FUTURING
Trajnostne perspektive #7
Perspectives on sustainability #7






Plemenite kovine, kot sta zlato in platina, v vrednosti vrtoglavih 9,5 milijarde evrov, so letno vgrajene v desetine milijonov ton poceni elektronskih izdelkov. Hkrati se količina elektronskih odpadkov vsako leto poveča za 4-5 odstotkov. S porastom digitalnih in video del so tudi muzeji in galerije vse bolj odvisni od elektronske avdiovizualne opreme.

Zato je nujno, da začnemo bolj ceniti elektronske naprave in hkrati pritiskati na proizvajalce, naj izdelujejo elektronsko opremo, katere življenjska doba bo trajala dlje in omogočala popravila. Kulturne institucije lahko namesto rednega kupovanja nove opreme, ponudijo zgled s ponovno uporabo, popravili in izposojo električne opreme. Za vzpostavitev takšnega sistema je potrebno voditi natančen popis razpoložljive opreme, skupen seznam in dogovoriti možnosti za medinstitucionalno izposojo.

Za pričujočo razstavo je večina avdiovizualne opreme bila ponovno uporabljena s prejšnjih razstav. V primeru, da so bili potrebni dodatni zasloni, pa so se organizatorji namesto nakupa dogovorila za začasno izposojo od različnih posojevalcev oziroma so si jih izposodili v Centru ponovne uporabe podjetja Snaga. Ta zbira staro elektronsko opremo, jo po potrebi očisti, popravi in pripravi za nadaljnjo uporabo. Po BIO27 bodo vsi zasloni vrnjeni in na voljo za nadaljnje uporabe.

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Each year as many as 9.5 billion euro worth of precious metals such as gold and platinum end up in waste, embedded in tens of millions of tons of cheap materials, while electronic waste production increases by 4-5 % every year. With the rise of digital and video works, museums and galleries are increasingly dependent on electronic audio-visual equipment.

It is urgent that we start valuing electronics more, and start putting pressure on manufacturers to start making electronic equipment that lasts much longer and allows for repairs. Cultural institutions can take the lead in doing so by reusing, repairing, and borrowing electrical equipment instead of buying new. This requires them to lead a detailed inventory of all of their available equipment and connect with other institutions and companies in borrowing arrangements.

For this exhibition, most of the audio-visual equipment has been reused from previous exhibitions. When additional screens were needed, instead of buying new ones, they were  sourced for temporary use from different lenders, primarily being borrowed from the waste collecting company Snaga which collects old electronic equipment, repairs it if needed, and prepares it for further use through their REUSE centre. After BIO27, all of the screens will be returned and available for further use.

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