2012
18 glass spheres, drawing
50 cm in diameter each
Text: Ilaria Mariotti, Massimo Ronchieri
Interview: RADIO PAPESSE - Irena Lagator Pejovic: Società a responsabilità limitata
Exhibition/Venue: Società a responsabilità limitata (S.r.l.), Limited Responsibility Society (L.L.C.), Villa Pacchiani, Santa Croce sull'Arno (Pisa), Italy.
Curated by: Ilaria Mariotti
Photo: Andrea Abati
Catalog: https://www.villapacchiani.it/wp-content/uploads/2020/11/Catalogo-lagator-completo.pdf
This installation consists of eighteen glass spheres that merge material fragility with conceptual density. Once used as light fixtures in the Social Bookkeeping Service of the Socialist Yugoslavia—a state institution dedicated to financial transparency and collective accountability—these spheres now inhabit an entirely new context. Their transformation from bureaucratic illumination into an artistic medium invites reflection on institutional collapse, systemic reconstruction, and the shifting role of collective responsibility.
Inspired by Peter Sloterdijk’s Spheres trilogy, the work positions these objects as fragile “bubbles” that demand careful attention. Sloterdijk’s notion of co-existence within delicate, interconnected spaces is echoed here: the spheres become poetic habitats, each one holding the possibility of intimacy, care, and vulnerability.
Glass, as a material, embodies a double bind. Its transparency promises openness and clarity, yet its production requires significant energy and resource extraction. Each sphere is simultaneously an aesthetic object and an environmental artifact—beautiful yet costly, transparent yet never fully innocent in its origins. The installation confronts this paradox directly, asking how we might reconcile the desire for function with the ecological price of its creation.
Inside the spheres, fine ink drawings trace networked lines that emphasize their form and reference Bruno Latour’s Actor-Network Theory. These internal diagrams visualize the ways in which humans, non-humans, technologies, and ideas function as equal “actants” in complex systems. They recall the informational networks once managed under the glow of these very lights, transforming administrative flows of data into visualized connections that extend into today’s planetary entanglements.
The work’s political dimension extends beyond its material honesty to its historical resonance. The financial transparency once administered beneath these lamps—serving collective rather than private accumulation—becomes a historical model for the shared responsibility the artwork now asks of its viewers.
Through reflection, light, and transparency, the installation offers a space for contemplating our ecological, social, and political spheres of existence. It asks: Can an artwork activate environmental consciousness? Can transparency become a practice of care rather than consumption? These glass spheres invite us to step carefully, to acknowledge the delicacy of the systems we inhabit, and to consider our own role in their reconstruction. (Irena Lagator Pejović)