Pop Object 

Editor: Here we have "Pop Object" by Marko Pogacnik, a mixed-media sculpture, likely using a found object. It's… odd. A glove, I think, but monumentalized and cast in, perhaps, plaster. There’s something unsettling and sterile about it. What's your interpretation of this piece? Curator: Unsettling is a key reaction here. Considering the object’s ordinariness – a glove, often used for protection – what commentary do you think the artist makes by transforming this into sculpture? Specifically, how might this gesture reflect power structures present in everyday life? Editor: Power structures? Well, the glove makes me think of labor, maybe? Like, manual work. Is the artist trying to say something about the value – or lack thereof – society places on certain types of labor? Curator: Exactly. Think about who traditionally wears such gloves, and in what contexts. Consider too, how abstraction and realism intersect here, playing on tensions of representation. Could this relate to questions of access, visibility, and agency for the working classes, perhaps in socialist Yugoslavia where Pogacnik developed his art? Editor: I see what you mean. It’s like he’s isolating and elevating this object, this symbol of work, almost forcing us to reconsider its meaning and the people it represents. But isn’t it also… empty? Devoid of the actual human hand. Curator: A potent observation! What might that emptiness signify, beyond the obvious absence? Consider broader social narratives. Who has control, whose work is valued, and whose hand truly guides our world? Editor: I never thought a glove could hold so much meaning! Curator: Art's power lies in its ability to hold up a mirror, compelling us to question the world and our place within it. It starts with just *looking.*