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.

2.12.2022

Let's Work! #5: Warming Up | Loup Abramovici | Ministry of Culture of the Republic of Slovenia

2.12.2022, 8h–16h, Ministry of Culture of the Republic of Slovenia, Maistrova street 10

Loup Abramovici
Warming Up
Action in duration.
In collaboration with Ministry of Culture of the Republic of Slovenia

Work of the opus Let’s work! by Loup Abramovici, Tomaž Grom, Teja Reba, Špela Trošt

#warming up for disaster, #warming up for the lion's leap into the future, #warming up in times of crisis, #warming up as recovery, #warming up for nothing, #warming up for a healthy mind in a healthy body, #warming up for something that is yet to come, #warming up for a performance you will never live to see, #warming up for the best performance in the world, #warming up for all the invisible workers, #warming up in solidarity...Warming up is a dancer's daily work. 

The work of the dancer always remains invisible to the eyes of the audience. What we see is only perfection, because the dancer is not working on stage but dancing. The dancer’s task is to erase any trace of work, any trace of effort. Dancers must transcend themselves so that the body’s involvement in its own reproduction is no longer visible. Only then can the real difference between art and life be established. The dancer is at once a medium and a work of art, using only the body: doing is not polluting. It leaves no trace. It does not accumulate anything. The dancer is always repeating and improving, not throwing anything away. The dancer is compact and healthy, rejoicing when a crumb of freedom is located in impossible constraints. Dancers do not need gas but warm themselves. They are flexible, reactive, in constant readiness. The dancer is equipped with everything to survive the various planetary crises.Th e dancer! Our future.

Performer: Loup Abramovici
Concept: Loup Abramovici and Teja Reba
Production: Teja Reba
Co-production: Sploh Institute
Financial support: Ministry of Culture of the Republic of Slovenia
 
Let’s Work! 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.

Upcoming events:
Happiness At Work
636,78

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

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