Lucija Rosc
Sosedje kurijo plastiko / Neighbours burning plastic, 2021
digitalni tisk na arhivski papir / digital print on archival paper
75 x 50 cm
z okvirjem / with frame
z okvirjem / with frame
edicija 1/3 + 1 AP / edition 1/3 + 1 AP
Series: UDÉN
For English version please scroll down. O SERIJI Vodilno vprašanje v delu Lucije Rosc je vseskozi osredotočeno na to, kako spomine otroštva pretvoriti v vizualno podobo in kako naivne, zavajujoče...
For English version please scroll down.
O SERIJI
Vodilno vprašanje v delu Lucije Rosc je vseskozi osredotočeno na to, kako spomine otroštva pretvoriti v vizualno podobo in kako naivne, zavajujoče in bežne vtise uprizoriti v sedanjosti. Proces umetničinega dela kakor tudi njegov odmev v prostorski postavitvi funkcionirata kot aluzija na otroško igro. Rosc deluje instinktivno, navidez brez reda, a vseeno z lastnimi pravili in omejitvami. Vsakdanje materiale in ready-made objekte združuje brez pretirane racionalizacije, objektom pa prav njihova nefunkcionalnost in banalnost dodata vrednost, jih delata zanimive in v dela vnašata humornost. Formulacijo spomina Rosc raziskuje skozi prevpraševanje meje med fotografijo in objektom, fotografiranim predmetom in njegovo postavitvijo v prostoru – fotografije, tako kot spomin, so pogosto polje za prirejanje resničnosti. Z raziskovanjem pomena arhiviranja in ohranjanja predmetov iz svojega družinskega okolja ustvarja družinski album, mešanico fotografskih kompozicij iz navidezno naključnih predmetov in svojih umetniških intervencij.
- Iz razstavnega besedila Hane Čeferin
ABOUT THE SERIES
The guiding question in the work of Lucija Rosc is how to transform childhood memories into a visual image and how to stage naive, misleading and fleeting impressions in the present. The artist’s work process and its echo in the spatial setting function as allusions to child play. Rosc acts instinctively, seemingly without order, but nevertheless with her own rules and restrictions. She combines everyday materials and prefabricated objects without excessive rationalisation, and it is precisely their non-functionality and banality that give the objects added value, make them interesting and bring humour to the works. Rosc explores the formulation of memory by questioning the boundary between photograph and object, the photographed object and its placement in the space – photographs, like memory, are often a field for the staging of reality. By exploring the meaning of archiving and preserving objects from her family environment, she creates a family album, a mixture of photographic compositions from seemingly random objects and her artistic interventions.
- From the exhibition text by Hana Čeferin
O SERIJI
Vodilno vprašanje v delu Lucije Rosc je vseskozi osredotočeno na to, kako spomine otroštva pretvoriti v vizualno podobo in kako naivne, zavajujoče in bežne vtise uprizoriti v sedanjosti. Proces umetničinega dela kakor tudi njegov odmev v prostorski postavitvi funkcionirata kot aluzija na otroško igro. Rosc deluje instinktivno, navidez brez reda, a vseeno z lastnimi pravili in omejitvami. Vsakdanje materiale in ready-made objekte združuje brez pretirane racionalizacije, objektom pa prav njihova nefunkcionalnost in banalnost dodata vrednost, jih delata zanimive in v dela vnašata humornost. Formulacijo spomina Rosc raziskuje skozi prevpraševanje meje med fotografijo in objektom, fotografiranim predmetom in njegovo postavitvijo v prostoru – fotografije, tako kot spomin, so pogosto polje za prirejanje resničnosti. Z raziskovanjem pomena arhiviranja in ohranjanja predmetov iz svojega družinskega okolja ustvarja družinski album, mešanico fotografskih kompozicij iz navidezno naključnih predmetov in svojih umetniških intervencij.
- Iz razstavnega besedila Hane Čeferin
ABOUT THE SERIES
The guiding question in the work of Lucija Rosc is how to transform childhood memories into a visual image and how to stage naive, misleading and fleeting impressions in the present. The artist’s work process and its echo in the spatial setting function as allusions to child play. Rosc acts instinctively, seemingly without order, but nevertheless with her own rules and restrictions. She combines everyday materials and prefabricated objects without excessive rationalisation, and it is precisely their non-functionality and banality that give the objects added value, make them interesting and bring humour to the works. Rosc explores the formulation of memory by questioning the boundary between photograph and object, the photographed object and its placement in the space – photographs, like memory, are often a field for the staging of reality. By exploring the meaning of archiving and preserving objects from her family environment, she creates a family album, a mixture of photographic compositions from seemingly random objects and her artistic interventions.
- From the exhibition text by Hana Čeferin
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