Intermedijska umetnica Lina Rica z razstavo, ki je del njenega projekta Pretakanje časa (Time Transfusion),nadaljuje z raziskovanjem sodobnega dojemanja časa. V ospredje postavlja kolektivno in osebno izkušnjo posameznice oziroma posameznika v današnji informacijski družbi, zlasti v trenutni situaciji epidemije, na katero svet ni bil pripravljen.

Naše dojemanje časa je spojeno s spomini, čustvi, načrti in pričakovanji. Ob uvedbi karantene se je zaradi splošne negotovosti zdelo, da nam je na voljo samo sedanjost. Kljub privilegiranosti tistih, ki so lahko ostali doma, se je ta “podarjena” sedanjost, ki bi pomenila ves čas na svetu – tudi prosti čas –, kmalu izkazala za problematično. Ljudje naj bi od doma nadaljevali s hiperproduktivnostjo, ne le z delom na daljavo. Rezultat je bil za mnoge spoj dela in prostega časa, ki se je razvlekel čez dneve in brisal meje rutin.

Nepoznana krizna situacija je zahtevala osebni psihološki davek, ki je na začetku ostal nenaglašen, medijska kultura pa je spodbujala k histerični kreativnosti in opravljanju nalog. Naš prosti čas je namreč definiran z vsebino; še vedno je nujno, da prosti čas zapolnimo, čeprav gre po definiciji za neproduktivno konzumiranje časa. Prosti čas je potrjen kot izborjena univerzalna temeljna človekova pravica, a mnogim nedostopna. Je namreč nevaren, saj je to čas odmora, razmišljanja, ustvarjalnosti, nove energije in novih idej, ki so lahko kritične do vsakokratnega sistema ali celotnega ustroja družbe.

Miha Kelemina in Lara Plavčak: besedilo za samostojno razstavo Prosti čas v Kino Šiška, 2020

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In the exhibition, a part of her project Time Transfusion, intermedia artist Lina Rica continues exploring the contemporary perception of time. She places the collective and personal experience of an individual in today’s information society at the forefront, especially in the current epidemic situation, which the world was not ready for.

Our perception of time is fused with memories, feelings, plans and expectations. When the quarantine was introduced, the general uncertainty made it seem that only the present is available to us. Despite the privileged position of those who could stay at home, this “donated” present, which would mean all the time in the world – including free time –, soon proved itself problematic. From home, people were expected to continue their hyperproductivity, not just to work remotely. The result for many was a fusion of work and free time that extended across days and blurred the lines of routines.

The unfamiliar crisis situation demanded a personal psychological toll that remained unaddressed at first, with media culture encouraging hysterical creativity and task completion. Our free time is defined by content; it is still necessary to fill it up, even though it is defined as the unproductive consumption of time. Free time is affirmed as a universal basic human right that has been won, yet is inaccessible to many, as it is dangerous. It is a time for a pause, for reflection, creativity, new energy and new ideas, which can be critical of a particular system or society as a whole.

Miha Kelemina in Lara Plavčak: text for the solo show Free Time in Kino Šiška, 2020