O skrivnostni subkulturi 0G je znanega zelo malo. Njeni pripadniki so se dokončno odklopili od digitalnega sveta – ne uporabljajo telefonov, računalnikov ali družbenih omrežij ter skrbno varujejo svoje osebne podatke. Zavračajo vse, kar pušča sledi: algoritme, identifikacijske sisteme in umetno inteligenco. A kljub temu, da živijo v senci tehnologije, v javnosti izstopajo z oddajanjem posebnih svetlobnih žarkov, ki jih lahko zazna le kamera.
Umetnica Lana Hasić skozi fiktivno subkulturo razmišlja o stanju današnjega sveta in vprašanja nadzora v dobi novih tehnologij. V njenem virtualnem svetu obiskovalci prevzamejo vlogo opazovalcev v obliki CCTV sistema, kjer na treh različnih lokacijah spremljajo mimoidoče ter vidijo podatke, ki jih sicer zajemajo digitalni sistemi. Občasno se v kadrih pojavijo neznane entitete, ki ne prepuščajo nadzora nad svojimi podatki.
Subkultura 0G spominja na naraščajoče neo-ludditsko gibanje, ki je vedno bolj prisotno med pripadniki generacije Z. Utrujeni od nenehnega preživljanja časa pred zasloni in algoritmičnega sledenja, so prepričani, da tehnologija ni nevtralno orodje, temveč služi predvsem ekonomskim in političnim interesom, pogosto na račun posameznikovega blagostanja, avtonomije in okolja. Njihov odklop je zavesten odpor proti sistemu, ki jih nenehno spremlja, analizira in manipulira.
Delo morda deluje kot fikcija ali spekulacija, a vse več ljudi v resničnem svetu išče načine, kako ponovno osvojiti avtonomijo, ki smo jo neopazno prepustili sistemom, ki jih vedno manj razumemo. Lana Hasić s svojim delom opozarja na podatke, ki jih nezavedno delimo in odpira prostor za razmislek o alternativnih oblikah delovanja znotraj digitalnih platform. Hkrati nas sooči z vprašanjem, ali je digitalni detoks lahko oblika upora in ali je v svetu, kjer nas kamere in algoritmi spremljajo na vsakem koraku, sploh še mogoče ostati neviden.
Lana Hasić (2000) zaključuje magistrski študij na likovni Akademiji v Ljubljani, smer interaktivno oblikovanje. Leta 2022 je za svoje delo prejela priznanje Univerze v Ljubljani za izjemne dosežke. Leta 2023 je sodelovala na skupinski razstavi z naslovom Novembra smo na Filozofski fakulteti in v okviru razstave študentov ALUO v Arboretumu Volčji Potok (2022 in 2023). V Galeriji UL je razstavljala v okviru razstave Kabinet čudes. Kasneje je svoja dela predstavljala v galeriji DobraVaga v sklopu razstave Sveže ribe (2024) in v galeriji BEKA 9 na razstavi Prečkanje meja (2024) ter bila ena izmed finalistov #18 Plaktivata (2026).
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Very little is known about the mysterious 0G subculture. Its members have completely disconnected themselves from the digital world – they don’t use phones, computers, or social media, and they carefully protect their personal information. They reject anything that leaves a trace: algorithms, identification systems, and artificial intelligence. Yet despite living in the shadow of technology, they stand out in public by emitting special beams of light that only a camera can detect.
Through the fictional subculture, artist Lana Hasić reflects on the current state of the world and issues of surveillance in the age of new technologies. In her virtual world, visitors take on the role of observers in the form of a CCTV system, where they monitor passersby at three different locations and view data that are usually captured by digital systems.
The 0G subculture is reminiscent of a growing neo-Luddite movement that is becoming increasingly prevalent among members of Generation Z. Tired of constantly spending time in front of screens and being tracked by algorithms, they are convinced that technology is not a neutral tool, but rather serves primarily economic and political interests, often at the expense of individual well-being, autonomy, and the environment. Their disconnection is a conscious act of resistance against a system that constantly monitors, analyzes, and manipulates them.
The work may seem like fiction or speculation, but more and more people in the real world are looking for ways to reclaim the autonomy we have imperceptibly ceded to systems we understand less and less. Through her work, Lana Hasić draws attention to the data we unconsciously share and opens up space for reflection on alternative ways of operating within digital platforms. At the same time, she confronts us with the question of whether a digital detox can be a form of resistance and whether, in a world where cameras and algorithms track our every move, it is even possible to remain invisible.
Lana Hasić (2000) is completing her postgraduate studies in interactive design at the Academy of Fine Arts in Ljubljana. In 2022, she received an award from the University of Ljubljana for outstanding achievements in her work. In 2023, she participated in a group exhibition titled In November, We Are at the Faculty of Arts and in the ALUO student exhibition at the Volčji Potok Arboretum (2022 and 2023). She exhibited at the University of Ljubljana Gallery as part of the exhibition Cabinet of Curiosities. Later, she presented her works at the DobraVaga Gallery as part of the exhibition Fresh Fish (2024) and at the BEKA 9 Gallery in the exhibition Crossing Borders (2024) and was one of the finalists of the #18 Plaktivat (2026).
