BridA approaches art as a meeting place, a space whose relentless creative potential has the ability to resist the power structures and their agenda of atomisation or and division. The motto of the trio centres on the joint artistic engagement as an activity of social construction. This principle combines two basic features of BridA’s artistic research that might seem somewhat contradicting: on the one hand, the group clearly engages with the field of painting. Painting topics are often at the forefront and that BridA continues to consciously explore historical painting issues, especially the radical cuts from past avant-garde times. On the other hand, there is the issue of sociality, i.e. the relationship between the individual and the collective as well as the complex dynamics caused by this interaction, especially in the public sphere, which remains the main stage of BridA’s artistic questioning. It is however no coincidence that the issues of ‘painting’ present the point of entry into their reflections, as the primary objective of the group is to go beyond the confined ivory tower of art whose favoured historical emblem was theconnoisseurship of painting, with all its class and economic implications. Brida’s emancipatory call is for demythisation of the art process: you no longer have to be one of the anointed for art to be a part of your scope of understanding, you no longer have to be a devotee for art issues to interest you.
Apollonia chose interactive works that question the relations between the city and the individual, along with some other participatory projects from the collective.
Within the framework of e.city â€“ Ljubljana / Artecitya.