Špela Trošt: 636,78

“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! (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.