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ARTIST STATEMENT

2018.

My practice is informed by different concepts of environment. As my studies started with painting and classical drawing/sculpturing with classes in art history, continued trough Gerriti Rietvield Kunst Akademie utilitarian concepts of art in the time cultural industry was just starting and MFA gained at transdisciplinars studies of at that time new media now creative practices studies, span of informations, systems and principles that I have encountered granted me insights into transdisicplinary strategies.

I have realized that all systems of art that I have encountered are anthropocentric, and that artist are not here only to satisfy human needs for aesthetic and “spiritual and cultural advancement” and that this systems are always neglecting if not completely erasing other cohabitants. by learning about permaculture, a question started to arrise -“what would art for plants be”. I was not interested in teaching pigs or elephants or bugs to paint, or to connect wires to plants to “here them sing”. I was interested what would be concepts of doing art for non humans.

Such questions have natural consequences to research into “Art Operating Systems” that I have gained my masters. Institutional, non institutional and market systems are never concerned about aother inhabitants but humans. There is no operas or bale for plants, nor rock concerts for animals. Nor would they care much, not would it be geopolitical appropriate, nor could they be connected to any culture history pool. No one ever has looked at that aspects.

At the other side, shamans, artists from caves, indigenous cultures all have a very rich and sacred connections to other inhabitants. I todays world where questions of our survival is not seen any more as survival of the fittest, but as collaboration of all, art has a definite space to pose questions that science cannot, and to give possible solutions which are out of narrow concepts of civilization, survival or tragedy.

Artist needs to be free and follow o his path of thinking, creating and questioning, and be stubborn in his non compromised critique. I learned art that is representational is the same as any part of history - no matter if latest technology is clay, bronze, oil painting or AI.

Recent practice is thus mostly informed by permaculture (permanent agriculture) and aesthetic methods that I have learned in different positions. I am teaching myself to live and work with the environment as creative being in search for re-establishing connections to environment.

2015.

My art practice transformed from art in public spaces, interventions and artivism to environmental art and practice that is using nature as primary source of inspiration. I am consolidating my classical painting and sculpturing studies with new media art MFA to investigate, research and respond to impulses received from the environment.

Main inspirations comes from production and consuming cycles, skills and tendencies of societies in comparison to natural ones. Using transdisciplinary strategies I often work collaboratively, or using participation as part of large scale installations and performances/happenings.

My works are rooted in DIY, open source and renewable energy movements ethics and philosophy.

2012.

Artist statement for De(con)structing

While in De(con)structing Capitalism (http://gentlejunk.net/projects/tiki-index.php?page=Car+cutting+sessions) the car as a symbol of capitalism, oil industry and conformism is cut in small pieces in wild show of fire and sound, in De(con)structing Conformism a symbol of comfort is cut: an armchair. Armchair represents a good position in office. One doesn't want to loose their armchair while making political moves. One needs secure armchair to keep on going until the retirement. Armchair is also a symbol of power. While destructing the symbol, a deconstruction takes place, enabling reflection on own conformity. How to confront ecology (of cultural landscape) and conformity?

2010.

Artistic work of Kruno Jošt is conceptually a research in Art Operating Systems, term introduced by art theorist Thomas Wulffen. AOS can best be explained by comparison to computer operating systems - they both work trough interdependent system components that are forming an integrated whole. This integration is represented trough certain algorithms – sometimes chaotic, but simple, yet always changing agencies and relations. Reflecting on Jack Burham's Systems Esthetics, Jošt is more interested in how things are done, than things themselves.

AOS's are analysed used transdisciplinary strategies, cooperation and group interaction. Primary creative functions are used to achieve referential deviation over standard positions of producer-consumer. Jošt practice is convergence of art, humanities, technology and consciousness research communicated trough networking, interaction and feed-backing. Art systems which seek autonomy from market or the State influences tends to gravitate towards collaborative, cooperative and process orientated practices, whose aim is not necessarily the production of object itself, but creation of systems where dialogue and negotiation arises. In such groups, individual and signature orientated art work is substituted with group and participative work.

Jošt works suggest not a new, but for some still a revolutionary concept: a group of artist should work collaboratively in the manner where individual artists aspirations are replaced by group aspirations. Methods of negotiation, consensus and self-reflection are used to create work of heightened awareness of one as a part of the group.

There are 11 points of work that Jošt aspires to:

1. Models of cooperation grounded in an ideas that are foundations of the autonomy: self organization and control over whole scope of production and consumption, creating alternatives to neoliberal, market orientated culture.

2. Beauty emerges not from the object produced in cooperation, but from cooperation and interaction itself.

3. Value is created by the process of exchange, not by the object produced with collaboration, as the case was with collaborative works in the art world up to now. Value is in participation and solidarity, not in competition.

4. Tools (media) for interaction can be various, but FOSS (free open source software) proved to work in accordance to ideas of sharing, as it is itself produced in the similar manner – with cooperation of many.

5. As the focus is how to sustain a fruitful process, not how to create an object, a question of finished work becomes obsolete, and is replaced with one that asks how to exchange ideas for the purpose of creating radically new models of coexistence.

6. A synaesthetic system is created by stimulating alternative modes of creativity that create alternative states of mind.

7. Process is based on “system thinking”, where an understanding is sought of how things influence one another within a system.

8. Art practice not as traditional sense of mastery of the material, or representation of objective, or expressing alienation, etc. but creating alternative models that have emancipatory value from pan capitalist structures.

9. Art practice that is not concerned with the question how art can change the world, but what does aggregate of cultural activities do over period of time.

10. Non professionalism in the sense of amateur research, self-examination and collective examination within the scope of the public – learning from others and teaching others trough debates about value.

11. Constant negotiation between different art operating systems.

eng.txt · Last modified: 30/03/2018 14:26 by admin