“I can never get over when you’re on the beach how beautiful the sand looks and the water washes it away and straightens it up and the trees and the grass all look great. I think having land and not ruining it is the most beautiful art that anybody could ever want to own.” — Andy Warhol
Opening nights of the performance in Cirkulacija² in Ljubljana
- 11 June at 8 p.m.
- 13 June at 8 p.m.
- 16 June at 8 p.m.
- 26 June at 8 p.m. and
- 27 June at 8 p.m.
Although the Garden is not particularly obsessed or passionate, it keeps coming back to the same thing. While the sovereign media are forever on an exploratory expedition, the vague channels camp out indefinitely or wander around endlessly. They can encounter the universe anywhere anyway, so why should they mobi-lize? For the Garden, its own operation is the greatest mystery. This existential moment ensures that no expression acquires a final and unchanging form, but nevertheless says something. Travelers through the terrain vague find their way into the wasteland, where even hot-spot tourists get lost. The Garden is not con-cerned with form, but with the emptiness between forms, and this is timeless.
It is not interested in success. It has no goals. It’s modules are not based on ar-gumentation, but on infection. However that is not it’s purpose: ambiguity is not an ideal, but an extreme level of abstraction.
There is no work here, we are more interested in disassembling and assembling indefinite objects and projects. When we lose sight of the starting point and the end, we can experience existence in peace. In post-atomic art, uncertainty is the foundation of efficiency and unreliability is a sign of goodwill. Nonlinearity mocks the rhizomatic dogma that prescribes an endless switching of channels, cables, trunks and roots. The garden cannot be followed. Its fuzzy logic frustrates seek-ers of meaning. The result is a hazy sign with an information value of 0.34 or 2.74. It does not conceal or consciously distort anything. Simply no one knows anything for sure, and this is noticeable. There is no fear of data. The history of ambiguity will have to be written.
The vague Garden as an object, and the vague, as the subject who directs it, are inseparable. They share a blurred concept of boundaries that prevents one from separating from the Garden. Clarity only comes when the subject succeeds in eliminating the object and thus becomes superfluous.
Desertion is a condition of freedom. And victory, as always, belongs to the de-feated.
more on: https://babalan.kibla.org/vrt
script and direction:: Gotvan Vlado Repnik
aₚ=tF²: !gor #352;
· project consultancy: Nina Meško
· performers: Loup Abramovici, Jana Jevtović, Bass Jansson, Jurij Podgoršek
· in film: Marieke Werner
· editing: GVRbabaLAN
· proculvision: Simon Svetlik
· supervision: Simon Kardum
· special thanks to Jožica Avbelj, Stefan Doepner, Urška Savić, Blixa Bargeld, Simon Svetlik, Marjana Harcet, Marko Batista, Wilhelm Groener, Sanja Simić, Tatiana Kocmur, Nathan Coley and group Bilwelt
· photograph: Sunčan Patric Stone
· production: GVR Zavod za umetniško produkcijo
· co-production: Cirkulacija², Kino Šiška, KIBLA Maribor
· the performance is co-financed by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana
