Lucija Rosc
Pomnik / Memorial, 2024
digitalni tisk na arhivski papir / digital print on archival paper
60 x 45 cm
edicija 1/3 + 1 AP / edition 1/3 + 1 AP
Serija: Pravila igre / The Rules of the Game
podpisana in datirana / signed and dated
For English version please scroll down. O SERIJI Lucija Rosc je pripadnica tiste generacije, ki ji nekateri na področju umetnosti radi rečejo»mlajša« (čeprav ni povsem jasno, kako preideš v »starejšo«...
For English version please scroll down.
O SERIJI
Lucija Rosc je pripadnica tiste generacije, ki ji nekateri na področju umetnosti radi rečejo»mlajša« (čeprav ni povsem jasno, kako preideš v »starejšo« in ali je morda še kaj vmes) in vkatero spadam tudi sama. Za to generacijo je značilno marsikaj: da smo obremenjeni zokoljsko tesnobo in finančno nestabilnostjo, s strašljivim političnim drsenjem v desno innedostopnimi nepremičninami. Značilno je, da v »odraslost« ne stopamo z najboljsamozavestnim korakom, meja med odraslostjo in mladostjo pa je za nas zabrisana, če ne karnevidna. Novi projekt Lucije Rosc se poigrava z mislijo, da so pravila, po katerih živimo,upogljiva in nestalna ter da bi bilo koncept neobremenjene igre iz časa otroštva morda možnopreslikati tudi v obdobje odraslosti.Fotografska praksa Lucije Rosc je odprt proces, pri katerem umetnica vseskozi spreminjamateriale, tehnike in postopke ustvarjanja. Vseeno pa imajo njeni projekti vsaj en skupniimenovalec: umetnica se dela vedno loteva s humorjem in igro, ki tudi resnejše temepretvorita v asociativne podobe, s katerimi se vedno znova lahko identificiramo. Z delom vModerni galeriji umetnica nadaljuje raziskovanje lastnih spominov, ki jih v svoji praksipogosto obdeluje, in še naprej eksperimentira s povzdigovanjem vsakdanjih, skromnih reči vnjihove monumentalne verzije. Lucija Rosc se tokrat posveča ideji prostorov, ki zavzemajonekakšno prehodno pozicijo. Primer tega je šola – prostor, ki je po eni strani namenjenstrukturiranemu učenju in urjenju, po drugi strani igri in prostemu času, predstavlja pa tudisvojevrstno mejo med različnimi življenjskimi obdobji. Preko tega kontradiktornega prostorapričakovanj umetnica tako prevprašuje svoj lastni odnos do preteklosti in pravil, ki jih tapredaja.V šolske klopi nas popelje že z ogromnim ravnilom (Noma 1 (10:1), 2024), ki se vdesetkratniku šablone preslika v galerijo naravnost iz umetničinega (in našega) otroštva.Ravnilo združuje dve pomembni pravili igre Lucije Rosc: po eni strani je skoraj komičnovelikanski objekt na prvi pogled igriv, po drugi pa opozarja tudi na perfekcionizem, s katerimse umetnica spopada pri delu. Enako velja za njene fotografije, na katerih se geometrijski inšolski predmeti znajdejo v dramatično osvetljenih kompozicijah. V praksi umetnice setovrstna želja po nadzoru pogosto ponavlja, včasih v obliki repeticije lastnih spominov inpodoživljanja družinskega okolja, spet drugič v tehnični preciznosti, ki jo vedno znovanadgrajuje.Kako torej ponovno ovrednotiti svojo lastno pozicijo v liminalnem prostoru med odraslostjoin mladostjo? V želji po odgovoru se Rosc ukvarja s pravili igre znotraj polja fotografije, atudi širše – kako delovati ter obstati kot umetnica in kako elemente igre uporabiti vizčrpavajočem sistemu, ki od ljudi zahteva vedno več. Morda je rešitev v vzpostavitvi njenihlastnih pravil, ki lahko z mojstrsko osvetlitvijo, nenavadnimi materiali in prehajanjem medmonumentalnim in minimalističnim v mikrokozmosu razstave preizkušajo alternativne načineobstoja.
Hana Čeferin
ABOUT THE SERIES
Lucija Rosc belongs to the generation often called “emerging” in the art world (although it isnot entirely clear when exactly the transition into “established” occurs, or if there might beanything in between) – which, coincidentally, I also happen to belong to. Our generationshares a number of traits: we are overwhelmed by environmental anxiety and financialinstability, by the alarming drift into political conservatism, and by the nonexistence ofaffordable housing. Characteristically, we do not march toward “adulthood” with the mostconfident of steps, and find the boundary between youth and maturity hazy at best, if notdownright invisible. In this vein Rosc’s new project plays with the idea that the rules we liveby are malleable and unstable, and that the concept of uninhibited play might be transferrableinto adulthood.Rosc’s photographic practice is an open process of constantly changing materials, techniques,and methods. Nonetheless, her projects have at least one common denominator: she alwaysapproaches her subjects with humor and play, transforming even serious topics intoassociative images one can easily relate to. In the works shown in Moderna galerija, the artistcontinues to explore her memories (a frequent subject in her practice) and to experiment withelevating humble, everyday objects into monumental versions of themselves. This time, she isfocusing on spaces that occupy a kind of transitional position, such as the school – a placeintended for structured learning and the acquisition of skills on the one hand, and on the other,for play and leisure. Moreover, it is a place that represents a boundary between differentstages in life. Through this contradictory space of expectation, the artist questions her ownattitude to the past and the rules it imposed on her.We are immediately transported back to school by an enormous ruler (Noma 1 (10:1), 2024),an object magnified to ten times its size, brought directly from the artist’s (and our own)childhood into the museum space. This ruler combines two important principles of Rosc’sgame: on the one hand, the almost comically large object appears playful at first, while on theother it points to the perfectionism the artist brings to her work. The same is true of herphotographs, featuring geometrical and school-related objects in dramatically illuminatedcompositions. Throughout Rosc’s practice, this type of desire for control is recurrent,manifesting at times in the repetition of her memories and appropriation of her familyenvironment, and at others in the technical precision she builds on again and again.The question at hand is therefore how one can evaluate one’s position in the liminal spacebetween youth and adulthood. Seeking an answer to this, Rosc concentrates on the rules of thegame in the field of photography but also generally – to find a way to function and survive asan artist and introduce elements of play into an exhausting system that is constantlydemanding more and more from us. Perhaps the solution lies in establishing her own rulesthat, paired with a skillful use of light, unusual materials, and shifting between themonumental and minimalist, test alternative modes of existence in the microcosm of anexhibition.
Hana Čeferin
O SERIJI
Lucija Rosc je pripadnica tiste generacije, ki ji nekateri na področju umetnosti radi rečejo»mlajša« (čeprav ni povsem jasno, kako preideš v »starejšo« in ali je morda še kaj vmes) in vkatero spadam tudi sama. Za to generacijo je značilno marsikaj: da smo obremenjeni zokoljsko tesnobo in finančno nestabilnostjo, s strašljivim političnim drsenjem v desno innedostopnimi nepremičninami. Značilno je, da v »odraslost« ne stopamo z najboljsamozavestnim korakom, meja med odraslostjo in mladostjo pa je za nas zabrisana, če ne karnevidna. Novi projekt Lucije Rosc se poigrava z mislijo, da so pravila, po katerih živimo,upogljiva in nestalna ter da bi bilo koncept neobremenjene igre iz časa otroštva morda možnopreslikati tudi v obdobje odraslosti.Fotografska praksa Lucije Rosc je odprt proces, pri katerem umetnica vseskozi spreminjamateriale, tehnike in postopke ustvarjanja. Vseeno pa imajo njeni projekti vsaj en skupniimenovalec: umetnica se dela vedno loteva s humorjem in igro, ki tudi resnejše temepretvorita v asociativne podobe, s katerimi se vedno znova lahko identificiramo. Z delom vModerni galeriji umetnica nadaljuje raziskovanje lastnih spominov, ki jih v svoji praksipogosto obdeluje, in še naprej eksperimentira s povzdigovanjem vsakdanjih, skromnih reči vnjihove monumentalne verzije. Lucija Rosc se tokrat posveča ideji prostorov, ki zavzemajonekakšno prehodno pozicijo. Primer tega je šola – prostor, ki je po eni strani namenjenstrukturiranemu učenju in urjenju, po drugi strani igri in prostemu času, predstavlja pa tudisvojevrstno mejo med različnimi življenjskimi obdobji. Preko tega kontradiktornega prostorapričakovanj umetnica tako prevprašuje svoj lastni odnos do preteklosti in pravil, ki jih tapredaja.V šolske klopi nas popelje že z ogromnim ravnilom (Noma 1 (10:1), 2024), ki se vdesetkratniku šablone preslika v galerijo naravnost iz umetničinega (in našega) otroštva.Ravnilo združuje dve pomembni pravili igre Lucije Rosc: po eni strani je skoraj komičnovelikanski objekt na prvi pogled igriv, po drugi pa opozarja tudi na perfekcionizem, s katerimse umetnica spopada pri delu. Enako velja za njene fotografije, na katerih se geometrijski inšolski predmeti znajdejo v dramatično osvetljenih kompozicijah. V praksi umetnice setovrstna želja po nadzoru pogosto ponavlja, včasih v obliki repeticije lastnih spominov inpodoživljanja družinskega okolja, spet drugič v tehnični preciznosti, ki jo vedno znovanadgrajuje.Kako torej ponovno ovrednotiti svojo lastno pozicijo v liminalnem prostoru med odraslostjoin mladostjo? V želji po odgovoru se Rosc ukvarja s pravili igre znotraj polja fotografije, atudi širše – kako delovati ter obstati kot umetnica in kako elemente igre uporabiti vizčrpavajočem sistemu, ki od ljudi zahteva vedno več. Morda je rešitev v vzpostavitvi njenihlastnih pravil, ki lahko z mojstrsko osvetlitvijo, nenavadnimi materiali in prehajanjem medmonumentalnim in minimalističnim v mikrokozmosu razstave preizkušajo alternativne načineobstoja.
Hana Čeferin
ABOUT THE SERIES
Lucija Rosc belongs to the generation often called “emerging” in the art world (although it isnot entirely clear when exactly the transition into “established” occurs, or if there might beanything in between) – which, coincidentally, I also happen to belong to. Our generationshares a number of traits: we are overwhelmed by environmental anxiety and financialinstability, by the alarming drift into political conservatism, and by the nonexistence ofaffordable housing. Characteristically, we do not march toward “adulthood” with the mostconfident of steps, and find the boundary between youth and maturity hazy at best, if notdownright invisible. In this vein Rosc’s new project plays with the idea that the rules we liveby are malleable and unstable, and that the concept of uninhibited play might be transferrableinto adulthood.Rosc’s photographic practice is an open process of constantly changing materials, techniques,and methods. Nonetheless, her projects have at least one common denominator: she alwaysapproaches her subjects with humor and play, transforming even serious topics intoassociative images one can easily relate to. In the works shown in Moderna galerija, the artistcontinues to explore her memories (a frequent subject in her practice) and to experiment withelevating humble, everyday objects into monumental versions of themselves. This time, she isfocusing on spaces that occupy a kind of transitional position, such as the school – a placeintended for structured learning and the acquisition of skills on the one hand, and on the other,for play and leisure. Moreover, it is a place that represents a boundary between differentstages in life. Through this contradictory space of expectation, the artist questions her ownattitude to the past and the rules it imposed on her.We are immediately transported back to school by an enormous ruler (Noma 1 (10:1), 2024),an object magnified to ten times its size, brought directly from the artist’s (and our own)childhood into the museum space. This ruler combines two important principles of Rosc’sgame: on the one hand, the almost comically large object appears playful at first, while on theother it points to the perfectionism the artist brings to her work. The same is true of herphotographs, featuring geometrical and school-related objects in dramatically illuminatedcompositions. Throughout Rosc’s practice, this type of desire for control is recurrent,manifesting at times in the repetition of her memories and appropriation of her familyenvironment, and at others in the technical precision she builds on again and again.The question at hand is therefore how one can evaluate one’s position in the liminal spacebetween youth and adulthood. Seeking an answer to this, Rosc concentrates on the rules of thegame in the field of photography but also generally – to find a way to function and survive asan artist and introduce elements of play into an exhausting system that is constantlydemanding more and more from us. Perhaps the solution lies in establishing her own rulesthat, paired with a skillful use of light, unusual materials, and shifting between themonumental and minimalist, test alternative modes of existence in the microcosm of anexhibition.
Hana Čeferin
