Siniša Ilić

Tina Gverović

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73časopis za suvremena likovna zbivanjamagazine for contemporary visual artsTina Gverović / Siniša Ilić7475časopis za suvremena likovna zbivanjamagazine for contemporary visual arts7677časopis za suvremena likovna zbivanjamagazine for contemporary visual arts7879časopis za suvremena likovna zbivanjamagazine for contemporary visual arts8081časopis za suvremena likovna zbivanjamagazine for contemporary visual arts8283časopis za suvremena likovna zbivanjamagazine for contemporary visual arts8485časopis za suvremena likovna zbivanjamagazine for contemporary visual arts8687časopis za suvremena likovna zbivanjamagazine for contemporary visual arts8889časopis za suvremena likovna zbivanjamagazine for contemporary visual arts90 NeusporedivostiNastajanje sumnjivog stanja  Ovo poglavlje bavi se korporacijskim prostorom institucionalnog promatranja i kontrole,  kao i s nevidljivom i postojećom katastrofom. Crteži prizivaju slike nematerijalnog rada, oblik suvremenog rada koji se događa svugdje i nigdje. Ruke polagano dotiču i osjećaju tipkovnicu, miša, ekran, stolicu, kosu…Iako se čini da su likovi zaokupljeni laganim ili neučinkovitim poslom, istodobno djeluju ranjivo i u nemogućnosti da potpuno izraze svoje djelovanje. Iznenadni pokreti, radnje i udari prekidaju  i razdiru virtualni prostor, gurajući ga prema nadolazećoj katastro. Katastrofa ovdje nije isključivo vanjsko već i unutarnje, odnosno sveprožimajuće stanje. Katastrofa koju ovdje prikazujemo je politička, emotivna, katastrofa svakodnevice i ona koja se tek ima dogoditi.Crteži su u svom izvornom obliku rađeni omasterom, olovkom i tušem na papiru, približnih dimenzija 30x20cm. Nakon razgovora s umjetnicima, Ben Cain ih je izrezao, promjenio im veličine i nanovo ih uredio. e Uncomparables Forming a Suspicious Stateis chapter engages with a corporate space of institutionalised observation and monitoring, as well as with invisible and ongoing disaster. e imagery addresses the notion of the immaterial workforce, a form of contemporary work which takes place everywhere and nowhere. Hands are slowly feeling and sensing a keyboard, a mouse, a screen, a chair, hair… Although the gures might seem to be engaged with light or ineectual work, at the same time they seem vulnerable and unable to fully articulate their actions. Digital spaces are interrupted with abrupt movements and actions, violently disturbing the virtual and pushing it towards immanent disaster. Disaster here is not solely understood as exclusive to the outside but as an inner and pervasive state. Here there is political disaster, emotional disaster, everyday disaster and disaster yet to happen.e drawings in original form are felt pen, pencil, and ink on paper, and are circa 30x20cm. e drawings shown here have been resized, cropped and rearranged by Ben Cain aer conversations with the artists.Tina Gverović, Siniša Ilić i/with Ben Cain

The Uncomparables. Forming a Suspicious State

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