{"id":5450,"date":"2026-08-21T12:51:14","date_gmt":"2026-08-21T10:51:14","guid":{"rendered":"https:\/\/speculumartium.si\/wp21\/?p=5450"},"modified":"2026-08-21T13:05:48","modified_gmt":"2026-08-21T11:05:48","slug":"dih-podzemlja","status":"publish","type":"post","link":"https:\/\/speculumartium.si\/wp21\/dih-podzemlja\/?lang=en","title":{"rendered":"Breath of the Underworld"},"content":{"rendered":"\n
<\/span>\"Dih

Breath of the Underworld<\/h2>\n\n\n

Pia Zupan\u010di\u010d<\/p>\n<\/div><\/div>\n\n\n\n

<\/div>\n\n\n\n

Interactive sculpture (2026); mentor: Boris Beja<\/em><\/p>\n\n\n\n

An artistic-research project stemming from the work The Miner’s Gravestone I (1965)<\/strong> by sculptor Stojan Bati\u010d, translates his legacy into a contemporary language of technology, interactivity, and environmental awareness. At the center of the project is a functional air quality monitor, created at the intersection of fine art, engineering, and design. The object is not merely a technical device, but an interpretation of cultural memory that establishes a dialogue between the past and present through a new usable form.<\/p>\n\n\n\n

Bati\u010d’s exploration of lignite in the 1960s marked an important shift in Slovenian sculpture. The material, sourced from the mining environment, enabled the artist to create new relationships between natural structure, geometric form, and symbolic meaning. Works from this period are not only art objects, but also carriers of collective memory about places, people, and labor associated with mining heritage.<\/p>\n\n\n\n

The project stems from the question of how modern technology can become a mean of re-reading artistic heritage. Instead of the miner’s lamp, which is one of the recognizable elements of the original work, the newly designed object incorporates a sensor for measuring air quality. This replacement is not merely formal, but symbolic. If the lamp once enabled the miner to navigate the darkness of the underground, today the sensor reveals invisible data about the environment in which we live. The technological element thus assumes the role of a contemporary tool of perception and becomes a metaphor for a new way of understanding space.<\/p>\n\n\n\n

The object thus acts as a bridge between the material heritage of the industrial environment and today’s digital culture. The air quality monitor also invites a broader reflection on the relationship between humans and their environment. The air we breathe is often taken for granted and invisible, yet it fundamentally determines the quality of our lives. The project does not merely offer data, but translates it into an understandable visual experience in which technical measurements meets artistic interpretation. In this way, the visitor becomes simultaneously an observer, a reader of information, and a co-participant in the process of raising awareness about the space one inhabit.<\/p>\n\n\n\n

The result is proof that heritage is not a static remnant of the past, but a living space of reinterpretations in which a historical body of artistic work can become a starting point for reflection on contemporary social and environmental issues.<\/p>\n\n\n\n

Breath of the Underground was created in the Fundamentals of Artistic Expression course at the Faculty of Natural Sciences and Engineering and is an invitation to consider how material, memory, and technology can together shape new ways of experiencing the world. In the dialogue between lignite and sensor, sculpture and data, mining past and present environmental challenges, a work emerges that not only preserves heritage, but actively translates it into our time.<\/p>\n\n\n\n

Boris Beja<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Interactive sculpture (2026); mentor: Boris Beja An artistic-research project stemming from the work The Miner’s Gravestone I (1965) by sculptor Stojan Bati\u010d, translates his legacy into a contemporary language of technology, interactivity, and environmental awareness. At the center of the project is a functional air quality monitor, created at the intersection of fine art, engineering, […]<\/p>\n","protected":false},"author":1,"featured_media":5451,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","avtor_projekta":"","_themeisle_gutenberg_block_has_review":false,"avtorji_projekta":"Pia Zupan\u010di\u010d","ura_in_datum":"","naslednji_field":"","footnotes":""},"categories":[86,88],"tags":[],"class_list":["post-5450","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-94-sa26-en","category-94-sa26-projekti-en"],"_links":{"self":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts\/5450","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/comments?post=5450"}],"version-history":[{"count":3,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts\/5450\/revisions"}],"predecessor-version":[{"id":5456,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/posts\/5450\/revisions\/5456"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/media\/5451"}],"wp:attachment":[{"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/media?parent=5450"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/categories?post=5450"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/speculumartium.si\/wp21\/wp-json\/wp\/v2\/tags?post=5450"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}