Jakub Užovič (*1996, Nitra) študoval bakalársky stupeň v ateliéri S.O.S. a aktuálne študuje magisterský stupeň v Ateliéri intermédií. Autor vo svojej tvorbe pracuje s interaktivitou medzi divákom či diváčkou a objektom, ktorých a ktoré vťahuje do inscenovanej situácie z vytvorených objektov. Súčasne inklinuje k performance, kde sa sám autor stáva integrálnou súčasťou vizuálnej hry. Vystavoval na skupinových výstavách v Modre (Sirotinec), Piešťanoch (Otvorenosť, Arta) a v Bratislave (Transformácia biotopu 2, T3) (Moje telo je záznamom nezabúdania,
Pistoriho Palác )
(Mathereal
Beastro ) Bytča (festival Hviezdne Noci) Počas posledných rokov sa venuje modelingu, vďaka čomu žil nejakú dobu v Paríži, Japonsku a Kórei, v ktorých čerpal inšpiráciu a podnety.
Zúčastnil sa prehliadok s divadelným charakterom ako Virginia Woolf’s Orlando, od umelkyne Rei Kawakubo.
jakubuzovic@gmail.com
instagram jakub_Uzovic
︎︎︎
Consciousness of object
︎
︎
This work explores the concept of existence in inanimate objects.
The author reflects his existence, putting emotions and ideas regarding his being into his work. As such it becomes a mirage of his presence, control over which has been knowingly surrendered. The search for means of dissociation takes place on different levels, exploring different sets of tools.
In line with this premise, the author gravitates towards aviation themed elements as a representation of his motivation.
These convey the essence of freedom, defining the works liberating presence, while also introducing an element of conflict arising from the author's personal history in the context of aviation.
The heart of the work, a Striling engine, represents an animated medium communicating emotion through movement and sound. It is via these means the existential questions as well as questions of freedom and relationship to mechanistic being and work itself are conveyed.
Where am I as a creator?
Is the process of creation and the relationship with objects sincere?
Are these a mere fabrication of the ethical society?
If we were to look at the elementary relations we have with technology around us, are these different?
What provokes the impression of the endless sleeplessness over the struggles of a machine, towards which we attribute human emotions?
Similarly, if an object, a sculpture, a machine imitates a human, does it develop a soul?
Where do we find the threshold, the border we draw in this paralel?
Can a machine make a choice if given an option to choose? What is my influence over this choice?
