Lara Žagar
46.3532182, 15.1231226

Curated by
Ema Ograjenšek

Exhibition
5 November–19 December 2025
Aksioma | Project Space, Ljubljana

Part of U30+ production programme for supporting young artists

46.3532182, 15.1231226 is a fictional research project focusing on the accumulation of limescale — a compound of calcite, magnesite, and other minerals. The installation consists of two glass heaters and containers that supply them with water and mineral solution. The heaters, as sites where the non-precious “rock” is generated, are open to human view and thus to speculative impulses that seek some form of gain or yield in the material – either by maximising its value or its quantity/size. The apparent scientific character of the installation is thus compromised from the outset as the chemical process is opened to esoteric and mechanical contamination. Does the “foreign element” infiltrate the system through the dissolution of carbon dioxide in water? When heating leads to the formation of the precipitate? Or is the foreign element the gaze itself? Perhaps the intention inscribed through unusual mahogany pedestals and their carved motifs?

46.3532182, 15.1231226 presents itself as a herald of chemical esotericism, a speculative discipline that seeks to reveal humanity’s inadvertent geological activity. The project is part of a duo exhibition by Oskar Kandare and Lara Žagar, within which materiality appears as a shared space for speculative thought and the questioning of epistemic procedures.

Oskar Kandare
sys_6x3_CAT

Curated by
Ema Ograjenšek

Exhibition
5 November–19 December 2025
Aksioma | Project Space, Ljubljana

Part of U30+ production programme for supporting young artists

Oskar Kandare’s intermedia artwork sys_6x3_CAT consists of rudimentary motion sensors, mechanical components, and cable configurations. It is an autonomous kinetic system that functions like a primitive single-celled organism in its earliest stage of development. Lacking complex sensory perceptions, it responds only to its immediate surroundings. Its movement is uncertain, slow, and without real purpose—it exists only to exist.

sys_6x3_CAT has connected itself to the room’s electrical system, disrupted the geometrically ordered arrangements of local power units, and redefined the function of its motors. Now, through its movement, it increasingly influences the sensory characteristics of the space, changing and observing it with its presence.

The work explores the boundary between the living and the non-living, between evolution and stagnation, and within the duo exhibition, where artistic projects of Oskar Kandare and Lara Žagar co-create a shared space of speculative thought, raises questions about the meaning of bare, purposeless existence and the possibility of autonomy in such mode of being.

Lotte Louise de Jong
Stuck? Click Here

Curated by
Emily Hsiang-Yun Huang

Exhibition
1 October–29 October 2025
KUNSTSURFER

KUNSTSURFER is a browser-based art space. It runs on an add-on that recognises advertisements on web pages and replaces them with digital exhibitions.

To use the add-on, you’ll need to download and install it in your browser. The process is very simple, quick and 100% secure!

DOWNLOAD for Firefox
DOWNLOAD for Chromium-based browsers (Chrome, Opera, Brave, Microsoft Edge, etc.)

In the niche corners of the internet lies the fetishized porn genre of “stuck,” where female bodies are wedged into sofas, office chairs or washing machines, immobilized for a fantasy of control-through-surrender. Lotte’s artwork slows these clips down, suspending the moment before release. In doing so, it shifts attention away from sexual climax to the condition of being “stuck” itself, a metaphor for our entrapment in digital platforms.

Decelerating the pornographic loop reveals its kinship with compulsive infinite scrolling. Both hinge on embodied movement, where platforms inscribe their tempo into our bodies, short-circuiting our brains with hyperactive reward loops that manufacture desire and then amplify it. This kind of desire doesn’t lead to genuine pleasure or release, but remains suspended, caught in feedback loops: a gooning by design, overstimulated, caught between anticipation and satisfaction.

By reframing “stuck” as online advertisements, hijacking the grammar of clickbait and banners. Stuck? Click Here parodies the economy of desire. It reminds us that “stuck” is no longer just a fetish but a default mode of existence online, where even the promise of getting unstuck arrives in the form of self-help clickbait.

《卡住了嗎？點我》

在網路的角落中，存在一種小眾的情色影片類型「卡住」(stuck)。物化的女性身體被卡進沙發、辦公椅或洗衣機裡，動彈不得，創造出一種因投降而獲取控制的幻想。荷蘭藝術家Lotte的藝術作品將這些影片的速度放慢，使「釋放」之前的時間懸置下來。如此一來，作品將注意力從性高潮轉移到「卡住」本身，作為我們被數位平台困住的隱喻。

慢速循環播放的色情影片與我們強迫性地、無止境滑手機屬於同一種類型的狀態。兩者都仰賴身體的動作，平台將它們的節奏刻進我們的身體，過度活躍的獎勵迴圈使我們的大腦短路，這種機制量產慾望，再將其放大。這種慾望並不通往真正的快感或釋放，而是持續懸而未決，困在回饋迴圈之中，形成一種設計使然的慢性自慰（gooning） ——受到過度刺激的身體狀態，使我們被困在「期待」與「滿足」之間。

透過將「卡住」色情片轉變為網路廣告並挪用釣魚式標題與橫幅的語法，《卡住了嗎？點我》戲仿了慾望的經濟學。它提醒我們，「卡住」已不再只是癖好，而是線上存有的內建狀態，因為甚至連脫困的希望，都以自救釣魚廣告的形式出現。

Samra Buljić
Assimilation Complete: Autocatalytic Form Replication

Curated by
Ema Ograjenšek

Exhibition
17 September–24 October 2025
Aksioma | Project Space, Ljubljana

Part of U30+ production programme for supporting young artists

The emergence of linguistic form remains largely unknown. As the origins of language (1) reach beyond reliable traces or documentation, and as their transparency—or accessibility to analysis—is bound up with the emergence of words themselves, with language that resembles our own enough to allow meaningful comparison, any attempt to construct a definitive timeline or account of its development beyond this condition of comparability is necessarily considered speculative. Historical linguists have approached this question along several lines:

• anatomical – positing the necessary development of the brain to provide the capacities required for language (Homo erectus, ca. 1.5 million years ago) 
• technological – positing critical innovations, such as tool-making (from early stone tools ca. 1.5 million years ago to watercraft ca. 40,000 years ago), whose creation and use could necessitate verbal communication, and
• cultural – positing signs of symbolic expression (ostrich eggshell beads, ca. 40,000 years ago, and later cave paintings) as the emergence of expressive, symbolic thought.

The legibility of form—and the comprehension of its genesis—depends on similarity, on the transferability of elements that enable comparison. Assimilation Complete: Autocatalytic Form Replication touches on key structural points in such emergence of form—not only linguistic form, but form itself, in its indeterminate otherness. 

Assimilation Complete articulates and maps a development no longer bound to the elements of successful particular states—those that might survive and carry forward into subsequent expression. Rather, it traces unsuccessful elements—evolutionary dead ends destined to vanish. In doing so, it inevitably moves beyond the boundaries of knowledge defined by transparency and legibility into the viscous core of speculation.

The installation consists of a large-scale imprint situated within the spatial construction of artificial leather patches that serve as its environment. The imprint (2), as a technique of reproduction, destabilises the relationship between the matrix and the copy. Instead of marking a clear distinction between the original and its repetition, it generates a field of uncertainty in which every trace is simultaneously confirmation and erasure of the matrix. Within this field, form ceases to exist simply as content or expression; it asserts itself in space as an anachronistic trace, engaging the real through an enigmatic absence—the absence of the matrix—by which the drawing opens itself to the incursions of ontological contingency.

The outcome is not mere repetition but the opening of new trajectories, each carrying its own internal necessity. Hence, Assimilation Complete: Autocatalytic Form Replication is not a mere site of genesis and technical reproduction but also holds its distinct teleology. It distances itself from conventional coordinates of drawing, associated with the principles of articulation or capture, and follows instead the logic of speculative prognosis and abstract asignification, through which graphic transfer unfolds its own inherent development and flight.

(1) See Guy Deutscher, The Unfolding of Language: An Evolutionary Tour of Mankind’s Greatest Invention (London: Arrow, 2006).

(2) See Georges Didi-Huberman, Podobnost prek stika : arheologija, anahronizem in modernost odtisa (Ljubljana : Studia humanitatis, 2013).

The Vast Automaton

Screening programme
11 September 2025 at 19.00
Slovenian Cinematheque, Ljubljana

Curated by Bani Brusadin and Giulia Colletti
for the 5th Industrial Art Biennial

Featuring works by
Serin Oh, Minha Park, Alice Bucknell, Rich Pell, Gerard Ortin Castellví, Cemile Sahin, Daniel Felstead, Jenn Leung

From Martian dust storms to automated food production, from ghost fish surviving the toxic legacy of mining to impossible dreams of mind-to-mind communication and other weird technical mythologies. In a roller coaster of facts and speculation (and sometimes hilarious absurdity), these films trace the industrial not as a functional surface but as a spectre that permeates language, memory, biology, and landscape, revealing systemic projects of domination and redesign of the human.

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Serin Oh
Silvery Trail (2024)
10’52’’

Synopsis

Silvery Trail (2024) traces the ghostly return of the lenok fish, once believed extinct in South Korea due to mining pollution and habitat collapse. It follows a journey through Daehyeon-ri, a village shadowed by an abandoned zinc mine. Despite environmental degradation, a genetically distinct lenok population quietly survived. Drawing from the site’s ghostlike atmosphere, empty housing blocks, a faint waterfall, and a school-turned-campsite, Oh reflects on ecological memory and resilience. The work questions narratives of extinction and revival, staging a poetic tension between artificial restoration and overlooked continuities in more-than-human survival.

Biography

Serin Oh is a visual artist based in Seoul. Trained in Oriental Painting and Metalwork, her interdisciplinary practice encompasses video, sculpture, and text. Drawing on field research and material experimentations, Oh explores tensions between original and replica, constructing poetic assemblages that oscillate between critique and irony.

Minha Park
Shadow Planet (2023)
15’

Synopsis

Shadow Planet (2023) reinterprets NASA’s Mars Image Archives, a vast collection of data produced by rovers, drones, and satellites to map the planet with scientific precision. Minha Park instead focuses on what resists this mapping: glitches, blind spots, and ghostly dust storms. The film blends archival footage and fiction to explore a planetary refusal of visibility. When Martian dust storms obscure the sun, the rovers’ cameras fail, creating dark interruptions. Park asks whether Mars shields itself from machinic vision, a self-defensive opacity against cartographic control. Shadow Planet stages this tension as a poetic conflict between image, data, and planetary autonomy.

Biography

Minha Park is a visual artist based in Seoul. Her research-driven practice spans film, sound, installation, and artist books, merging documentary and speculative strategies. Park investigates sensory systems and residual narratives within media, science, and history, revealing latent memories and challenging dominant perceptions of technology, truth, and visibility.

Alice Bucknell
Staring at the Sun (2025)
15’

Synopsis

Staring at the Sun is a “sci-fi documentary” exploring the dark side of solar geoengineering: the deliberate, large-scale modification of the Earth’s climate systems by manipulating the influence of the sun. Set globally across the Louisiana Bayou to the Arctic Circle, Wyoming to Gstaad, and from the Great Barrier Reef of Australia to the palm oil plantations of Indonesia, this work examines geoengineering proposals that are currently undergoing research and development in both the United States and Europe, as well as current evolutions in climate modeling and digital twin technology.

Biography

Alice Bucknell is an artist and writer based in Los Angeles. Focused on creating cinematic universes within game worlds, their work has appeared internationally at Ars Electronica, transmediale, Venice Architecture Biennale, Gray Area, Singapore Art Museum, and Serpentine in London, among others.

Rich Pell
Codex Entropia: 3D (2020)
8’51”

Synopsis

CODEX ENTROPIA is a cautionary epic created from found anaglyph images. Addressing the entanglement of biological life forms, computational data, and political ideology, the film narrates an alternative history of an ancient civilization that develops complex animal computing technologies and stores information in landscapes. The original music and sound design by Jason Martin positions ghosts as recordings, and recordings as ghosts.

Biography

Richard Pell is the founder and director of the Center for PostNatural History (Pittsburgh, USA), an organization dedicated to life-forms that have been intentionally and heritably altered through domestication, selective breeding, tissue culture, or genetic engineering. In the past he founded the internationally acclaimed art and engineering group The Institute for Applied Autonomy.

Gerard Ortin Castellví 
Bliss Point (2024)
23’

Synopsis

Bliss Point plunges us into the ever-accelerating rhythm of food supply and the emergence of new techno-capitalist processes. The film guides us from dark kitchens and food advertising sets to AI-managed warehouses. Drawing from the concept of optimal palatability, Bliss Point reveals the entanglement of automation and human labour, and the ways in which the aesthetics and the politics of food intersect. Together with Future Foods (2020) and Agrilogistics (2022), it completes a trilogy on scopic food regimes. The trilogy is currently on show at the 5th Industrial Art Biennial.

Biography

Gerard Ortín Castellví is an artist, filmmaker and researcher currently based in London. His work has been shown in venues such as Tate Modern, Whitechapel Gallery, Fundació Joan Miró, Centre Georges Pompidou, Anthology Film Archives, Venice Architecture Biennale, Cinéma du Réel and Berlinale.

Cemile Sahin 
Road Runner (2025)
15’15’’

Synopsis

Cemile Sahin’s ROAD RUNNER (2025) envisions a dystopian future ruled by killer drones, blending cinematic storytelling with drone footage, faux commercials, animation, and video game aesthetics. The work follows Bêrîtan as she attempts to rescue her sister from captivity in a parallel Virtual Reality. Drawing from games like GTA and Counter Strike, ROAD RUNNER fuses narrative strategies from film, gaming, and social media. Its hybrid, fast-paced visual language echoes TikTok’s immediacy and gaming’s militaristic intensity, offering a sharp reflection on digital captivity, resistance, and the blurred boundaries between entertainment and control in contemporary screen cultures.

Biography

Cemile Sahin is a visual artist based in Berlin. Working across film, photography, sculpture, and literature, her practice navigates the intersections of text and image. Sahin draws on the fragmented formats of TV series and internet media to explore narrative construction, exposing the shifting perspectives and coded nature of historical storytelling.

Daniel Felstead & Jenn Leung
Always On My Mind (2024)
18’41”

Synopsis

In 2024, Elon Musk’s $5 billion Neuralink startup successfully implanted a brain chip into a 30 year old quadriplegic’s brain. However, down the line Musk asserts that we will be able to communicate with each other using only thoughts via brainchip without resorting to language. Buckle up for a crazy trip into neurotechnologies, thoughts exploitation and body chemistry extractivism, following master linguist and lyrical genius Nicki Minaj as she ponders on the ethical, cultural and social implications of the devaluing of “stupid words”, as they will be replaced by superior “consensual telepathy.”

Biography

Daniel Felstead is an academic and strategist whose practice focuses on the overlap of fashion, technology and culture. He is a course leader at the London College of Fashion and co-founder of Emergence of Tomorrow, an online discussion room and community think tank. He produced works for the BBC, Google, Tate, and V&A Museum.

Jenn Leung is an educator and technical artist whose work focuses on game engine simulations, agent-based modeling, and real-time streaming technologies. Her work has been featured on Epic Games Innovation Lab and Ars Electronica, TANK Magazine, DIS, among many others. She currently lectures at London College of Fashion.

THE CURATORS

Bani Brusadin is a curator, educator, and researcher whose work explores critical technologies, planetary infrastructures, and the politics of digital cultures. He is currently Lead Curator at Medialab Matadero Madrid, and was part of the curatorial team for transmediale 2023. He co-founded The Influencers festival, a long-running platform for radical artistic practices and cultural interference. His curatorial approach emphasises the role of art in interrogating automation, post-industrial landscapes, and socio-technological change. Rooted in network cultures and speculative scenarios, his projects examine how artists respond to systemic transformations shaping contemporary life and the futures at stake.

Giulia Colletti is a curator and art historian whose research investigates the entanglements of mining territories, computational infrastructures, and speculative ecologies. Informed by cosmotechnics across Southern/Southeastern Europe and East Asia, her curatorial work engages with artists addressing extractivism, erosions of the living, and planetary imaginaries. In 2025, she is Research Fellow at the National Museum of Modern and Contemporary Art, Korea (MMCA), and the National Taiwan Museum of Fine Arts (NTMoFA). From 2019 to 2025, she served as Curator, Programs and Digital at Castello di Rivoli. Her writing appears in museum catalogues and publications including e-flux, Mousse, and CURA.

Sara Bezovšek, Dorijan Šiško
Black Box

Exhibition
20 August–5 September 2025
Aksioma | Project Space, Ljubljana

Black Box is a manifestation of total algorithmically driven curation, encapsulated in the form of a video game. The intermedia installation codes between the physical and virtual realm, tasking players with exploring the inner workings of a deconstructed recommender system that forms, facilitates and amplifies online identities. In a political environment where the overton window is drastically shifting, the complex relations of different ideologies and identity positions can be difficult to fully grasp. The inherent ability of capital to immediately co-opt any radical thought, politics or cultural expression and encode it in its own axiomatics generates fragmented and niche political identities that generally express their ideological beliefs through aesthetic forms [1]. These are often personalized or augmented individual mods downloaded and installed from the massive library of the database. The database as a model of cultural production and consumption imposes ceaseless recombination, memeing, parodying and remixing of content aggregated and obsessively organized in online threads and wikis [2]. Faced with the influx of paradoxical belief systems in a digital economy of post-truth, a turn towards aesthetics is the only sensible one [3]. If every online interaction is purely performative and post-ironic, memes become the fundamental carriers of meaning, assembled through iconology, propagated by online echo chambers and harnessed as function [4]. Black box is a project deeply rooted in these online communities and memetic dialects, often appearing as if to be in direct conversation with them. It carefully and precisely maps out the current online aesthetic ecosystem and lets the player roam free, learning about and engaging with different distinct types of character builds that algorithmic culture imposes upon our IRL selves. The player will chart out this dense memetic landscape by feeding themselves to different filter bubbles and interacting with diverging pills, creating an aesthetic representation of their internet-mediated worldview. Based on their decisions, interests and exploration the player will be awarded their own custom wojak – a quintessential symbol of the slowly dying deep vernacular web. Black box is thus a critical, faithful and attentive look into the workings of aesthetic dimensions and manifestations of the online contemporary.
– Lea Sande

[1]  Citarella, J. (2022). Politigram & the Post–left.

[2] Azuma, H. (2009). Otaku: Japan’s database animals.. University of Minnesota Press.

[3] Aemmonia, & Xleepyfey. (2024). The Xenofeminist hauntology. In 0nty & Smith (Eds.), Dialogues on CoreCore & the Contemporary Online Avant-Garde.

[4] Whistler, T. (2023). Internet Core. Do Not Research.

Model: unisex
Size: XL

Special Price until 9 July!

25,00 20,00 € + shipping

T-shirt of the 16th edition of tactics&practice, the annual discursive programme by Aksioma dedicated to art, society and technology.

Are You a Software Update? interrogates how software systems govern interaction, perception, and decision-making. The programme considers the logics of participation embedded in platforms, applications, and networked environments, asking where the space for collective organisation and intervention still lies.

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Silvia Dal Dosso
“Weird AF” trilogy 

Exhibition
18 June–15 August 2025
Aksioma | Project Space, Ljubljana

Opening
WED, 18 June at 7 PM

Part of Tactics&Practice #16: Are You A Software Update?
Curated by Nora O’ Murchú, Socrates Stamatatos, Janez Fakin Janša, Neja Berger

Welcome to the “Weird AF” trilogy: a three-part series of short films mapping out the emotional, cultural, and existential fallout of life in the post-truth era. Using the voice of a synthetic Adam Curtis, each archival style short traces a stage in humanity’s accommodation to unreality.

The Future Ahead Will Be Weird AF (2023, 10 min)
Set in the unreality of an AI-driven post-truth world where reality blurs with deepfakes, resurrected celebrities, and collapsing internet culture, The Future Ahead Will Be Weird AF explores our descent into confusion and adaptation to synthetic identities, warning that in the chaos ahead, nothing will feel real, yet everything will still demand our attention.

The Future Is Going to Be Weird AF (2024, 10 min)
While you’re busy making out with nonhuman agents and using ASMR to distract yourself, The Future Is Going to Be Weird AF shows us how emotional advertising is reformulating our deepest feelings, and how this affective, mediated reality is obscuring the higher priority: survival.

The Future Is Now Finally Weird AF (2025, 12 min)
Set in a world of AI agents, weaponized LLMs, and hyper-flexible humanoids catering to the whims of tech CEOs as the world burns and ordinary people are trapped in the immediacy of everyday struggle, The Future Is Now Finally Weird AF maps out our descent into thoughtfully engineered distraction. The future isn’t just weird as fuck, it’s already among us.