VVORK

The project »Who is afraid of seniors?«, 2005; deals with old people. Statistics foresee that in year 2020 there will be over a billion of people in the world older than 60 years and 75% of them will be residents of western countries, the oldest state will be Japan and the oldest continent will be Europe. By Lada Cerar .

»Priština House«, 2006, by Marjetica Potrc.

»We All Can Dress As Europeans«, 2007, installation with 27 sweaters representing the 27 member states of the European Union. The price of an individual sweater is determined by the GDP of each member state. Price tag ranges from the most expensive Luxembourg, 384 €, to the cheapest Bulgaria sweater for 51 €. By Jure Purgaj.

»Interactive Lightboxes«, 2007.

»A2«, 2003, installation by son:DA.

»Anhedonia«, 2007, 90 min. In psychology, anhedonia is an inability to experience pleasure from normally pleasurable life events such as eating, exercise, and social or sexual interaction. It was also supposed to be the original title of Woody Allen’s 1977 film Annie Hall, but it was considered unmarketable. By Aleksandra Domanovic.

Izvanredni Bob.

“No Men’s Land” by cym.

Davide Grassi, Emil Hrvatin and Žiga Kariž (3 artists from Slovenia) have all changed their names to Janez Janša, the name of the current slovenian prime minister.

»What’s on the other side?«, 1998-2000. The aim of this project is to get a “sample of the opposite point” of a particular location, here showing the territory where land matches to land.

»Children’s Museum«, 1997. After the excursion in the Isabella Stewart Gardner Museum, Vadim Fishkin asked the students, who ranged from 7 to 12 years old, to create their own “museums” in their own homes using things significant to them. He suggested that they arrange the objects on top of their beds and photograph the resulting installations with disposable cameras. The images, which were exhibited, are the photographs chosen by each student that best represent the message he or she wished to convey to the world

»Interiors- Confession Rooms«, 2005 by Bojan Salaj. See also Michel Bonvin.

»PPS (P.A.R.A.S.I.T.E. Public Sculpture)«, 2002 originates spontaneously in urban environments: on streets, in courtyards, next to apartment towers, by garden fences, in apartment-block communities and neighborhoods. It originates as the result of the exchange and gift economies of the local population and is linked to the micro-economy and micro-ecology of relationships. It directly reflects economic wealth/poverty, personal taste, and creativity. PPS is a temporary form. It changes constantly through unloading, shifting, adding, removing, and so on. By Tadej Pogacar.

»Space Junk Spotting« 2006, is a project composed of mechanical and programming equipment linked to a database at a U.S. government-owned space observatory; this database contains the fullest possible data on the extent of the pollution and presents remarkable scientific methods for determining the position of space junk. In this way, the wider Internet public is offered a folder of information about space debris, which is strewn across the popular three-dimensional interface Google Earth. The tactical potential of this catalogue is the possibility it provides for finding a creative and constructive solution to the problem of reusing material whose position in usable orbits is already determined, without the enormous initial costs that arise whenever rockets are shot into space. By Saso Sedlacek.

»Beggar 2.0« another project by Saso Sedlacek is a robot for the materially deprived in Tokyo. It is made of old electronics and computer spare parts. The original 1.0 was tested in Slovenian shopping malls where it is forbidden to beg, but no such rule was made for robots. The new upgrade version of Beggar robot made at IAMAS institute in Japan was tested in the beginning of July 2006 on Tokyo streets where begging isn’t really a frequent phenomena and where interface communication is ubiquitous.Video.

Slavoj Žižek: »Why Only an Atheist Can Believe« (2006).

»Black Square on Red Square«, 1992. A performance by Irwin in cooperation with Michael Benson, in which a square of black cloth, 22 meters to a side, was unfurled on Moscow’s Red Square, in homage to Kazimir Malevich and suprematism.

»Dictionary of Imaginary Places« 2006, is a site specific intervention at Ljubljana international airport. During the current expansion of the airport terminal the six line messaging service of the departure board has been modified to a twelve line, and a test program is being run every night to establish the capabilities of the old mechanical messaging service. In order not to confuse the remaining night time passengers with recognizable destinations, the developed software was set to automatically upload names from A. Manguel’s and G. Guadalupi’s Dictionary of Imaginary places which cites over 1.200 entries of imaginary cities, islands, countries and continents restricted to: no heavens or hells, no places in the future, none outside the planet Earth and no pseudonymous places. By Jasmina Cibic.

“Rooftop Room” consists of a tin roof constructed on top of a privately owned flat-roof house in Kustepe, Istanbul.

“Permanently Unfinished House with Cell Phone Tree”. A cell tower is disguised as a tree. The house remains unfinished, so the owners can avoid paying taxes. Visual pollution and deregulation shape both the built and the natural environments. All Projects by Marjetica Potrc.

Slavoj Žižek on the Boston based cable show Nitebeat.

»D, E, G, A« by Aleksandra Domanovic.

»Three Ball Total Equilibrium Tank« by Jeff Koonst and »Methamphetamine« by Damien Horst from the »Saetchi Collection« by Nika Oblak and Primoz Novak.

»Smartist« is a independent mobile robot that replaces an artist. It lives in the exhibition area where it moves freely and and occasionally writes the signatures of Nika Oblak and Primoz Novak on the gallery floor.

»Unique« by Polona Tratnik displays micro-organisms brought by the visitors. Samples from hair, underneath the nails, saliva… are gathered and artificially kept alive in a surogate living enviroment. From the 5th Triennial Of Contemporary Slovenian Art U3.