BridA/TOM KERŠEVAN, SENDI MANGO, JURIJ PAVLICA (SI

Man Ray je leta 1936 o znameniti Magrittovi sliki Le Faux Miroir (Lažno ogledalo) dejal, da slika vidi prav toliko, kot je sama gledana. Takrat je družba to lahko dojemala le kot produkt umetniške interpretacije v kontekstu nadrealističnega manifesta, ki je nadrealizem po Bretonovih besedah opredelil kot prikazovanje nadnaravnega, nedoumljivega in izražanje višje stvarnosti v obliki asociacij pod vplivom nezavednih duševnih mehanizmov. Skoraj stoletje potem je tehnologija in hitrost prenosa informacije tisti mehanizem, ki je dojemanje podobe pripeljala do nepojmljivosti. Lahko bi celo trdili, da je bila presežena točka varne vrnitve, doseženo je bilo obzorje, kjer ločnice med vidnim in gledalcem ni več mogoče jasno določiti. Podoba je poleg očesa dobila tudi priložnost, da nam odgovarja ter z nami v živo interagira. Naša podoba ni več izraz osebnega stika, je nadgrajen, nadrealistični profil sestavljen iz množice pulzirajočih podob naših vsakodnevnih dejanj. Podoba nas samih je migrirala v stanje odseva, katerega neposredno opazujemo kot podobo za stekleno površino po kateri drsimo s prsti ali miško. Počasi postaja ta podoba pomembnejša kakor smo mi sami, s tem pa se neizbežno poraja tudi vprašanje njene ranljivosti in posledic. Projekt Lažno ogledalo je dekonstrukcija uveljavljenih modelov naše podobe. Modelov, ki nam skušajo prikazati, kdo v resnici smo oziroma kaj potrebujemo. Projekt razkriva medprostore, ki so bili v neizmernem razvoju tehnoloških aplikacij namerno izpuščeni, bodisi zaradi tržnih interesov tehnoloških ponudnikov ali pa zaradi neusahljive potrebe po lepši in trajnejši sliki nas samih. Razvoj in ponudba vmesnikov za vizualno komunikacijo nam ne omogočata aktivnega sodelovanja in tako drsimo v pasivno opazovanje svojega spreminjajočega se odseva. Projekt preko premišljenih računalniških aplikacij in vmesnikov ter namenskih orodij omogoča alternativno izkušnjo sodobne vizualne samopodobe, ki je vpeta v tkivo spletnih komunikacij in socialnih omrežij. Naša pričakovanja nadgradi z nepričakovanimi shemami abstrakcije in ponujenih sprememb. Že ustaljene vzorce oziroma produkte vizualnih komunikacijskih sistemov nam prikaže tako, da nam znotraj medija odpira alternativne možnosti uporabe teh tehnologij. V konkretnem primeru uporabnika sooči z drugačnimi možnostmi in smermi razvoja aplikacij oziroma medija, kot so selfie aplikacije, interaktivne navigacije google street in socialnih omrežij, onkraj tržno smiselnega ali racionalnega, s ciljem iskanja umetniških potencialov. 

In 1936, Man Ray said of Magritte’s famed painting Le Faux Miroir (The False Mirror) that the painting sees as much as it itself is seen. Back then, that statement could only be understood as a product of an artistic interpretation in the context of the surrealist manifesto that, according to Breton, defined surrealism as depicting the supernatural, the inconceivable, and expressing a higher reality through associations powered by unconscious mental mechanisms. Almost a century later, technology and the speed at which information is shared are the mechanisms that have driven the perception of images to inconceivability. We could even say we are past the point of no return, that we have reached the horizon where the barrier between the seer and the seen can no longer be clearly determined. Along with sight, images have gained the possibility to respond and interact with us in real time. Our image is no longer an indicator of personal contact, it is

an upgraded, surrealist profile made up of a multitude of pulsing images of our everyday actions. The image of ourselves has become a reflection that we gaze upon like an image behind a glass, across which we run our fingers or cursor. It is slowly becoming more important than us, opening up the inevitable question of its fragility and consequences. The False Mirror project deconstructs the established models of our image. Models that attempt to show us who we really are or what we really need. It reveals the gaps that have been intentionally left out in the development of mobile applications, be it to serve the commercial interests of technology providers or the insatiable need for a more beautiful and lasting image of ourselves. The development and supply of visual communication interfaces does not enable active participation, transforming us into idle spectators of our everchanging reflection. The project uses thought-out computer applications and interfaces, as well as purpose built tools to provide an alternative experience of a contemporary visual self-image, integrated into the body of

online communication and social media. Unexpected diagrams of abstractions and changes build upon our expectations. Established patterns or products of visual communication systems are presented in a way that offers up alternative ways to use these technologies. In a concrete example, the user is faced with different possibilities and trends of developing apps and media like selfie applications, Google Street interactive navigation and social media, going beyond commercial logic in search of artistic potential. 

Lažno ogledalo / The False Mirror, 2019 intermedijska instalacija intermedia installation