computer, it is possible to observe space
junk flying above our
heads at this moment.
Urban –
avtomat za
suho robo
Urban –
Woodenware
Vending
Machine
Levo:
Urban – avtomat
za suho robo
2007
FOTO: Sašo Sedlaček
V avtomatu je mogoče kupiti lokalno
izdelano originalno
suho robo, ki jo sicer
izpodrivajo izdelki
s Kitajske in Balkana.
Left:
Urban – Woodenware Vending
Machine
2007
PHOTO: Sašo Sedlaček
The vending machine
sells locally produced
original woodenware,
which is otherwise
being displaced by
products from China
and the Balkans.
Produkcija: Miklova hiša, Ribnica
Z dovoljenjem Miklove hiše, Ribnica
Production: Miklova hiša, Ribnica
Courtesy of: Miklova hiša, Ribnica
97
Urban – avtomat
za suho robo
2007
FOTO: Sašo Sedlaček
Urban v ljubljanskih nakupovalnih
središčih.
Urban – Woodenware Vending
Machine
2007
PHOTO: Sašo Sedlaček
Urban in shopping
centres in Ljubljana.
Zgoraj:
Infokalipsa zdaj!
2007
FOTO: Miha Fras
V gverilskem studiu so
se zvrstili številni gosti
in razpravljali o alternativni rabi izpraznjenega
frekvenčnega pasu, ki
se je zgodil po prehodu
na digitalno oddajanje.
Naslednji dve strani:
Levo zgoraj:
Infokalipsa zdaj!
2007
FOTO: izsek iz videa
Rekviem za umirajoči
medij
Desno zgoraj:
Manifest
2008
FOTO: Lada Cerar
Sandra Bašič Hrvatin,
avtorica Manifesta,
in Sašo Sedlaček
v parlamentu.
Pohod z mini oddajnikom na oddajnik
Nanos.
Next two pages:
Left, above:
Infocalypse Now!
2007
PHOTO: still from video
Requiem for a Dying
Medium
Expedition with
a mini-transmitter
to the transmitter
at the top of Nanos.
Above:
Infocalypse Now!
2007
PHOTO: Miha Fras
Levo spodaj:
Infokalipsa zdaj!
2007
FOTO: Sašo Sedlaček
Desno spodaj:
Manifest
2008
FOTO: Lada Cerar
Left, below:
Infocalypse Now!
2007
PHOTO: Sašo Sedlaček
Various guests visited
the guerrilla studio
and discussed alternative uses of the vacated
frequency band, which
happened after the
transition to digital
broadcasting.
DIY-oddajnik je bil
predstavljen v številnih
multimedijskih centrih
po Sloveniji, kjer smo
poskušali zainteresirati
tamkajšnjo javnost za
uporabo praznega frekvenčnega spektra.
Predsednik Državnega
zbora Pavel Gantar
nagovori poslance
ob predstavitvi projekta
v parlamentu.
The DIY transmitter
was presented at several
multimedia centres
in Slovenia, where we
tried to motivate the
public to use the vacated
frequency spectrum.
Infokalipsa
zdaj!
Manifest
Infocalypse
Now!
Manifesto
Next two pages:
Right, above:
Manifesto
2008
PHOTO: Lada Cerar
Sandra Bašič Hrvatin,
the author of Manifesto,
and Sašo Sedlaček in the
parliament.
Right, below:
Manifesto
2008
PHOTO: Lada Cerar
President of the National Assembly Pavel
Gantar addresses other
MPs on the occasion
of the project presentation in the parliament.
Produkcija:
Aksioma – Zavod za sodobne umetnosti, Ljubljana
Koprodukcija:
Galerija Kapelica – Zavod K6/4, Ljubljana
Production:
Aksioma – Institute for Contemporary Art, Ljubljana
Co-production:
Kapelica Gallery – K6/4 Institute, Ljubljana
101
Infokalipsa zdaj!
2007
FOTO: Miha Fras
Televizije sprejemajo
signal z DIY-televizijskega oddajnika.
Infocalypse Now!
2007
PHOTO: Miha Fras
TV sets receiving the
signal from the DIY
television transmitter.
Bivši
The Ex
Levo:
Bivši
2010
Left:
The Ex
2010
Antireklamna panoja
za stare Microsoftove in Applove
računalnike na fasadi
Moderne galerije.
Anti-billboards
advertising old
Microsoft and Apple
computers on the
façade of the Museum of Modern Art
(Moderna galerija).
Naslednje štiri strani:
Bivši
2010
Next four pages:
The Ex
2010
Naši bivši računalniki v deželah tretjega
sveta: ljubezen do
novih tehnologij in
napredka ima dobro
skrito temno plat.
Our former computers in third-world
countries: the passion
for new technologies
and progress has a
well hidden dark side.
Produkcija: Moderna galerija, Ljubljana
Production: Museum of Modern Art, Ljubljana
107
Grelnik globus
Globe Heaters
Levo:
Grelnik globus
2010
FOTO: Tomo Jeseničnik
Grelnik globus je
perforiran na vseh
mestih sveta, skozi
luknje puha topel
zrak, ki ogreje naše
domove.
Naslednja stran:
Grelnik globus
2010
FOTO: Tomo Jeseničnik
Grelnik globus je
razstavljen skupaj z
zemljevidi Dimaxion
Buckminster Fullerja, ki pričajo o krivičnem prikazu sveta,
kot ga prikazujejo
običajni zemljevidi,
kjer so dežele prvega
sveta manj popačene
od drugih delov.
Left:
Globe Heaters
2010
PHOTO:
Tomo Jeseničnik
The Globe Heater is
perforated in all cities
of the world, warm
air is blowing through
the holes and making
our homes warm.
Next page:
Globe Heaters
2010
PHOTO:
Tomo Jeseničnik
The Globe Heater is
on display together
with the Dymaxion
maps by Buckminster
Fuller, which bear
witness to the unjust
representation of the
world, as represented
by common maps,
in which first-world
countries are less
distorted than the rest
of the world.
Produkcija:
Mednarodni grafični likovni center, Ljubljana
Production:
International Centre of Graphic Arts, Ljubljana
113
AcDcWc
Levo:
AcDcWc
2010
FOTO: Dare Sintič
AcDcWc
2010
PHOTO: Dare Sintič
Prenosno stranišče
AcDcWc z lestencem.
The portable
AcDcWc lavatory
with a chandelier.
Naslednji dve strani:
Next two pages:
Levo:
AcDcWc
2010
FOTO: Dare Sintič
Left:
AcDcWc
2010
PHOTO: Dare Sintič
Javna kabina
AcDcWc.
AcDcWc public
cubicle.
Desno:
AcDcWc
2010
FOTO: Dare Sintič
Right:
AcDcWc
2010
PHOTO: Dare Sintič
Maketa kanalizacijskega sistema
z vsemi stranišči,
ki jih najdemo na
križišču dveh ulic,
ki napajajo ulično
razsvetljavo.
A model of the sewage system, with all
the lavatories that
can be found at the
intersection of two
streets and which
fuel street lighting.
Produkcija:
Aksioma – Zavod za sodobne umetnosti, Ljubljana
Koprodukcija:
galerija ŠKUC, Ljubljana; galerija Simulaker,
Novo mesto; MMC Pina, Koper
Production:
Aksioma – Institute for Contemporary Art, Ljubljana
Co-production:
ŠKUC Gallery, Ljubljana; Simulaker Gallery,
Novo mesto; MMC Pina, Koper
117
Levo:
AcDcWc
2010
FOTO: Dare Sintič
Naslednja stran:
AcDcWc
2010
FOTO: Dare Sintič
Left:
AcDcWc
2010
PHOTO: Dare Sintič
Next page:
AcDcWc
2010
PHOTO: Dare Sintič
Lažne razglednice
iz Indije, ki prikazujejo različne aplikacije
tehnologije imenovane
Deenbandhu, v prevodu prijatelj revnim, ki
je bila inspiracija za
projekt AcDcWc.
Otroška kahla
AcDcWc napaja električnega kužka.
Fake postcards
from India showing
various applications
of the Deenbandhu
technology. Deenbandhu inspired
the AcDcWc project.
AcDcWc potty fuels
an electric puppy.
Desno spodaj:
AcDcWc
2010
FOTO: Dare Sintič
Predelane Manzonijeve kantice Merda
d'artista z električnimi osvežilniki zraka.
Right, below:
AcDcWc
2010
PHOTO: Dare Sintič
Remodelled Manzoni’s cans Artist’s
Shit (Merda d’artista)
with electric air
fresheners.
121
Salami
Condoms
Levo:
Salami Condoms
2011
FOTO: Tomo Jeseničnik
Okvirjen print
iz postavitve v Koroški galeriji likovnih
umetnosti.
Left:
Salami Condoms
2011
PHOTO:
Tomo Jeseničnik
Framed print from
the exhibition at
the Koroška Gallery
of Fine Arts.
Naslednja stran:
Salami Condoms
2011
FOTO: Sašo Sedlaček
Next page:
Salami Condoms
2011
PHOTO: Sašo Sedlaček
Doma narejeni
kondomi iz odpadne
embalaže.
Home-made condoms
made of discarded
wrappers.
125
Veliki izklop
The Big
Switch Off
Veliki izklop
2011
Marko Sedlaček
The Big Switch Off
2011
PHOTO:
Marko Sedlaček
Skupinsko razbijanje
analognih televizorjev.
Mass destruction
of analogue TV sets.
FOTO:
Produkcija:
Aksioma – Zavod za sodobne umetnosti, Ljubljana
Production:
Aksioma – Institute for Contemporary Art, Ljubljana
129
iSmoke 2
iSmoke 2
2011
FOTO: Dare Sintič
iSmoke 2
2011
PHOTO: Dare Sintič
Projekt tematizira vse
bolj družbeno zavrženo dejanje kajenja
in njegove akterje,
kadilce. Predelan
prenosni računalnik
z ustnikom ima v stanju pripravljenosti na
zaslonu izpisan ukaz:
»Prižgi mi cigareto!«,
in to v prostoru, kjer
je kajenje obiskovalcem prepovedano.
The project thematises
the socially increasingly outcast act
of smoking and its
agents, the smokers.
When on standby,
a remodelled laptop
with a mouthpiece
displays the order
“Light a cigarette
for me!”, and this is
taking place in a room
where the visitors are
forbidden to smoke.
Produkcija:
MGLM, Muzej in galerije mesta Ljubljane
Production:
MGLM, Museum and Galleries of the City
of Ljubljana
133
Sašo Sedlaček
Supertrash
www.aksioma.org/supertrash
11. november–10. december 2011
Koroška galerija likovnih umetnosti
Slovenj Gradec, Slovenija
27. marec–13. maj 2012
Galerija Jakopič, Muzej in galerije mesta Ljubljane
Ljubljana, Slovenija
Razstava
Kurator za Koroško galerijo likovnih umetnosti: Jernej Kožar
Kuratorka za Galerijo Jakopič: Marija Skočir
Produkcija: Aksioma – Zavod za sodobne umetnosti, Ljubljana
Koprodukcija: Koroška galerija likovnih umetnosti
Izvršna producentka: Marcela Okretič
Tehnični vodja: Atila Boštjančič
Knjiga
Izdala: Aksioma – Zavod za sodobne umetnosti, Ljubljana
in Koroška galerija likovnih umetnosti
Zastopnika: Janez Janša in Marko Košan
Urednica: Petja Grafenauer
Besedila: Luka Omladič, Petja Grafenauer
Prevod: Polona Petek
Lektoriranje: Eric Dean Scott, Nataša Simončič
Grafično oblikovanje: studiobotas
Tisk: Studio Print
Naklada: 600 izvodov
Natisnjeno v EU.
Ljubljana, november 2011
© Koroška galerija likovnih umetnosti, Aksioma
Sašo Sedlaček
Supertrash
www.aksioma.org/supertrash
11 November – 10 December 2011
Koroška Gallery of Fine Arts
Slovenj Gradec, Slovenia
27 March – 13 May 2012
Jakopič Gallery, Museum and Galleries of Ljubljana
Ljubljana, Slovenia
Exhibition
Curator for Koroška Gallery of Fine Arts: Jernej Kožar
Curator for Jakopič Gallery: Marija Skočir
Produced by: Aksioma – Institute for Contemporary Art, Ljubljana
Co-produced by: Koroška Gallery of Fine Arts
Executive producer: Marcela Okretič
Technician: Atila Boštjančič
Book
Published by: Aksioma – Institute for Contemporary Art, Ljubljana
and Koroška Gallery of Fine Arts
Represented by: Janez Janša and Marko Košan
Edited by: Petja Grafenauer
Texts: Luka Omladič, Petja Grafenauer
Translation: Polona Petek
Proofreading: Eric Dean Scott, Nataša Simončič
Graphic design: studiobotas
Printed by: Studio Print
Print run: 600 copies
Printed in the EU.
Ljubljana, November 2011
© Contributors, Koroška Gallery of Fine Arts, Aksioma
S podporo: Ministrstvo za kulturo Republike Slovenije,
Mestna občina Ljubljana in Mestna občina Slovenj Gradec
Koroška galerija likovnih umetnosti, Glavni trg 24,
2380 Slovenj Gradec, Slovenija, tel.: +386 2 8822 131,
fax:+386 2 8822 130, galerija@glu-sg.si, www.glu-sg.si
Aksioma – Zavod za sodobne umetnosti, Ljubljana
Neubergerjeva ulica 25, 1000 Ljubljana, Slovenija,
tel. +386 590 54360, fax. +386 590 17010,
aksioma@aksioma.org, www.aksioma.org
Zahvale:
Hilger Contemporary, Dunaj, Avstrija
IAMAS, Institute of Advanced Media and Science,
Ogaki, Japonska
KD Group, Ljubljana
Koroška galerija likovnih umetnosti, Slovenj Gradec
Muzej in galerije mesta Ljubljane, Ljubljana
Mednarodni grafični likovni center, Ljubljana
Miklova hiša, Ribnica
Moderna galerija, Ljubljana
Muzej savremene umjetnosti Republike Srpske,
Banja Luka, BIH
Taipei Fine Art Museum, Tajpej, Tajvan
Zavod K6/4-Galerija Kapelica, Ljubljana
Posebna zahvala: Pavle Sedlaček za tehnično pomoč
pri večini projektov.
AKSIOMA
Zavod za sodobne umetnosti
Ljubljana
Supported by: The Ministry of Culture of the Republic
of Slovenia, the Municipality of Ljubljana and
the Municipality of Slovenj Gradec
Koroška Gallery of Fine Arts, Glavni trg 24, SI-2380
Slovenj Gradec, Slovenia, tel.: +386 2 8822 131,
fax: +386 2 8822 130, galerija@glu-sg.si, www.glu-sg.si
Aksioma – Institute for Contemporary Art, Ljubljana
Neubergerjeva 25, SI-1000 Ljubljana, Slovenia,
tel.: +386 5 9054 360, fax: +386 5 9017 010,
aksioma@aksioma.org, www.aksioma.org
Thanks to:
Hilger Contemporary, Vienna, Austria
IAMAS, Institute of Advanced Media and Science,
Ogaki, Japan
KD Group, Ljubljana
Gallery of Fine Arts Slovenj Gradec, Slovenj Gradec
International Centre of Graphic Arts, Ljubljana
Museum and Galleries of Ljubljana, Ljubljana
Miklova hiša, Ribnica
Museum of Modern Art, Ljubjana
Museum of Contemporary Art Republic of Srpska,
Banja Luka, Bosnia and Herzegovina
Taipei Fine Art Museum, Taipei, Taiwan
Zavod K6/4-Galerija Kapelica, Ljubljana
Special thanks: Pavle Sedlaček for technical assistance
on the majority of the projects.