Author: Diana Cencer Garafová
Curator: Zora Rusinová
Opening: 21. 2. 2018 at 6pm
Duration of exhibition: 22. 2. - 11. 3. 2018
Exhibition space size: MEDIUM Gallery small
Project Breaking (b)it by Diana Cencer Garafová has a bit of a mysterious name, one which is linked to her research, reflections and the knowledge built in the highly theoretical analyses made in her doctoral thesis. Her topic was inspired by the nature of the world and the solution provided by physics and its interpretative models for discovering the universe, e.g., the if and the how the world is knowable. The word “breaking” in the title is derived from “symmetry breaking”. Garafová is especially interested in the process of the spontaneous breaking of the symmetry of order.
According to current scientific theories these processes seem to be most important for the formation of the life because “the possibility of our existence falls in the imperfection of nature and not in the perfection of nature´s laws, and especially symmetry breaking enables the universe to make felt space show us the endless diversity of complicated states (of being) but with retention of certain symmetries – so, it is complex and simple at the same time.”
And what does „(b)it“ means in the title? Knowledge is based on information. Here, Garafová calls refers to the idea „It from bit“ by John Wheeler, describing the world as composed from information – an idea that influenced many other physicists. These questions resulted in both parts of the research into the relationship between it and bit – thus the idea / invention / information on one hand, and the mass / configuration / form on the other. Those are also reflected in her exhibition project, where she researches the relationships between reality and model, creating miniatures installations (possible and impossible) placed inside the models of existing galleries in Bratislava in 1:10 scale. More many of them are based on optical illusion.
This project at the MEDIUM Gallery, is not the first, but follows previous public presentations of the artworks Diana has realized. However, this time the models of exhibition spaces are stacked one upon the other into an asymmetric architectonic tower – they are presented in a way that some of models are not directly reachable by the viewer´s eyes; however, some of them can reached indirectly via a camera constantly moved on the vertical axis from the floor to the ceiling, stopping for few seconds - it takes a look into one of the miniature models of the exhibition space. This look is projected in real-time on the wall in another part of the room, and in this way enables us to look into the models placed high above the viewer´s head.
Garafová´s models of exhibition spaces are analogies to the theoretical interpretation models of the discovery of the universe. In many ways we are victims of models which do not intermediate reality as it is, but as we mind it to be. Respectively, don’t they always intermediate only the certain point of view? This is true in theoretical physics where the experiments are isolated from reality because they run in artificially created conditions which do not exist “in reality”– in similar ways as the artist´s ideas embodied in the material models. What is important is not what we see, but how we’ve interpreted it. And it is only in the space of fine art, where the viewer has crucial status in the interpretation of the artwork – the decryption of its signs, the decoding of its message, setting it into context, understanding of its sense etc. As the author states in her thesis, full knowledge of the reality is not possible because we are not able to observe it without being part of it, and each of our efforts at objectivity is weakend in advance, because the subjective experience is connected to each of our observations.
Vernissage hospitality was sponsored by winemaking Ostrožovič