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Mentors: Curatorial Coordinator: Participating students: <\/p>\n For decades, art and the humanities have been at the centre of an interdisciplinary turn that reflects fundamental social, epistemological and technological shifts in contemporaneity. As a result, there is an increasingly evident need for structural transformation at the pedagogical level: academic, especially discursive approaches, should be directed towards the development of critical thinking, and interdisciplinarity should be introduced into artistic research. One of the central nodes of this turn is precisely the body \u2013 as a symbolic field and epistemological problem within which scientific, political, technological, ecological and artistic discourses intersect. For at least a century, contemporary art has no longer understood the body as a stable object of representation, but as a process inscribed in complex networks of power, meaning and context.<\/p>\n Contemporary art is therefore in itself a space for interdisciplinary dialogue that motivates artists to establish authentic creative processes, thereby opening up opportunities for collaboration, joint research and multidisciplinary exchange of knowledge and skills, which go beyond the discipline-structured curriculum of the Academy. Based on the assumption that understanding and mastering contemporary artistic practices necessarily requires the intersection of disciplines, we conceived the project\u00a0Whose Body Is My Body?<\/i>\u00a0as a pedagogical-research collaboration between the study programmes of Sculpture (Department of Sculpture) and Photography (Department of Visual Communication Design).\u00a0<\/i><\/p>\n While studio work in the first two years of study focuses on developing fundamental technical, perceptual and formal skills (in Photography primarily on understanding the relationship between content and form, and in Sculpture on mastering the shaping of the human figure and its spatial articulation), the third year represents a key turning point, as the knowledge acquired opens itself to critical reflection and interdisciplinary expansion. This shift enables an understanding of the human figure that moves away from an object of representation towards the body as a subject of experience, action and meaning. In practice, this is realised, for instance, through the transformation of spatial installation into performative form (and vice versa); through an understanding of space as a contextual environment that always coexists in a continuum with time; and through addressing the field of art as an open system of relations. From this starting point, the semester theme, presented in the exhibition through six authorial works by fifteen third-year undergraduate students of the Academy of Fine Arts and Design, University of Ljubljana, created during the winter semester of the 2025\/26 academic year, was formulated as a question:\u00a0Whose Body Is My Body?<\/i><\/p>\n The latter\u00a0invites reflection on our (co)existence, which goes beyond the individual level and expands into the field of social, political and ethical tensions of the contemporary world. It addresses not only the biological ownership of the body, but also establishes the body as a space of social control and regulation; as a field for the projection of norms, desires and fears; as a zone where (bio)technologies and capital intertwine; as a collective entity and, simultaneously, an archive of memory, trauma and, last but not least, confrontation with the unknown. In this context, the body appears as a processual field in which relations are continually established, transformed and disintegrated. The question of \u201cwhose\u201d, therefore, does not presuppose a single answer but reveals a complex network of relationships in which the body is always already positioned.<\/p>\n The students addressed questions of body politics through reflection on individual, social and political struggles for emancipation from control over biological, social and cultural experiences, which manifest themselves, among other ways, as the institutional power of the state and legislation; as the disciplinary power of economic production; as the discretionary power of consumption; as the cognitive-technological power of contemporary digital and biomedical systems; and also as the subjective power that is established through negotiation in interpersonal relationships. It is precisely in this intertwining that the expanded, body-focused artistic research undertaken during the semester proved to be productive and relevant.<\/p>\n Working in groups where the participants were only just getting to know each other encouraged them to share the starting points of their previous artistic research, which served as a foundation for joint critical reflection and further development of their own individual authorial positions. Based on their expressed interests, affinities and working methods, we suggested that they work in twos and threes. They developed and reflected on their projects during weekly individual mentoring sessions and group\u00a0Open Studio\u00a0<\/i>formats, with the process occasionally accompanied by expert feedback from Asst. Prof. Mateja Pezdirc. Vera Zalutskaya gave a lecture on artistic and theoretical references, while also acting as the project curatorial coordinator and dialogue partner to the groups during the transfer and installation of works from the ALUO studios to \u0160kuc Gallery.<\/p>\n In this process, interdisciplinarity was established as a meeting between different epistemological approaches, working rhythms, technical skills and modes of thinking; that is, through the intersection of professional fields, which is crucial for critical practice within the field of contemporary art and design that invariably requires a reflective positioning in a broader social context.<\/p>\n Such radical shifts in working methods encourage the development of complex creative, communicative and reflective competences, especially at those stages of study when students are already sufficiently equipped both technically and conceptually. Through a multitude of perspectives, they reinforce the understanding of art as a critical tool for addressing the problems of the contemporary world and the relationships that structure it. The entire experience of the creative-pedagogical process during the semester \u2013 including the realisation of the exhibition \u2013 confirms the necessity of a structural transformation of academic teaching by incorporating practical interdisciplinarity into study programmes.<\/p>\n <\/p>\n Whose body is my body?<\/b>\u00a0(question answered by students)<\/p>\n The question presupposes ownership not belonging to the body. Attributing the body to someone else is absurd because the body is not something you have, but something you are. It is not an object or a concept, but a presence that exists, feels and acts. It is a concrete experience in time and space.<\/p>\n I interpret the question more as a question of the narrative of my body, which depends on its interpretation, position in time and the discourse in which it appears. But I do think that as long as I experience the world through a particular body, that body will be mine, regardless of how much theory it drags along with it.<\/p>\n My body is only a temporary form. It does not belong to me. It is my energy expressed through matter.<\/p>\n Worn, marked, shaped, intertwined and then released. The body goes beyond what I call my own, stretching into silence and escaping the reach of words.<\/p>\n Sun Please provide a simple answer to this complex question.<\/p>\n Bodycorporealityorganicembodimentinquestioninterweavingnewunknownmyyourbody<\/p>\n When I was in kindergarten, my body belonged to my parents, and then I began to bleed. In high school, it belonged to the people who liked me. Soon after, I realised that my body belonged to the system it had fallen into. Now I try my best to remember that it has always belonged to me, and to recognise that its ownership is my responsibility.<\/p>\n My body is mine. Even in a fake world, power tries to control living bodies through images. I reject that and reclaim my physical autonomy.<\/p>\n Not owned. The body is the puppet, and the mind is the programme. Whose is mine? It depends on the pond you swim in.<\/p>\n The body is owned or controlled by the space in which I find myself, but in the crudest sense, it is mine because I cannot evade it.<\/p>\n My body is mine and also everyone else\u2019s, since it exists in the space and time that I share with all other bodies. My body is one with the world.<\/p>\n To ask \u201cWhose body is my body?\u201d is to recognise that autonomy is fragile and that ownership is not guaranteed. It is to see the conflict between being a self and being a pawn, between the desire to thrive and the conditions that prevent thriving.<\/p>\n My body is a space where I and others meet. Only through consciousness, through touch, through the decision to belong to it, does it become mine.<\/p>\n The answer is uncertain. Maybe the body is mine only when I refuse to be shaped. Maybe it becomes mine only through resistance. Maybe the question is the only true form of possession.<\/p>\n <\/p>\n External professional collaborators: Andreja Rauch, Nika Erjavec <\/p>\n English proofreading:\u00a0Arven \u0160akti Kralj<\/strong> <\/p>\n The project was created in collaboration between the University of Ljubljana \/ Academy of Fine Arts and Design, University of Ljubljana, and \u0160kuc Gallery.<\/p>\n Special Thanks:<\/p>\n The \u0160kuc Gallery programme is supported by the Ministry of Culture and the Municipality of Ljubljana.<\/p>\n <\/p>\n","protected":false},"featured_media":26057,"template":"","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","inline_featured_image":false,"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false},"categories":[359,363,127,431],"class_list":["post-26058","objava","type-objava","status-publish","has-post-thumbnail","hentry","category-foto-en","category-kip-en","category-news","category-razstave"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.aluo.uni-lj.si\/en\/wp-json\/wp\/v2\/objava\/26058","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.aluo.uni-lj.si\/en\/wp-json\/wp\/v2\/objava"}],"about":[{"href":"https:\/\/www.aluo.uni-lj.si\/en\/wp-json\/wp\/v2\/types\/objava"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.aluo.uni-lj.si\/en\/wp-json\/wp\/v2\/media\/26057"}],"wp:attachment":[{"href":"https:\/\/www.aluo.uni-lj.si\/en\/wp-json\/wp\/v2\/media?parent=26058"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.aluo.uni-lj.si\/en\/wp-json\/wp\/v2\/categories?post=26058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nAsst. Prof. Emina Djuki\u0107, mentor on the Photography V course, Department of Visual Communication Design, UL ALUO<\/strong>
\nAsst. Prof. Mag. Maja Smrekar, mentor on the Sculpture V course, Department of Sculpture, UL ALUO<\/strong><\/p>\n
\nVera Zalutskaya<\/strong><\/p>\n
\nSara Ana Bogataj Dolin\u0161ek, Martin Dimitrov Spasovski, Tadej Dolinar, Hedda Johanna Charlotte D\u00f6nnges, Lara Frelih, Nina Kuhari\u010d, Rok Mlinar, Maj Perko, Katja Po\u0161trak, Luisa Prokopov\u00e1, Leo Samsa, Ne\u017ea Tur\u0161i\u010d \u0160ibenik, Jason Tilen Unterlehner, \u017denja Vodnik, Johanka Vohnoutov\u00e1<\/strong><\/p>\n
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\nEarth
\nGovernment
\nA thousand galloping horses
\nProphecy
\nBed
\nCrack
\nTurning point
\nMoistness
\nSomeone who plays me<\/p>\n
\nNot borrowed.
\nOnly happening.
\nI am mine.<\/p>\n
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\n<\/strong>
\nAcknowledgements:\u00a0asst. prof. Tejka Pezdirc, Matja\u017e Po\u017ear, Ur\u0161a Marolt, Tilen Miheli\u010d Kurent, Mateja Vidrajz, \u017diga Gori\u0161ek, assoc. prof. Peter Rauch, assoc. prof. Peter Ko\u0161trun, Lighting Guerrilla Laboratory<\/strong><\/p>\n
\nSlovene proofreading:\u00a0Inge Pangos<\/strong>
\nDesign:\u00a0Lea Jelenko
\n<\/strong>Cover photography: temporary photo-sculpture collective UL ALUO
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