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Galerija Skuc : 50% - 12 Aug 2008 to 1 Sept 2008 Current Exhibition |
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50% August 12 � September 1, 2008 Grupa Ee Ajdin Ba�i�, Damjan Ili�, Ivian Kan Mujezinovi�, �iga Testen, Mina �abnikar Sindikat Delta Nu, CASIOp, De�ko z vle�ko, Emulgator! We kindly invite you to the closing of an exhibition on Monday, September 1st at 8 pm at �kuc Gallery. - In the last century, the division of labour became a de facto standard system of production and way of thinking and acting in almost all segments of our lives. - In the service sector, which includes graphic design, printing, advertising and related activities, this type of thinking has resulted in the division of authorship. - In July 1980, in a letter addressed to the editorial board of Plan newspaper, Muriel Cooper identified at least three co-authors. In such a specialised form of printing, the author of content is author, the author of form designer, and the author of the artefact (craft) a typesetter/printer. - In its implementation, the division of labour presupposes the isolation of individual workers as the key to success of the whole system; however, what needs highlighting here is that the worker need not be aware of the comprehensiveness of the system in which he/she is actively involved. - What is more, it is believed that any knowledge of the comprehensiveness of the system and its inner workings would diminish the worker's specialisation and, consequently, reduce the productivity and efficiency of the whole system. - Such specialisation of production results in inherent inequality in the ranking of work, which implies that some occupations are worth more than others. - If we were to transpose this logic to the production of graphic design, the conclusion would be that some authors are more important than others. - Muriel Cooper's letter implies that only the author of content is the real author, while all other authors in the production chain (from the concept to the finished product) are less important, i.e. they are viewed as sub-authors, sub-sub-authors, etc. - The system of sequential authorship, which resembles a production line, results in a cheaper end-product, assembled in less time. - As a side-effect of this process emerges the generic quality of the end-product, which lacks any individual characteristics of its authors. -------------------------------------------------------------------------------- Our project in �kuc Gallery will be a minor experiment aimed at highlighting three key issues: 1. The issue of authorship - In this case, designers will create both content and form and, which would render them the authors of the end-product. A printing machine will be installed in the Gallery, enabling designers to print and bind their own catalogues. I - We also seek to examine what this kind of authorship means in today's business and legal relations, and how similar cases have been defined and organised. This will be presented through lectures, which will form part of the project. 2. The equality issue - We realise that the manufacture of quality end-products is a complex process, irrespective of the technological innovations which make it a seemingly simple task. As such, the effectiveness of the process is measured by the effectiveness of its weakest link (the author?). Likewise, the quality of a product is determined by the weakest link in the production chain (e.g. despite excellent print quality, poor binding job, paper selection and trimming may cause the product to be labelled as bad). - As a counterpoint to the sequencing process, we confront it with a simultaneous process in which all authors are perceived as equal, and communicate with each other throughout the duration of the process. - Such a process relies on highly educated individuals who can enhance the quality of the end-product through their expertise, so that the product, in its final version, reflects the input of all its authors. 3. The networking issue (new New Collectivism?) - We have noticed that the desire for combining people with specific know-how into collectives has become vital to production outside agencies and the system they constitute. - We wonder whether this model of linking into authors' networks is an alternative to present market relations. -------------------------------------------------------------------------------- Match the questions with the answers below: A Is time our main asset? B Are fetishist iconographies of mass culture paradigms which form the basis of everyday life in the society of the spectacle? C How can we control these systems back? D Signature, event or context? E YouTube, MySpace, Facebook? F Is an insight into the reality of fiction a reflection of a disturbance in the stable and clearly structured system of the everyday environment? G Why is it that at first glance an explication of a clich� fascinates rather than informs? H Death of the author? I How does one achieve freedom in a utopian effort by attempting to transcend the limitations of space and time? J (De)coding through a metaphor of the spectacle? K Does the desire to create ties and be equal become central to the user's identification? 1 By worshipping the cult of youth! 2 By all means, as they emphasise the levels of medium suggestion, which are based on patriarchal structures of power! 3 Through simplification and idealisation it is established as a representative fetish! 4 Because they enable the creation of networks, which are real-time communication and existential zones! 5 Addiction to the media which provide everyday information by idealising reality! 6 Yes, just like the Syndicate! 7 It symbolises the expansive force of a medium which explodes outside its frame! 8 It is an insight into the (dys)functional structures of the Panopticon! 9 No, its birth!!! 10 Because it idealises our technological existence and speaks persuasively through its omnipresence! 11 By means of constructed invisible control! Supported by: Printing house of University of Ljubljana Printing machine in the gallery Adast Adamov Dominant 714 The programme of �kuc Gallery is supported by Ministry of Culture of the Republic of Slovenia and Cultural Department of the City of Ljubljana. |
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