Series of 18 photographs show everything but landscape. It shows used objects and body parts. Such a compound tackles one of the oldest art genres, landscape, which is commonly defined as something different or even opposite to human, as innocent, natural. For more than a hundred years, by molding and building upon landscapes, the natural habitat of the majority of humans has been cities. Nevertheless, the restlessness of life in a crowded city, of keeping up with the ever-rising standards, contributed to the idea of escaping back to “nature”. Numerous visuals through public space stand for vibrating these consumerist standards.
Driven by the wish to stay connected with the world outside of her flat, in numerous post-lockdown walks through urban public space, Mrša was collecting objects from the street that brought her in touch with unknown strangers that used them, other residents of the city. The artist gathered mundane objects such as work gloves, pigeon’s feathers, or children’s socks and documented them while introducing her body parts and the plinth as the furniture of the museum on which chosen objects have the role to guide our memories. The objects from the ground are then shown in the sky: on the flags installed in the public squares. By questioning visuals of power and progress that are commonly represented through public spaces, the Landscape turns mundane, vulnerability, and unneeded into a wheel of resistance and seeks for finding a different ground for connecting.
The work was realized as a part of the Q21 residency in Museumsquartier invited by tranzit.org/ERSTE Stiftung and Noć perforacija by This is Domino project.
Photo credits: Silvija Dogan, Sonja Hornung and Petra Mrša.