Zavod Sploh
Špela Trošt: 636,78UpcomingArchivePhotography

Špela Trošt: 636,78

photo: Tomaž Grom
photo: Tomaž Grom
Work of the opus Let’s Work! (2022–2023) by Loup Abramovici, Tomaž Grom, Teja Reba, Špela Trošt

Action in duration
Concept, text, performance: Špela Trošt

29. 1. 2023, Museum of Contemporary Art Metelkova, Ljubljana
9. 9. 2023, festival Venere in teatro, Forte Maghera, Mestre-Venezia

Performance
Concept: Špela Trošt
Text, performance: Marjeta Kamnikar, Liana Kalčina, Špela Trošt, Marija Pantić, Vesna Godler, Mary Anne Blanche

24.4.2023, Old Power Station – Elektro Ljubljana
25.4.2023, Old Power Station – Elektro Ljubljana
2. 12. 2023, Celjski dom, Celje
2.–3. 2. 2024, Hangar teatri, Triest, Italy

Production: Teja Reba
Coproduction: Zavod Sploh
Partner: Moderna galerija, Zavod Bunker
Financial support: Ministry of Culture of the Republic of Slovenia

29. 1. 2023, Museum of Contemporary Art Metelkova

Photography: Marcandrea
“Please be informed that the conditions for entitlement to an Old Age Pension under Article 27 of the Pension and Disability Insurance Act (Official Gazette of the Republic of Slovenia, No.69/12, 39/13, 102/15, 23/17, 40/17, 65/17, 28/19, 75/19, 139/20, 51/21, 121/212, 162/21, 10/22, and 29/22 – hereinafter referred to as ZPIZ-2) are expected to be fulfilled by you on 17 June 2029 when you have reached the age of:
- 65 years, 0 months, and 0 days of age, and
- 39 years, 5 months, 3 days of pensionable age. (Information on the expected amount of Old Age or Early Retirement Pension. No 10345-24269/2022. Ljubljana: ZPIZ, 19 October 2022)”

In her work booklet says:
- Professor of Italian and Slovenian
- Master of Dramatic Studies
As it was abolished on 1.1.2009, it does not say in her work booklet
- Doctor of Philosophy and Theory of Visual Culture

The Old Age Pension would be:

“My body as a visible thing is the content in a big scene. But my seeing body supports this visible body and with it everything that is visible.” (Merleau-Ponty, Maurice. 2000. The Visible and the Invisible. Phainomena. Ljubljana: Nova revija, 122)

The traces of work are inscribed in the body. The body is inscribed with experiences from birth to death, the experiences of generations before us, genetic and social memory, and historical and cultural affirmations.
Interventions on and in the contemporary body are increasingly radical. The dictatorship of appearance is giving rise to two distinctly opposing phenomena, cosmetic surgery and the alternatively marked tattooing and piercing.
She insists on the (in)effective, (un)durable, (im)perfect, (un)emancipated, (in)sufficient, (im)potent, and obsolete in her own body.

Let’s Work! (20222023) deals with the problem of work. It invites us, through various artistic situations set in specific environments, to reflect on the meaning and value of work, the ways in which we experience work in everyday life, and how art is at work. In the first chapter (2022), artworks are contextualized in locations that play a constructive role in society in terms of the formulation of labor policies, and more specifically the formulation of strategies in the field of cultural labor, in public services that respond to labor problems, in institutions that educate the upcoming workforce, and in spaces that play a role in contemporary art practices. The spatial and temporal positioning of works for (re)viewing by both institutional staff and invited and casual visitors aims to widen the field of visibility of the artwork and its reception. In the second chapter (2023), the artworks will be presented in their entirety in exhibition and performance formats.

19.11.2022

Let's Work! #4: Self-portrait | Loup Abramovici, Tomaž Grom, Teja Reba in Špela Trošt | MSUM

19. 11. 2022, 10h–18h, MSUM
Loup Abramovici, Tomaž Grom, Teja Reba in Špela Trošt

Self-Portrait
Installation in the public space

Part of the opus Let’s Work!

Self-Portrait, precariously positioned between inside and outside, questions where art is at work, and, at the same time, announces its own position as something in-between: the installation being the inauguration of a larger project the chapters of which take place in locations other than the museum. Self-Portrait is displaced in space and time, and as such evades an immediate conclusion or goal, satisfaction or understanding. Nevertheless, in its concreteness, it invites us to see another exhibition, Art at Work, in order to get to know artists who, like us, think about work and thus recognize the collective to which we belong and which belongs to us.
The installation intervenes in the movement on the museum square. It is necessary to react to the new organization of movement in the public space, ¬by making a different decision, by paying attention, or observing the situation. Some will step into/on the artwork, others will add to the work as they pass, possibly stopping or making deviations around it. Thus each reader/viewer/connoisseur/ consumer of art completes it, interprets it.
The intervention in the public space acts as both incision and invitation, exposing both the potentiality and the emptiness of the artistic gesture. It alludes to the absence of an audience and the wider problem of disinterest in (contemporary) art in Slovenia, which may be the result of misguided public policies or simply of the smallness and provinciality of the country.

So who then is depicted in this Self-Portrait?

Authors: Loup Abramovici, Tomaž Grom, Teja Reba, Špela Trošt
Production: Teja Reba
Coproduction: Zavod Sploh
Partner: Moderna galerija
Financial support: Ministry of Culture of the Republic of Slovenia

Let’s Work! (2022-2023) deals with the problem of work. It invites us, through various artistic situations set in specific environments, to reflect on the meaning and value of work, the ways in which we experience work in everyday life, and how art is at work. In the first chapter (2022), artworks are contextualized in locations that play a constructive role in society in terms of the formulation of labor policies, and more specifically the formulation of strategies in the field of cultural labor, in public services that respond to labor problems, in institutions that educate the upcoming workforce, and in spaces that play a role in contemporary art practices. The spatial and temporal positioning of works for (re)viewing by both institutional staff and invited and casual visitors aims to widen the field of visibility of the artwork and its reception. In the second chapter (2023), the artworks will be presented in their entirety in exhibition and performance formats.

Previous events:
I Dream, Therefore I Work
I Don’t Work, I Practice Collectivity
Free Time

Upcoming events:
Warming Up
Happiness at Work
636,78

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