The project Sightscapes is done in collaboration with Nika Autor. It is a dialogue between two artists, which are opening the questions of identity, problems of visuality, image destiny and the relation towards the reality. Scapes is an inter-media project where the cinema-scopic images are facing each other.

By cutting the image, made of snapshots taken by a space probe, into pieces and re-arranging it back into an elusive painting, Sergej Kapus raises the contradictory questions of vision (such as: 'How do we see Mars?', 'What is hidden behind the image of Mars?', 'How are the photographs sticked together?'). Moreover, he takes a firm critical stance towards the self-evidence of the visible and of conventions of the social, refusing to submit to power, authority and the dominant position. I recently ran into an interview where Sergej Kapus stated: „All cuts need to be further developed, for it is only in the background of them that that we can see...1 At once it became clear to me that this was a direct expression of the artist's perceiving and understanding of the pictorial field as a field that requires constant questioning, a field that is without a firm location, decentralized, and as a field of confrontation with the experience of elusive and uncertain visuality.2 Last but not least, the above statement involves the question of historization of the painting, the issue of stereotypisation of a painting and of conventions of vision.
In the accompanying text to the exhibition 6+1, Miklavž Komelj writes: “Perhaps Kapus's paintings testify to the fact that the mode of existing of painting should be thought of as an infinite dialectics of existence and nonexistence, as existence in the name of the nonexistent.”3 My answer is positive, for it is precisely non-identity that legitimises the cut and the suture, opening up a space of impossibility that represents, on the one hand, the unsteadiness in time and space and, at one and the same time, shows the irrevocable belonging to its own time. In that respect Kapus's art is contemporary, for contemporary is what is untimely.4 Agamben wrote that contemporaneity is a singular relationship with one's own time, which adheres to it, and at the same time keeps a distance from it, thus introducing an anachronism, a disjunction that defines contemporaneity. This is “Mars”.

Nika Autor
1. kapus
2.Zabel Igor, Eseji II., Nejasni aspekti vizualnosti (Sergej Kapus) [Essays II, Unclear Aspects of the Visual], 2008, pp. 339-346.
3.Miklavž Komelj,Veseoljska potovanja slikarstva [Space Travels of Painting]. In: Likovne Besede [Art Words], 2009, Ljubljana, pp. 89-90, p. 110.
4.Giorgio Agamben, Kaj je sodobno? [What is the Contemporary]. In: Likovne besede [Art Words], 2009, Ljubljana, 87-88, pp. 2-5.

The film pair Report on the state of the asylum policy in the Republic of Slovenia from January 2008 to August 2009 and Postcards by Nika Autor critically deconstructs the dominant discourse of the asylum and migration policy, lucidly pointing to the principles of exclusion behind it. The films are a reflection upon discourses that legitimise the modus of the disciplining practices which regulate the social situation of asylum seekers, constructing their subjectivity and identities. Further, they point to marginalization and discrimination. From a completely different perspective, Nika Autor legitimises exactly what the dominant regime of representation has hidden and supplanted, revealing that what has been concealed from us is the practice of segregation. Her breaking down of how the social hegemony is inscribed into the regime of representation allows her to crucially transform the existing discourse of the asylum policy. This of course meaning that what is taken apart is the stereotypical representation since a stereotype is regarded as a crucial point of legitimating subjection and preclusion. And this is where the point of resistance comes into play, pointing to mechanisms of power and control and unveiling the ruptures in the dominant construction of reality. By unearthing the hegemonic paradigm, Nika Author seeks to show what failed to be represented and what remained unseen and omitted. Representation therefore is not a politically neutral event, for it legitimises distinctively its object of vision, functioning simultaneously as a social practice the narrative of which is clearly connected to the territory of power, interests and politics.

Sergej Kapus
U3 - 6th Triennial of Contemporary Art in Slovenia: An Idea for Living. Realism and Reality in Contemporary Art in Slovenia, Curator: Charles Esche