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Janez Janša, Janez Janša, Janez Janša
Credits (2013)
   
     
   
 
Janez Janša, Janez Janša, Janez Janša
Mount Triglav on Golden MasterCard / Triptych / part of CREDITS series (5545 8608 0074 1512 (Mount Triglav by OHO group / Miljenko Matanović, David Nez, Drago Dellabernardina (1968 / action in Ljubljana / photo and film documentation / courtesy of: Moderna Galerija, Ljubljana)), 5545 8608 0073 4988 (Like to Like / Mount Triglav by Irwin group (2004 / colour photograph / 168 x 199,5 x 7 cm / photo reconstruction on the basis of a photograph of the public action Mount Triglav by OHO group / photo: Tomaž Gregorič / production: Cornerhouse / courtesy of: Gregor Podnar Gallery, Ljubljana, Berlin)), 5545 8608 0074 2288 (Mount Triglav on Mount Triglav by Janez Janša, Janez Janša, Janez Janša (2007 / action on Mount Triglav / reconstruction on the basis of a photograph of the public action Mount Triglav by OHO group from 1968 and photo reconstruction Like to Like / Mount Triglav of OHO group’s public action Mount Triglav by Irwin group from 2004 / photo: Gaja Repe / courtesy of: Aksioma))), 2013, print on plastic, 5,4 x 8,5 cm each
 
   
 
Janez Janša, Janez Janša, Janez Janša
Golden Triglav on Golden Maestro / Triptych / part of CREDITS series (6762260009000094289 (Golden Triglav / Study for the Monument to the National Contemporary Art by Janez Janša, Janez Janša, Janez Janša (2008 / golden sculpture / sculpture on the basis of the action Mount Triglav on Mount Triglav by Janez Janša, Janez Janša, Janez Janša on Mount Triglav in 2007 on the basis of a photograph of the public action Mount Triglav by OHO group from 1968 and its photo reconstruction Like to Like / Mount Triglav by Irwin group from 2004 / 115 x 123 x 45 cm / courtesy of: Aksioma)), 6762260008428203852 (Golden Triglav / Study for the Monument to the National Contemporary Art by Janez Janša, Janez Janša, Janez Janša (2008 / golden sculpture / sculpture on the basis of an the action Mount Triglav on Mount Triglav by Janez Janša, Janez Janša, Janez Janša on Mount Triglav in 2007 on the basis of a photograph of the public action Mount Triglav by OHO group from 1968 and its photo reconstruction Like to Like / Mount Triglav by Irwin group from 2004 / 115 x 123 x 45 cm / courtesy of: Aksioma)), 6762260009000086640 (Golden Triglav / Study for the Monument to the National Contemporary Art by Janez Janša, Janez Janša, Janez Janša (2008 / golden sculpture / sculpture on the basis of the action Mount Triglav on Mount Triglav by Janez Janša, Janez Janša and Janez Janša on Mount Triglav in 2007 on the basis of a photograph of the public action Mount Triglav by OHO group from 1968 and its photo reconstruction Like to Like / Mount Triglav by Irwin group from 2004 / 115 x 123 x 45 cm / courtesy of: Aksioma))), 2013, print on plastic, 5,4 x 8,5 cm each
 
   
   
   
Janez Janša, Janez Janša, Janez Janša
Signatures on Maestro / Triptych / part of CREDITS series (6762680534320841921 (Janez Janša / part of Janez Janša, Janez Janša, Janez Janša triptych / part of SIGNATURE series by Janez Janša, Janez Janša, Janez Janša (2010 / acrylic on canvas / 50 x 70 cm / courtesy of: Aksioma)), (6762680534321123154 (Janez Janša / part of Janez Janša, Janez Janša, Janez Janša triptych / part of SIGNATURE series by Janez Janša, Janez Janša and Janez Janša (2010 / acrylic on canvas / 50 x 70 cm / courtesy of: Aksioma)), (6762680534320085776  (Janez Janša / part of Janez Janša, Janez Janša, Janez Janša Triptych / part of SIGNATURE series by Janez Janša, Janez Janša, Janez Janša (2010 / acrylic on canvas / 50 x 70 cm / courtesy: Aksioma)), 2013, print on plastic, 5,4 x 8,5 cm each
 
   

Credits is a series of miniature works by Janez Janša, Janez Janša and Janez Janša, which the artists have been developing since autumn 2012. It comprises motifs from their works, or motifs related to them, which are printed on bank and credit cards. The works will be on display for the first time at the exhibition 1:1 Stopover, curated by Zdenka Badovinac, at the Museum of Contemporary Art – Metelkova (+MSUM). Among the works chosen to be presented on this occasion, as part of the series Credits, there are works related to their action Mount Triglav on Mount Triglav (Triglav na Triglavu) – the sculpture Monument to the national contemporary art / Golden Triglav (Spomenik nacionalni sodobni umetnosti / Zlati Triglav), OHO’s happening Triglav and the work Like to Like (Svoji k svojim) by IRWIN – as well as works from the series of paintings Signature (Podpis). The works in the Credits series are structured by the logic of triptych. Each work is named on the basis of the card’s number. Janša, Janša and Janša consistently develop the matrix of data on specific works (“credits”) and thus reopen questions of identity and identification. One’s name is one’s label; it is used to identify the person in the symbolic network. And yet, the name is changeable. At the administrative level, a person is identified with a number, and this number cannot be changed.

Bank and credit cards are a medium of trust. Trust is the basic relation of the entire financial sector, which is essentially virtual. It is upheld by unconditional trust, by blind faith, so to speak, in the functioning of this virtuality. Once the basic pact of trust is broken, the entire system can collapse in a moment. Nowadays, financialisation is an extremely complex system, in which as little as possible is left to trust and financial stakes are ever more insured, but credit remains at the heart of it all: somebody gives us something hoping we would give it back one day. The creditor shows trust while we spend our future.

With the new series of works, Janša, Janša and Janša raise questions concerning the relations between art and capital, between the virtuality of financial sector and the reality of artist position, questions concerning the ways in which financial sector perceives art and what kind of limits it sets to art … The works represent a new step in the artists’ perennial exploration of collateral consequences of the change of name, and they are characterised, among other things, by the fact that they have been produced by institutions and through their protocols. In the case of the Credits series, Janša, Janša and Janša have ordered debit cards featuring motifs chosen by the artists. Banks understand debit cards as an instrument for making payments; as soon as they land in the museum, however, they start functioning as artworks. As with other objects that characterise the work of Janša, Janša and Janša, the artistry of debit cards is temporally limited, for they are no longer interesting as living art objects after they have passed their expiry date (their artistry is constituted precisely by this double status); they turn into museum exhibits, documents of something that has already happened, remnants, relics.

The museum, or the gallery, is a space of trust, too, in a certain way. While banks keep money and look after it, fertilise it, lend it and create new values with it, museums do pretty much the same with artworks. In the museum, artwork acquires added value. Museums without artworks are like banks without money. The artists have entrusted the museum with their debit cards and thus handed over to the museum a part of their lives, at least that part which is directly related to their bank accounts. In the Credits series, two institutions of trust are thus put on the same level: the banks create the conditions for production, produce debit cards and look after the money deposited into the accounts associated with these cards, while the museum ensures that the public has access to these objects and, at the same time, that these objects remain safe and intact. The artwork consists not in the debit cards as such but rather in the parallelism of double trust. Credits = trust in the bank + trust in the museum.

Already in 2008, the exhibition NAME Readymade by Janša, Janša and Janša raised the question of differences within the phenomenon of readymade. Once they have left behind everyday reality and landed in the gallery or museum context, most readymades are characterised by the difficulty to return to reality from which they have been transposed into the context of art institution. However, personal documents that the artists then exhibited in Graz went back into their wallets once the show was over.

With the Credits series, Janša, Janša and Janša expose another difference between a classic readymade and the works they create. Classic readymade is, typically, a mass-produced commodity. In a way, readymade is the fundamental art form of the Fordist mode of production. On the other hand, debit cards featuring motifs chosen by the user are a typical product of the post-Fordist mode of production, in which the final image of the product is adjusted to the final user, who thus gets the sense that he or she participates in the very creation of the product, that the product is tailor-made for them, that this product makes them special, standing out from the crowd. One of the banks advertises debit cards featuring personal motifs with the slogan “Find the artist in you”. In post-Fordism, readymades have become personalised.

 
   
   


Production
: Aksioma – Institute for Contemporary Art, Ljubljana, 2013

Artistic Director: Janez Janša
Producer: Marcela Okretič
Executive Producer: Sonja Grdina

The programme of Aksioma Institute is supported by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.
Sponsor: Datacenter d.o.o.

Contact: Aksioma | Institute for Contemporary Art, Ljubljana

 
   
 
   
Credits by Janez Janša, Janez Janša and Janez Janša
in the framework of the gruop show Stopover 1:1 curated by Zdenka Badovinac
+MSUM, Ljubljana
17 October 2013 - 12 January 2014