Duchamp’s ready-made objects can be understood as four-dimensional projections of three-dimensional entities, which, in addition to having their own materiality, allude mainly to the conceptual (abstract) or virtual dimension. The abacus as a ready-made object is virtual on two levels: as an analog computing device and as a shadow, which is the visual manifestation of its own virtuality. The shadow is an unstable imprint and an immaterial duplication which metaphorically highlights intelligibility and the immaterial.
Uršula Berlot studies painting at the Ljubljana Academy of Fine Arts and Design and at the Paris Ecole Nationale Supérieure des Beaux-Arts. She defended her doctoral thesis at the Ljubljana Academy of Fine Arts and Design, where she is currently teaching. In her artistic practice - luminous and kinetic installations - she explores the forms of mental landscapes, simulated nature and the relationship between the body and technology. Uršula Berlot won the Schering Stiftung (Berlin, 2007) grant for her artistic work, as well as the Pollock-Krasner Foundation award (New York, 2005) and the Henkel Art Award, KulturKontakt Austria (Vienna, 2004). Among other venues, her work was shown in Kunstlerhaus Bethanien (Berlin, 2007), BA-CA Kunstforum Tresor, Vienna (2005), Moderna Gallery, Ljubljana, Haus der Kulturen der Welt (Transmediale, Berlin, 2008), Revoltella Museum (Trieste, 2013), Rijeka Museum of Modern and Contemporary Art (Media Art – Angles and Intersection, 2009). — www.ursulaberlot.com