STAV (statický tvar algoritmických variácií / Static Shape of Algorithmic Variations)
The goal of my work is a reflection of expressive randomness that follows from the theoretical background of cellular automata and quantum mechanics. In my opinion, art should point to examples of exact sciences and in this way spread these ideas among potential viewers. I do this to try to get closer to a subjective utopian company, WERP-VEGA. I am not completely convinced that art can change the political system, or fundamentally solve the current difficulties of civilization, but I believe that art can predict some of the possible scenarios of the future because people can only create what they can imagine. Visual art produces possibilities to think about these unrestricted variations of a potential future that may or may not be of use for further post-production activities.
I have provisionally called my method of installation "STAV". It is an abbreviation for a static form of algorithmic variations. To be able to label this state, we need to at least know its minimum history. Then we can see that the bread left on the kitchen table is in a different state than it was yesterday, etc. In my installation, I create an informative board that represents the mental background of the project. From this background towards the space, you can find an object pre-linked with the information on the board - its background. To do this, I was inspired by El Lissitzky and his Proun project (Design of the Confirmation of the New, source: Wikipedia) in which he tried to dynamize a static picture into space. I also take inspiration from an installation by Ilya Kabakov, The Man Who Will Fly into Space From His Apartment (1985). His installation is very interesting for me from the point of view of the sense of installation in visual art. According to Claire Bishop, there is a difference between a visual art installation and an installation of visual art. Kabakov says that a visual art installation should be one concise piece that the viewer enters and interactively discovers why the installation is here. In my work, I try to use the same principle of interactivity. I want the viewer to decode the images one by one on the "mental background" and to observe the objects in space from this point.
In my opinion, even the priming of the installation can be a conduit for Information.