Photography each 110cm/80cm
The photos were made on the basis of footage from the archive of RTV Slovenia showing the Slovenian landscape filmed with a thermographic camera. On the basis of thermal differentiation within the visible, they form a new image of the living. This is presented as impermissible, as that which disturbs the ideal lifelessness of the landscape. The violence inscribed in the visibility is manifested in the mode of production, editing and broadcasting this footage in the media. There is a disturbance in the image that needs to be eliminated. So what do a police photograph of a landscape and the titles of Slovenian impressionist works (Spring, The Sun in Autumn, Topoli...) have in common? With its inscription in the national canon, landscape painting, which predominated as a theme among Slovenian impressionists, obtained the aura of national painting. The depicted “Slovenian” landscape became “a mental image of the native landscape”, and precisely such is the desire of today's gaze and view that flattens the image in order to re-stage Spring.
ŠKUC Gallery, 2011, (curated by Tevž Logar)
Photo of the installation by Dejan Habicht