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Open a larger version of the following image in a popup: DK, Skoraj upanje 04 / Almost Hope 04, 2016

DK

Skoraj upanje 04 / Almost Hope 04, 2016
digitalni tisk na arhivski papir / digital print on archival paper
80 x 80 cm
edicija 3 + 1 AP / edition of 3 + 1 AP
Series: SCOTOMA - SKORAJ UPANJE / SCOTOMA - ALMOST HOPE
podpisana in datirana / signed and dated
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For English version please scroll down. O SERIJI Scotoma – Skoraj upanje Skoraj upanje je serija, ki pomeni idejno in idealno jedro celotnega koncepta. Tukaj smo končno dosegli zamenjavo akta...
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For English version please scroll down.


O SERIJI

Scotoma – Skoraj upanje

Skoraj upanje je serija, ki pomeni idejno in idealno jedro celotnega koncepta. Tukaj smo končno dosegli zamenjavo akta opazovanja s slepim zrenjem: : “Narava resničnosti, kot je opredeljena v kvantni teoriji in kot je bila znanstveno potrjena, govori, da s količino opazovanja premo sorazmerno narašča tudi vpliv na opazovano realnost. Torej je Resnično vedno onstran in je treba narediti premik od opazovanja do režima slepega zrenja. Podobe se nam kažejo kot nediferencirano, celo indiferentno polje, polje, kjer je mogoč participatorni princip.“ To polje je izpraznjeno vsakršnega pričakovanja, razmišljanja, videnja, poslušanja, presojanja. Tudi fotografija tu postane nesnovna, njen referent dokončno izgine, kjer njen motiv ne obstaja, je le še zapis praznine.


ABOUT THE SERIES

Scotoma – Almost hope

Almost Hope is a series representing the ideational and ideal core of the entire concept. It is the point where the act of observing is ultimately replaced by blind seeing: “The nature of reality as defined in quantum theory and confirmed in scientific experiments suggests that our influence on what we observe increases in proportion to the length of time we observe it. The Real is therefore always beyond, requiring a shift from observing to the practice of blind seeing. The images are shown undifferentiated, indifferent even, making it possible to apply the participatory principle.” There is no expectation in this way of presenting them, no thought, no vision, no sound, no judgement. The photograph, too, becomes utterly immaterial, its referent ultimately vanishing; since its motif does not exist, the photograph is merely a record of emptiness.


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