Rumeni virtualni White Cube

Galerijski prostor, ali kot ga tudi imenujemo »white cube«, torej bela kocka, je hermetično okolje umetniških vizualnih artefaktov, lahko bi rekli tudi, da je njihov pravi ali prvi dom. Prostor, ki ga je soustvarjala institucija umetnosti je danes do te mere odtujen od ljudi, da se nekateri niti ne upajo prestopiti njen prag. Umetnost pa ne bi smela biti samozadostna, še manj pa, da postane rutinsko delo udeležencev nekega umetniškega dogodka. Virtualni prostor svetovnega spleta je simulirano okolje, prilagojeno potrebam človeka, ki v današnji hitri in površinski konzumaciji podob potrebuje hitri dostop do vizualnih senzacij. Prav tako je tudi nevtralen teren, kajti za razliko od galerije ne zahteva fizičen vstop v galerijo in ne ogroža naš osebni prostor. Zato splet postaja najbolj dosegljiv in razširjen medij sploh.
Avtor svoje motive črpa ravno iz spleta, vendar jih povezuje na slikarsko platno. Pri svojih slikah uporablja podobne strategije kot mediji: trganje podobe - informacije iz njenega prvotnega konteksta, režiranje lažnih dogodkov in ustvarjanje lepega sveta, za katerim je skrita neznana grožnja. Osrednji motivi slik se vrtijo okoli otrok, naših zanamcev, ki jih že danes zapiramo v sterilna okolja »tehnološke kapsule«, ljudem ponujamo sintetično hrano in farmacevtske strupe, življenje je strogo sistematizirano, shematizirano in hladno podrejeno funkciji državnih aparatov in globalnih koorporacij. Človeštvo se nahaja v izredno občutljivem zgodovinskem momentu, ko je na voljo nešteto informaciji, večina je potvorjenih in odvzetih iz svojega konteksta, strah, ki se s temi informacijami formira, pa je bistveni element kontrole množic. Slike Uroša Weinbergerja, s plastenjem nenavadnih podob, opozarjajo in spodbujajo alternativne interpretacije družbene resničnost.
Ni naključje, da se slike iz ciklov Human Error, Control – Delete in Info vs. Info zopet vračajo v prostor spleta preko virtualne galerije družinskega podjetja Studia Černe. Tako se skupaj z »belo kocko« selijo v digitalni svet. Weinbergerja tu zanima preobrat, ki se zgodi, ko se te podobe zopet vračajo v prostor spleta, od koder so prišle. Podobe slik teh treh ciklov so tokrat izpostavljene že tretji transformaciji, saj so bile podobe iz fizičnega okolja v obliki dokumentarne fotografije najprej selekcionirane in prenešene na splet, nato pa so bile izbrane s spleta, nadalje dekonstruirane na fizičen nosilec in na novo konstruirane in reintepretirane kot klasična slika. Sedaj pa se digitalizirane slike dematerializirajo in naselijo v belo virtualno galerijo.

Virtual Yellow White Cube

Gallery space, or as is often called the "white cube", is the white cube, the hermetic environment of artistic visual artifacts. One could also say that this is their real or their first home. The room, which co-created the institution of art is now so much alienated from the people, that some do not even dare to cross its threshold. Art should not be self-sufficient, much less to become the routine work of the participants of an artistic event. Virtual space of the internet is a simulated environment, tailored to the needs of man, which in today's rapid and surface image consummation needs quick access to visual sensations. It is also a level playing field, because unlike the gallery does not require physical access to the gallery and do not jeopardize our personal space. Therefore, the Web is becoming the most accessible and widespread media at all.
Author Uroš Weinberger draws his motifs from the Internet, but links them to the canvas. In his paintings using similar strategies as media: picking images - information from its original context, directing events and create false beauty of the world, behind which is hidden unknown threat. The central motifs revolve around images of children, our descendants who are already closed in a sterile environment, "Technology Capsules", people offer food and pharmaceutical synthetic toxins, life is rigorously systematized, simplified and coldly subordinated to the state apparatus and global coopertions. Mankind is highly sensitive to this historic moment when the myriad of information are available, most of the redesigned and taken from its context. The fear that is created with these information, is an essential element of controling masses.
Pictures of Uroša Weinbergerja with unusual layering of images, highlight and promote alternative interpretations of social reality.
It is no coincidence that the images from the cycles of Human Error Control - Delete and Info Vs. Info are coming back again into the room through a virtual online gallery of the family company Studio Cerne. Thus, together with the "White Cube" moving into the digital world. Weinberger is here interested in turning that occurs, when the image again returns to the web space from which they came. Images from the three cycles are this time exposed to the third transformation; the images from physical environment were taken in the form of documentary photography by initially selected and manipulated and transmitted online. Then they were selected from the Web, further deconstructed the physical media and lastly newly constructed and reinterpreted as classical picture. Now, the digitized images are dematerialized and settled in the white virtual gallery.