Ivan Fijolić (HR) Artificial Intelligence

Installation, 2006

In Artificial Intelligence Ivan Fijolić motorizes and animates a prosthetic leg that comes to life in a cinematic manner in front of the eyes of the audience. Twitching and dancing are not constant – instead, the leg can be steered by a remote control enabling speeding up and slowing down its back-and-forward movement. “In technological revolution”, claims the artists, “we have become strangers to ourselves… We have robots and similar practical devices to aid us in our everyday lives, while the rhythm of life itself has become faster and faster since these devices make the completion of our tasks easier and quicker. Life has become utterly robotic and automated. I’m not saying that technology hasn’t made our lives easier, far from that, but generally speaking, we rarely show respect for anything that can’t be measured or scientifically proven. Life as such (that which is unmeasurable) has been reduced to mere numbers in the collective consciousness of society…

This work is about us all and about trying to become aware of the automated activities we have been taught and which we have appropriated as our own (and so fully logical and justified). I asked myself if things were really like they seem and what could I do with myself in order to improve my own quality of living instead of searching for someone else to blame in this ‘crazy’ world.”

technical support: Vedran Relja
production: KONTEJNER (DIY_ARTLAB)

Ivan Fijolić (HR)

Ivan Fijolić was born March 30, 1976 in Zagreb. After finishing the School of Applied Arts and Design in Zagreb, he graduated from the Academy of Fine Arts also in Zagreb. He has had solo exhibitions in Croatia, Italy, Slovenia, and participated at many group exhibitions in Italy, Japan, Greece, Croatia. He’s the author of the Bruce Lee monument in Mostar, Bosnia and Herzegovina. “Through the medium of sculpture I explore everyday life paraphrasing pop art and its icons, especially pop icons of cinema and comic industry. I’m directly critical towards all unsuccessful imitations of true endeavors to endorse life under the surface of the everyday. I place certain subjects in a different context in order to reveal them from a certain distance and demystify them in the process.”