Enej Gala in Moe Yoshida: Oblakov gleženj / Cloud’s Ankle
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V četrtek, 14. 8. 2025 te ob 19.00 vabimo v OBRAT, prostor umetnosti in participacije na otvoritev razstave »Oblakov gleženj«, rezidenčnega umetnika in umetnice, Eneja Gale in Moe Yoshida.
Razstava bo v OBRATu na ogled vsak delovnik med 13.00 in 18.00 do petka, 19. 9. 2025.
Oblakov gleženj je razstava videa in skulpturalnih mehanizmov, ki sta jih umetnika Enej Gala in Moe Yoshida ustvarila v Mariboru med skupno umetniško rezidenco. Z vrsto sistematičnih sprehodov po mestu sta zbirala zavržene materiale in predmete, ki nosijo sledi mestnih vsakodnevnih ciklov uporabe, zanemarjanja in preobrazbe. Ti ostanki so bili sestavljeni v kinetične strukture, ki se upirajo enostavni kategorizaciji, vzpostavljajo lastno, notranjo logiko – delujoč ne zgolj kot abstraktne forme, temveč kot kompleksni odmevi kraja.
Vključeni v širši spekter lutkovnih tradicij — ki odmevajo tudi skozi zgodovinske in sodobne prakse v Mariboru — ti skulpturalni izumi delujejo kakor pogoni, ki izkoriščajo odprt potencial gibanja za razvoj načinov mišljenja in ustvarjanja.
Nenehen dialog med dvema umetnikoma razvije vsako delo skozi logiko kontinuiranega sklepa – artikulacije z improviziranimi mehanizmi, ki nakazujejo sisteme v toku – animirane, nestabilne, a hkrati natančne. Njihova fizična in video prisotnost se deli na dve samosvoji, a vzporedni in dopolnjujoči se izkušnji istih teles. V prvi sobi, kjer visijo kot počivajoča orodja neznanega izvora, obiskovalca soočijo s svojo surovo, a subtilno materialnostjo, medtem ko v drugi sobi na videu sprostijo svoj kinetični potencial v brezoblačnem letu skozi nedoločljiv prostor. Dela ne skušajo reproducirati izkušnje mesta, temveč se odzivajo na njegove ritme, neme ostanke in spregledane ekologije. Osvetljujejo tiha srečanja med materialom, okoljem in subjektivnimi gestami.
Zaznamovana z ekološko občutljivostjo do tistega, kar mestni prostori zavržejo ali ohranijo, razstava Oblakov gleženj razmišlja o življenju materialov onkraj njihove prvotne funkcije. Skulpture ponovno uporabijo zavržene elemente ter jih preoblikujejo v oblike, ki nosijo hkrati spomin, gibanje in prisotnost. Kot opozarja teoretik Timothy Morton, pozornost do zavrženih in hiperobjektnih materialov omogoča estetiko, ki priznava medsebojno povezanost brez potrebe po popolnem razumevanju. Dela v tej razstavi delujejo prav v tem prostoru – deloma kot sistem, deloma kot zgodba, deloma kot improvizacija.
Naslov razstave hudomušno opozarja na našo težnjo po antropomorfizaciji – celo pri nečem tako nedoločnem, kot je oblak – hkrati pa namiguje na nemožnost popolnega razumevanja večjih sistemov, ki nas obdajajo. V tem duhu dela preusmerjajo naš pogled k robovom, sklepom in presledkom, kjer se pomen začne oblikovati iz materialnih srečanj z mestom.
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You are cordially invited to the opening of the exhibition of the artists-in-residence of Enej Gala and Moe Yoshida, which will take place on Thursday, 14th June 2025 at 19.00 at OBRAT.
The exhibition will be on show at OBRAT every weekday between 13.00 and 18.00 until Friday, September 19, 2025.
Cloud’s Ankle is an exhibition with a video and sculptural mechanisms assembled in Maribor during a collaborative residency by artists Enej Gala and Moe Yoshida. Through a series of systematic walks across the city, the artists gathered discarded materials and items that trace the city’s daily cycles of use, neglect, and transformation. These remnants were assembled into kinetic structures that resist categorisation, forming self-contained logics not merely as abstract constructions but rather like complex echoes of a place.�
Situated within a broader landscape of puppetry traditions—reverberating also through Maribor’s historical and contemporary practices—these sculptural inventions act as drives, engaging the open-ended potential of movement as a mode of thinking and making. The constant dialogue between two artists evolves each piece through the logic of a continuous joint—an articulation with improvised mechanisms that suggest systems in flux: animated, unstable, yet precise. In the show, the physical and video presences divide into two distinct, yet parallel and complementary, experiences of the same bodies. In the first room, hanging like resting tools of unknown origin, they confront the viewer with a raw yet subtle materiality. In the second room, they unleash their kinetic potential—captured on video—caught in a cloudless flight through an undefined space.�
Informed by an ecological sensitivity to what urban spaces shed and retain, Cloud’s Ankle reflects on the life of materials beyond their intended function. The sculptures repurpose what has been cast off, reorganising it into forms that hold memory, motion, and presence. As theorist Timothy Morton suggests, attention to discarded and hyperobject-like materials allows for an aesthetic that acknowledges interconnection without total comprehension. The works operate in that space—part system, part story, part improvisation. They do not attempt to replicate the experience of the city; rather, they respond to its rhythms, mute detritus, and overlooked ecologies. They make visible the quiet interactions between material, environment, and subjective gestures.�
The exhibition’s title wryly references our compulsion to anthropomorphise even something as indeterminate as a cloud, but also hints at the impossibility of fully grasping the larger systems we inhabit. In this spirit, the works redirect our attention to the edges, joints, and intervals where meaning begins to coalesce from material encounters with the city.
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SobaZaGosteMaribor je program Pekarne Magdalenske mreže Maribor, ki od leta 2011 razvija in organizira umetniške rezidence. V letu 2025 ga sofinancira Ministrstvo za kulturo RS, Mestna občina Maribor, podpira ga Vetrinjski dvor, Narodni dom Maribor.
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GuestRoomMaribor is a programme of Pekarna Magdalenske mreže Maribor, which has been developing and organising artist residencies since 2011. In 2025 it is co-financed by the Ministry of Culture of the Republic of Slovenia, the Municipality of Maribor and supported by Vetrinjski dvor, Narodni dom Maribor.
