Flowers are Inherently Disgusting
In what way can the authorship of two be comprehended? Through a joint destiny of waking up, dreaming, flying, traveling, passages, dispossession and disclosure, where duality is being transformed into oneness through a never ending process of searching, shaping of ties and cuts? In a joint conceiving? And what else is a female language than a body that wishes to be heard?
She is a marker of homeliness. At the same time the notion of femininity has been throughout centuries penetrated by doubt and fear of the existing threat of the inner, dark core, « dark continent » or substance of feminism, which can emerge at any time. The analysis of old mechanisms is being replaced by creativity with a poetic body which wishes to be experienced from within. The joint language of Urša Vidic and Meta Grgurevič defies the given historic predicates, theoretization samples, conformism and the obvious. They expose the open question of intimacy and her back side through a personal language, cleansed elements of every day life, playfulness of figures, enhanced triviality of objects, family relations and pop culture. The voice does not pave the way to denial, but observes and repeats, hurls towards recognition and discovery of the new with spiral velocity. The identity of sex, a contrast between light-darkness, inner-outer, friendly-fearful is already inscribed into authoress’ bodies and that is why the stream of unconsciousness, which drives the economy of creativity, opens up without censorship and social boundaries. Without predetermined and steadfast conceptual knot, a spontaneously inscribed joint phantasm emerges just next to contact with material, so the skin of physical presence, which slides through the fingers, dictates the symbols of the newly intertwined imagination of the objects. The basic movement of figures speaks with a power of archaic force in such a way that it influences the body of our being. It lures us to the edge of narration, a gaping division of a romantic erotism which emerges on the boundary between a wish to expose the whole truth of the intimate and our realization that you can never see the end. The viewer is the one who remains subtly seduced. (Slađana Mitrović)
Photo by: Nada Žgank
Vžigalica Gallery, Ljubljana
Vžigalica Gallery, City museum of Ljubljana, Ljubljana
Production: Ljubljana City Council and Gallery, City museum of Ljubljana