{"id":4614,"date":"2018-03-28T12:10:21","date_gmt":"2018-03-28T12:10:21","guid":{"rendered":"https:\/\/thebirthofeverything.com\/authorsite\/igor-eskinja\/"},"modified":"2018-03-28T12:10:21","modified_gmt":"2018-03-28T12:10:21","slug":"igor-eskinja","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/igor-eskinja\/","title":{"rendered":"Igor E\u0161kinja"},"content":{"rendered":"

\"\"Igor Eškinja (Croatia, 1975.) live and work in Rijeka, Croatia. Eškinja constructs his architectonics of perception as ensembles of modesty and elegance. The artist “performs” the objects and situations, catching them in their intimate and silent transition from two-dimensional to three-dimensional formal appearance. Using simple, inexpensive materials, such as adhesive tape or electric cables and unraveling them with extreme precision and mathematical exactitude within strict spatial parameters, Eskinja defines another quality that goes beyond physical aspects and enters the registers of the imaginative and the imperceptible.<\/p>\n

Eškinja’s participated in various group exhibitions: Manifesta 7<\/em>, Rovereto (2008); Complicity<\/em>, Rena Bransten gallery, San Francisco (2009); 28 Grafični Biennale,<\/em> Ljubljana (2009); Dirt<\/em>, Wellcome foundation, London, (2011), Rearview Mirror<\/em>, Power plant, Toronto, (2011); Inhabitants of generic places<\/em>, Kunstforum, Vienna, Museum of Contemporary Art-Zagreb (2011), Ash and Gold – a world tour<\/em>, Marta Herford, (2012); 2nd<\/sup> Ural Industrial Biennale<\/em>, Ekaterinburg, (2012); 8 ways to overcome space and time<\/em>, Muzej savremene umetnosti, Belgrade, (2013), T-ht nagrada<\/em>, MSU, Zagreb (2016.), Every time a ear di soun<\/em> – Dokumenta 14 program, Savvy contemporary, Berlin (2017), as well as solo exhibitons in: Project for unssuccesful gathering<\/em>, Casino LuxembourgForum d’art contemporain, Luxembourg (2009.), Inhabitants of generic places<\/em>, Kunstforum, Vienna, Museum of Contemporary Art-Zagreb (2011), The Day After<\/em>, Federico Luger gallery, Milano, (2011); <\/strong>Interieur Captivant<\/em>, MAC\/VAL Museum, Vitry, (2012); Quixote<\/em>, MUWA, Graz, (2014).<\/p>\n

The book mentioned during the interview was Blameless, by Claudio Magris<\/a> and Fox, from Dubravka Ugrešić<\/p>\n

\"\"
Ephemeropolis, 2016. Installation, digital prints on polyester Variable dimensions exhibition veiw, House of Arts, Usti and Labem, Czech Republic photo: Polak<\/figcaption><\/figure>\n
\"\"
Ephemeropolis, 2016. Installation, digital prints on polyester Variable dimensions exhibition veiw, House of Arts, Usti and Labem, Czech Republic photo: Polak<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Igor Eškinja (Croatia, 1975.) live and work in Rijeka, Croatia. Eškinja constructs his architectonics of perception as ensembles of modesty and elegance. The artist “performs” the objects and situations, catching them in their intimate and silent transition from two-dimensional to three-dimensional formal appearance. Using simple, inexpensive materials, such as adhesive tape or electric cables and […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-4614","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-interview","7":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/4614","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=4614"}],"version-history":[{"count":0,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/4614\/revisions"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=4614"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=4614"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=4614"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}