Špela Petrič: ‘Jaz, fikus.’

ŠPELA PETRIČ: ‘Jaz, fikus.’

4. 6.-4. 7. 2021
Galerija Kresija



Vabljeni k ogledu razstave v družbi umetnice in organizatorjev v petek, 4. 6. 2021, med 18. in 21. uro. *

Kapelica gostuje v Galeriji Kresija, Stritarjeva ulica 6, Ljubljana, do 4. julija 2021.

Umetnica Špela Petrič skupaj z ekipo programerjev in inženirjev predstavlja serijo STROJ-RASTLINA, v kateri prevprašuje možnosti postantropocentrične kognicije s poudarkom na strojnem učenju kot orodju za odkrivanje drugačnih odnosov z rastlinami. Tri razstavljena umetniška dela izhajajo iz spoznanja, da digitalna reprezentacija, v katero smo pogosto nevede vključeni prek velepodatkovnih (ang. big data) analiz in napovedi, zahteva tudi nove oblike družbenega in političnega udejstvovanja. Algoritmi namreč ne obravnavajo humanističnega človeka, pri katerem bi štele ustaljene vrednote, kot so individualnost, samostojnost ali identiteta, temveč vidijo ljudi kot statistične skupke prvin. Statističnega človeka tako nadzo- rujejo in oblikujejo tisti, ki posedujejo sredstva za njegovo razpoznavo.
Takšna radikalizirana oblika biopolitike, podprta z bio- in informacijsko tehnologijo, ljudi razbira v fragmentiranih kontek- stih povezav in odvisnosti, kar spominja na tradicionalno obravnavo rastlinske biti. Zahodna misel namreč pojmuje rastline kot bitja, ki so dovolj enostavna, da jih je moč razbrati, docela razumeti in v naslednjem koraku tudi nadzorovati/upravljati. Umetnica v seriji zato vztraja pri zaostrovanju odnosa med informacijsko tehnologijo in rastlinami, saj v njem prepozna dve ključni potezi sedanjih razmer: potrebo po preobrazbi odnosa do rastlin ter ontološko sploščitev, v kateri so rastline in statistični človek načelno izenačeni. Avtorica z razstavo Jaz, fikus. kljub prevpraševanju obstoječe rabe algoritmov ne pristaja na kritično distanco, temveč vseskozi napeljuje na možnost apropriacije in subverzije načinov pridobivanja in ob- delovanja podatkov, ki v kontekstu umetniških del postanejo surovina za iskanje neutilitarnih, spekulativnih reprezentacij rastlinskega v sferi informacij.

Serijo STROJ-RASTLINA sestavlja triptih vinjet, ki na različnih ravneh proizvedejo razpoke v človeški predstavi o rastlinah. V PL’AI (2020) smo priča nečloveško počasni igri med rastlinami kumare in robotom z umetno inteligenco; Vegeteriat: delo nič (2019) nas potopi v pararealnost, v kateri se sobne rastline prek pametnih ur vključujejo v ekonomijo biometričnih podatkov; v Institutu za nezaznavne jezike: branje ustnic (2018) pa se avtorica iskrivo spogleduje z (ne)zmožnostjo komu- nikacije z rastlinami, kadar ta izhaja iz logocentričnega napora ljudi in nevronskih mrež.

*Prostor dopušča sočasen ogled največ sedmim osebam. Hvala, ker upoštevate ukrepe za zajezitev epidemije.

Razstava je del serije dogodkov ‘Zemlja brez ljudi’ v okviru mednarodnega projekta ‘European ARTificial Intelligence Lab’, ki je podprt s sredstvi programa Ustvarjalna Evropa Evropske unije, Ministrstva za kulturo in Ministrstva za javno upravo RS, Mestne občine Ljubljana – Oddelka za kulturo.


ŠPELA PETRIČ: 'I, Ficus.'

You are kindly invited to attend the exhibition in the presence of the artist and organizers on Friday, 4 June 2021, from 6 to 9 pm. *

Kresija Gallery is hosting Kapelica, Stritarjeva ulica 6, Ljubljana, till July 4, 2021

The PLANT-MACHINE is a series in which the artist Špela Petrič examines the possibilities of post-anthropocentric cogni- tion, focusing on machine learning as a tool to investigate alternative relationships with plants. Developed in collaboration with a team of programmers and engineers, the artworks on display are rooted in the realisation that digital representa- tion, which we often unwittingly partake in through big data analyses and predictions, requires new modes of social and political engagement. Rather than dealing with a person in the humanistic tradition, where importance is attached to values such as individuality, independence or identity, algorithms see people as statistical clusters. The statistical human is controlled and shaped by whoever possesses the means for their identification.
Underpinned by (bio)informatics, such a radicalised form of biopolitics decodes people in fragmented contexts of connec- tions and dependencies, and uncannily resembles the traditional understanding of plants. In Western thought, plants are conceived of as beings simple enough to be discerned, fully comprehended and subsequently controlled/managed. In the series, the artist insists on intensifying the relationship between information technology and plants, identifying in it two critical features of the current situation: the urgency to reconstruct our relationship to plants, and the ontological flatten- ing in which plants and the statistical human essentially become equal. Despite questioning the current use of algorithms, Petrič refuses to critique from a safe distance, instead experimenting with ways to appropriate or subvert data acquisition and processing methods. In the context of the artworks, data becomes the raw material for non-utilitarian, speculative representations of plant life in the sphere of information.

I, Ficus. presents a triptych of vignettes from the PLANT-MACHINE series that create disruptions in our perception of plants. PL’AI (2020) attends to inhumanly slow play between cucumber plants and an AI robot; in Vegetariat: Work Zero (2019) we encounter a parareality in which house plants are connected to smartwatches to participate in the economy of biometric data; while the Institute for Inconspicuous Languages: Reading Lips (2018) is a tongue-in-cheek take on the (in) ability to communicate with plants through immense logocentric effort of either people or neural networks.

* Please note that no more than seven people are allowed in the gallery at the same time. When visiting, please follow all the relevant guidelines.

The exhibition is presented within the ‘Earth Without Humans’ event series that is part of the ‘European ARTificial Intelligence Lab’. Co-funded by: Creative Europe programme of the European Union, Ministry of Culture and Ministry of Public Administration of the Republic of Slovenia and Department of Culture of the Municipality of Ljubljana.

Vir: Galerija Kresija, Napovednik.com

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