This article discusses art’s potential in outer space through a dialogue between European and Russian avant-garde traditions, and the postgravity art project by Dragan Živadinov, Dunja Zupančič and Miha Turšič. They enact a 50-year theater performance, Noordung:: 1995–2045 , with the help of high tech, Suprematism and Constructivism. The performance is based on five replays every 10 years with the same actors and on technological substitutes of the deceased. The project has several topical theoretical implications. The author explores its key philosophical aspects and presents new potentialities for a systemic cognitive model for image and space conceptual transformations within the context of contemporary art and aesthetics.

ABSTRACT Contemporary art practices are characterized by the transformation of completed or finalized objects into open works, fluid spatial situations and relations in the social field. Art processes raise the question: Can the complex structure of artworks provide an analogy and methodology that art researchers can use to co-design our culture from anthropological, philosophical, aesthetic and sociopolitical perspectives? This paper addresses this question through an examination of the artistic use of, and critical commentary on, media and available technologies, and of the artistic treatment of life forms found in the work of the younger generation of Slovenian artists (Tratnik, Berlot, Peljhan, Lovšin and others). The strategies these artists employ in their projects significantly strengthen the case for a re-articulation of the aesthetic, the ethical and the political, through a transition in various territories: art, (biotechnological) science, technology, new media and everyday reality.