Casaria

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  Casaria | 2019

East Slovak gallery Group exhibition curated by Václav Janoščík site specific, 3 – video screens, enviroment, film essay 25min. Nomination prize Oskar Cepan award 2019 The difference between living beings and nonliving is clear to everyone. However, how this distinction between organic and inorganic occurs is still a mystery. „All life forms are composed of molecules that are not themselves alive“, writes the physicist Steen Rasmussen in an article on Science. This statement is as obvious as difficult to acknowledge. That life emerges from non-living matter and is simply the result of a specific disposition of nonliving molecules is still both psychologically and culturally hard to accept. The fact that there is no ontological difference between us, living beings, and the rest of the matter that constitutes the universe undermines in fact all our pretensions to occupy a privileged position in the cosmos. To investigate this point of indistinction is necessary in order to comprehend who or what we are, as well as to reposition ourselves more organically in the cosmos. This point of indistinction between living and nonliving, which is prior to their separation, is what the theorists of the Cybernetic Culture Research Unit (CCRU) call the “unlife”. The unlife is therefore a field of potentialities and virtual entities, where all the elements of nature coexist, and life is yet to emerge. Felice Moramarco It is not only about spaces, whether gallery or imaginary, places or communities, but also about time and different ways of narration. It is through time that we realize our lives. Just like through stories we understand crucial things such as good and evil, us or them. However, the question is how it is possible to talk about today’s situation split between various perspectives, overloaded by so many different problems and movements. Milan Mazúr is heading in this direction; his film and installation deal with the return to imagination, cultural translation or non-linear way of narration. It is time, its duration, movement and stasis that again appears to be what we share. [1] Bernard Stiegler, Technics and Time, 3, Cinematic Time and the Question of Malaise. Stanford: Stanford University Press 2011, pg. 31. “My time is always the time of others. A film reveals this through its cinematographic means. The stream of consciousness is a contraction of time whose beginning appears precisely in the film in which my time (within film time) becomes the time of others, becomes that other time.” Bernard Stiegler[1] text Vaclav Janoscik