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

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.


Teja Reba, Špela Trošt: Praznik dela, Stara mestna elektrarna

24. 4. at 18h, Stara mestna elektrarna
25. 4. at 20h, Stara mestna elektrarna

Why are you working?

1. I can’t not work. For me, it is a commitment dictated not by rationality, but by instinct and inner need.
2. I work to survive.
3. To find beauty
4. I work because I have to maintain this system in order to survive in the society in which I live. Otherwise, I would be considered a fool, a chump, I would be put in an madhouse for life, at the expense of my fellow citizens, my fellow brothers, who pay a lot of taxes to keep me at a menatl hospital.
5. Because I have to live.
6. I don’t work, I am a painter.
7. Because I am in a system that I cannot get out of.
8. Because I like what I do.
9. I think the point of work is to contribute to society.

Concept and direction: Teja Reba and Špela Trošt
Co-authors: Loup Abramovici, Mateja Bučar, Matjaž Farič, Tomaž Grom, Katja Legin, Lana Zdravković
Performed by: Loup Abramovici, Dimitra Alfirević Srhoj, Mary Anne Blanche, Vesna Godler, Tomaž Grom, Katja Legin, Liana Kalčina, Marjeta Kamnikar, Svarun Košir, Čarna Košir, Marija Pantić, Kalvin Radivojević, Bela Reba Abramovici, Pika Redžić, Špela Trošt, Iva Vidmar, Lana Zdravković

Lighting design: Špela Škulj
Sound design: Tomaž Grom
Selection of the music: Matjaž Farič, Katja Legin, Tomaž Grom, Lana Zdravković
Cover photo: Marcandrea
Technical team: Igor Remeta, Andrej Petrovčič, Duško Pušica, Manca Vukelič, Vid Starman
Cleaners: Marjeta Pogačnik, Darinka Županec Ivanovski

Production: Teja Reba
Co-Production: Sploh Institute
Partners: Bunker Institute, Ljubljana, En-Knap Institute, DUM – Association of Artists, MG+MSUM, Associazione Culturale YANVII
Financial support: Ministry of Culture and City of Ljubljana

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