DELAY III_Systems in Delay

Opening: Friday, 6 November 2026, 5 pm, Libertas

6–22 November 2026 · Libertas and Bastion, Koper · free entry

The third part of IZIS looks for delay inside systems themselves: in the lags, repetitions, echoes, loops and resets of digital, mechanical and natural processes. The exhibition treats delay as a possible strategy of resistance to the imperative of hyperproductivity. A pause, a gap, a rest, a crack.

In our techno-social reality, time stretches and shrinks at once, and endless waiting starts to resemble constant action. Artists from Slovenia and abroad approach technological temporalities through environmental processes, human experience and the mechanical gaze of the machine: in servers, satellites, weather cameras, soil, stone and sea. What shifts: time, space, or the way we perceive them?

Curator: Irena Borić

Programme

• Friday, 6 Nov, 5 pm, Libertas: exhibition opening, with words by Borut Jerman, festival producer, and curator Irena Borić, who will then lead visitors through the exhibition.
• Visit : Free entry. On view until Sunday, 22 November 2026.
• Monday, 9 Nov, 5.30 pm and 6.30 pm, Small hall, Libertas: Dancescapes, immersive VR dance experience. Free entry, registration required.

Artists and works

Format C (Dina Gligo & Vedran Gligo) – Pivilion/EXEno2:S~U/S~P_E/N~D_E~D (2026) 

EXEno2 is a spatial server installation in which interconnected servers send animated hypermedia content to one another. It grew out of Pivilion, Format C’s project for hosting internet art independently, without commercial servers, developed since 2015. The work reflects on what happens when artistic production falls behind in precarious times.

Oskar Kandare – sys_6x3_CAT (2025) 

Built from rudimentary motion sensors, mechanical parts and cables, this autonomous kinetic system behaves like a single-celled organism at its earliest stage of development. It has plugged itself into the room’s electrical system, moves slowly and without real purpose, and responds only to what is closest. It exists only to exist.

Urška Preis – Fire, Water, Earth, Pain (2025) 

Three interwoven installations approach pain as a fundamental natural condition beyond the divide between human and nature. Drawing on the ancient Greek theory of four elements and the Chinese theory of five, the work shows through its materials that pain does not disappear but transforms, accumulates and resonates.

Lara Reichmann – Loading Suns (2023)

The story is told by Terra, a multinational research satellite monitoring the Earth’s atmosphere, land and water. Its sensors act as inner voices, guiding us through the glitches and noise of a stitched world of machine vision. Painfully aware of its own mortality, Terra is not hostile, but struck by the beauty and brutality of the world it observes.

Lina Rica – Everything (2021)

A zinc printmaking plate sits in a mixture of copper sulphate, salt and water for the entire exhibition. The reaction is strongest at the start, then slows; fallen material gathers at the bottom of the container as the word “everything” emerges from the plate. Is it disappearance or transformation? The work looks different every day.

Saša Spačal – Gradients of Eternity (2023) and Holding Patterns (2023, with Alison Sperling) 

Gradients of Eternity consists of 88 soil chromatograms gradually contaminated with PFAS, the so-called “forever chemicals”; the number marks 88 years since their first synthesis. Invisible pollution is translated into colours and patterns. The film essay Holding Patterns, written with cultural theorist Alison Sperling, is set at Berlin’s former Tempelhof airport and reflects on polluted ground, groundedness and care.

Swamp_Matter (Ana Laura Richter & Eva Garibaldi) – The Stones Only Appear to Be Non-Living (2024)

The installation explores geological time and the human traces deposited in the Earth’s crust. It grew out of field research in the Škocjan Caves, where a river disappears into the underworld with deafening noise. Caves that seem eternal are in constant flux; inside them, deep time and human time collide.

Robertina Šebjanič, Ida Hiršenfelder, Dr Ana Lokovšek (NIB – MBS) – Fish Whispers (2024–) 

Beneath the Adriatic surface, seagrass meadows and brown algae forests are full of sounds beyond human hearing. Two artists and a marine biologist from the Marine Biology Station Piran recorded them for an immersive installation where fish voices meet the noise of vessel traffic. Listening becomes a practice of coexistence.

Lukas Truniger – Lost in rasterized Translation (2025) 

A shattered LED screen constantly watches the room through a camera and mirrors visitors back in a handful of pixels. The interactive video installation reveals the limits of machine perception and how much of our complex reality gets lost in its digital image.

Staš Vrenko – Loops in Transmission (2018) 

Three sound devices linked in electromagnetic and data feedback loops sonify the microtemporal processes of analogue and digital media that we normally cannot hear. The interactive installation explores how technical media measure time and create their own temporalities.

Luiz Zanotello – Tempo-imagem (2024)

In Portuguese, “tempo” means both time and weather. A machine scans the world’s weather cameras in real time, giving more screen time to places the climate network barely sees. Generated live and from a local perspective, it is different every time it is shown.

The IZIS XIV Festival is supported by: PiNA, HEKA, Stran22, Mestna občina Koper, Zavod za mladino, kulturo in turizem Koper, Ministrstvo za kulturo, JSKD, Obalne Galerije Piran, Skupnost Italijanov “Santorio Santorio” Koper – Comunità degli Italiani “Santorio Santorio” di Capodistria, Univerza na Primorskem (Pedagoška fakulteta – Vizualne umetnosti in oblikovanje), Grad Zagreb and Prohelvetia.