Opening: February 2, 2007, 7 p.m.
Misha Stroj’s artistic work can be compared more to a scientific method of examination which her own results tend to conceal rather than expose. In Misha Stroj’s work, as in much of the work of other contemporary artists, there are numerous, if somewhat subtle, allusions to art historical movements: Dada, Fluxus and the Situationists, a perception characterized by Land Art, a minimalist use of form, a conceptual nominalism and the critique of Cultural Studies. The studios are full of open books and visiting diverse exhibitions and libraries is an essential part of her work. Here it is also a question of understanding exactly what is possible in the medium of art, by investigating examples of art history or other sources as well as the definition of her own position , which the artist does in relation to this mass of information. For many contemporary artists, the process of research (in newspapers, internet, television, art historical books etc) is perhaps as important as the actual production of the work of art.
The contestation by means of the body abolishes the constructed hierarchy of values and the needs which arise therefrom. The most urgent thing is thus the awakening of this fundamental dissonance in order to acknowledge the body-construct as a place of engagement, as a compromise as much as a work. Needs must be put an end to! The deliberate gesture of selling oneself had become irrevocable. Universal communication however can only take place as the exchange of bodies by means of a secret language of bodily signs. This would mean replacing the coins of money with living beings. How then would prestige and riches be measured, and is there truly nothing more opposed to pleasure than that which is free of charge? The work in question becomes Pierre Klossowski‘s “living coin.” Sculpture is awakening and contestation! (Misha Stroj)
Misha Stroj was born in Ljubljana in 1974 and studied from 1997–2002 at the the Academy of Fine Arts in Vienna in the class led by Renée Green.