Venice Biennale: Heaters for Hot Feelings

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  • Mirko Bratuša: Heaters for Hot Feelings
    Exhibition catalogue and promotional materials 
    the Slovenian Pavilion at the 54th Venice Biennale
  • The sculpture installation by Mirko Bratuša is composed of eight bodies interlinked in a network. Heating of four of the sculptures is made possible only by cooling the other four. This mutual dependence symbolises the problems of modern society – wealth of one part of the planet is causing poverty on the other. Warm and pleasant human-like statues are a perfect contrast to cool biomorphic bodies with condensated water on them. The latter can be seen as exposed internal organs of the former.

    The exhibition catalogue tries to address this issue in similar manner by confronting and connecting different contrasts.

    The cover page is showing one of the warm sculptures. When looked from the side the exposed binding is serving as a metaphor for the contrast between the pleasant extroverted human-like figure and its exposed cold interior. The translucent paper with the title suggests the linking of the two worlds. This is further highlighted in the book by oversized headlines that run from one spread to another.

    The materiality of the sculptures is emphasised by different paper stock. Tactile cover page resembles the ‘skin’ of the bodies and the overall feeling of the catalogue is reminiscent of the rough feeling and contrasts of the sculpture installation.

    Designed by Matjaž Čuk and Katarina Medić.
    Photographs by Tomaž Lunder, Tomo Brejc, Boris Gaberščik.
    Client: Galerija Božidar Jakac, Kostanjevica na Krki.
    Project photographed by Katarina Medić.
  • Exposed binding is a contrast to the warm tactile cover page. This type of binding also allows for easier reading of the catalogue as it always stays open when laid flat on the table.
  • The invitation continues the theme of the exhibition, presenting and confronting two of the statues – warm and human-like body on the outside and cold and biomorphic opponent on the inside.
  • Oversized headlines run from one spread to another.
  • The catalogue is roughly divided into two contrasting sections: text and pictures. Since the photographs are positioned away from the text, the page numbers are enlarged so it is easier for the reader to link the text to the correct image.
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